The Swap

Don't be duped by this. This is a poor movie. I made better in high school in the early nineties. It's preposterous that they had any right to use old footage of the great Robert DeNiro. Don't watch, it leaves a bad taste in your mouth.

"The Swap" doesn't look like a sequel to me. I've seen sequels with archives of the original film. This revenge film shows mostly flashbacks of the original made 10 years ago. The brother of Sam(Robert DeNiro) gets out prison and would go after the people responsible for his death. Sam has moved to California to do film there. Only this time, he was doing pornographic stuff. One night, Sam was working, and someone has jumped him from behind. The brother learned about his murder and would go place to place and speak with the people he knew. This revenge film was a little bit weak. Too cliche in every way. Revenge is a dish served cold. This movie is cold. Only the Ford cars were the only things that I liked in it. The rest of the movie needs a lot of work. 2 out of 5 stars

One of Robert De Niro's earliest films was a bad and forgettable film called "Sam's Song". A decade after its release, some unscrupulous boobs decided to integrate a few tiny clips of him from this film into a new film in order to capitalize on his recent successes such as "The Godfather" films as well as "Taxi Driver". And, to further exploit his fame, they gave him top billing even though he's barely in "The Swap" at all! Apart from the intro and a few tiny clips used here and there, he isn't even in the film!

As for the plot, it is also a rip-off. Clearly it's a reworking of the excellent Michael Caine film, "Get Carter". In both, a guy is in prison when his younger brother is killed--and he's determined to find and punish those responsible. Caine's film is a classic--this other version features wooden acting, terrible editing of the old and new film footage and almost zero energy. Overall, it's an awful little film that is better forgotten.

In 1969, Sam Nicoletti (Robert de Niro) is a film editor. He gets killed by a mysterious stranger. Ten years later, Sam's brother Vito gets out of prison. He starts investigating Sam's death as De Niro appears in flashbacks.

In 1969, an unknown Robert De Niro starred in a little movie called Sam's Song. It is little seen. Director Jordan Leondopoulos uses footage from that movie to incorporate into his new movie. He obviously couldn't get De Niro or anybody from the first movie. This is a jumble mess. I would love to watch a young De Niro in a nothing movie like Sam's Song. This is watching snippets of disjointed sections of that movie. I couldn't follow Sam's story and Vito's story is horribly stiff. Sam's Song looks like a bad indie and the new footage looks infinitely worst. Other than seeing a younger De Niro, this is not worth the effort.

Incorporates scenes from the 1969 film "Sam's Song" of Robert DeNiro (as Sam) playing an aspiring director who meets a couple (Warren and Mickey) and an apparently single woman (Crawford) with whom he develops mutual bonds over one party-filled weekend at the beach. But when he's murdered, his fiercely protective brother (Charnotta) vows to avenge his death and ten years' later upon his release from gaol, he pieces together Sam's final days to seek retribution.

Neither DeNiro nor Warren - whose stars had risen in the intervening years between the 1969 footage and this 1979 re-edit - appear in the subsequently shot scenes, though naturally much is made of their names in the credits for marquee value. Both Mickey and Crawford reprise their roles, but Charnotta is essentially the central character here, his interrogations abetted by Lisa Blount as his frustrated chauffeur who once 'worked' for his brother. James Brown has a couple of scenes as a detective warning Charnotta not to dig too deeply into his brother's murder, and the sultry Sybil Danning playing the modern-day Warren role is entirely wasted sitting behind a desk.

Tedious attempt at a film noir, bereft of action and suspense, just a dreary series of one-on-one conversations interspersed with flashbacks of the melodramatic romantic quartet, making the most out of DeNiro's scant, unrelated footage. Though there's an occasional promise of something entertaining, it never eventuates. Even the film's climax is a non-event, hampered by a shoestring budget that teases, but fails to deliver.