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Based on ex-convict Eddie Bunker's novel, No Beast So Fierce, pic pitches Dustin Hoffman as ex-con Max Dembo, who after being released from prison has every intention to go straight. Easier said than done, though...

It's hard to believe that Straight Time is often thought of as under seen, a hidden gem of the 1970s, this given that it stars Dustin Hoffman and the advent of the internet years has seen it garner votes and reviews aplenty. Yet it does seem to be a pic that doesn't get its due credit, annoying since it's one of Hoffman's greatest performances.

Hoffman loved the material and heavily sought to direct and star in it. Something which proved too hard for him to do. He was humble enough to recognise this fact and brought in friend Ulu Grosbard to direct while he concentrated on the acting side of things - result!

There is absolutely no glamour on show here, Max is surrounded by weasels, slime balls, junkies and perpetual thieves, while his own mental fortitude is suspect at best. It's both gripping and disturbing, this world he inhabits, no excuses are put forward, no "woe is me" tales, he ultimately accepts his lot.

Hoffman is backed by superb performances from Harry Dean Stanton, M. Emmet Walsh and Gary Busey, and Theresa Russell gives quality turn as the naive woman in Max's life - no token here, she's in the grip of a homme career criminal and not merely here to look pretty and doe eyed.

As a character study it positively bristles with brains and foolish brawn, and Grosbard directs with unfussy skill whilst showing a very good eye for a dramatic action scene. Studio interference would hurt the pic upon release, but now this can be seen as a film of great worth. 9/10

I wasn't expecting much from this film especially since it's only 6.9 on IMDb, and barely any posts about it, but don't let that fool you, this is probably one of the most under-appreciated movies i've ever seen in my life.

I really see why Dustin Hoffman is sometimes regarded as one of the best actors of all-time.. he had such a strong performance, so congruent and alpha. It's really a movie where you just GOT to keep watching to see what happens next, and it's well worth watching, you'll love it. I think if more people see it, it's going to be a "cult favorite".

8.5/10 GO SEE IT!

Or...how to humiliate your detestable creep of a parole officer like no one else in only a matter of seconds.

Beginning with "The Graduate", I have seen many Dustin Hoffman movies in which he excels as an actor playing a very wide range of roles, but there is something about this part as lifetime criminal Max Dembo that stands out in my mind. Contrary to what some reviewers write, this is a grossly underrated film, and I am very surprised that it was never even nominated for an Oscar in any category. When I examine the names of productions that actually won in that year, I am even more disappointed.

What truly strikes me is how passionate Mr. Hoffman was in making this movie. At some point, he realized that he could not fully develop as Dembo if he directed himself at the same time. That was a good decision, and choosing his friend Ulu Grosbard was an even better one. I have only seen Grosbard's "The Subject Was Roses", a stage play that was very successfully brought to the screen with the assistance of a stellar three person cast. The direction here was brilliant as well, especially the handling of the dramatic heist scenes, the escape sequences, the captivating ending, and much that transpired in between. As a viewer, I was engrossed by the action from start to finish. Hoffman also wisely chose David Shire to compose the mood setting, melancholic musical score.

The entire supporting cast, without exception, was first-rate as well. How M. Emmett Walsh missed at least an Oscar nomination for his extraordinary portrayal of Earl Frank, the sleazy scoundrel of a parole officer, is totally beyond my comprehension.

I've read many overly simplistic interpretations of Max Dembo's character on this page. Unlike other reviewers, I believe that Dembo does at first demonstrate a good attitude to his parole officer, often pushing the limits of his ability, but he may be incapable of handling his prison release, with or without an extremely abusive, sadistic parole officer. At times I wondered whether "Dembo" was a play on "Dumbo", the baby elephant who was treated so cruelly by the world from the very start. Even if Max weren't assigned to a creep like Frank, how long would it have been before he became restless on the assembly line of a can factory and in urgent need of a daring, dramatic caper or two? Aside from the seriously flawed criminal system, Max Dembo seems to be destined for a life of crime.

The typing test, early in the film, is a critical sign to the viewers of at least one very damaging flaw in Max's personality--the inability to abide by social parameters of any kind. This leads to disastrous consequences along the road. By the way, Jenny, the employment counselor who becomes his lover, is obviously dissatisfied with her unfulfilled life at the personnel agency, and, yes, even good looking people get lonely and bored. Why would so many reviewers believe that looks alone automatically guarantee satisfaction with life? The list of tragic celebrity examples alone is very long and sad. Jenny is more than ready for action and even appears lost when the excitement abruptly comes to a close.

This is a gritty and often depressing view of a man who seems to be destined to lead a life of crime, regardless of the specific circumstances. The compelling story, the fine script, the wonderful acting, the skillful direction, and the stirring musical composition combine to create a fascinating film.

Whatever the weaknesses of STRAIGHT TIME, the strengths render them meaningless. This is at the center a small story about a small man of no consequence in the world. Dustin Hoffman's character is never going to do Great Things with his life. He's probably never going to hold a meaningful job thanks to his criminal record. Whether it's due to the inequities of the system or his own character's weaknesses, it doesn't matter. He'll never have a family or make a contribution to society. But we still care about him. Hoffman's amazing performance makes us care and gives him meaning that few actors could imbue.

The storyline is slow and downbeat. Nothing good is going to come to the inhabitants of this movie. However, that is the unrepentant message of STRAIGHT TIME and it is delivered with amazing power and stark desperation. I can see why this sad premise was a commercial flop but there is not a single false note in the entire heartbreaking two hours. The stellar supporting cast features early roles for Gary Busey, Kathy Bates and M. Emmett Walsh. One of the great noirs of the seventies and a must see for anyone who is a fan of Hoffman or film noir in general.

"Straight Time," hoisted high by a brilliant and dexterous performance by Dustin Hoffman, pulls off a very unusual trick: It's one of the only movies in memory where a character we fully identify with turns out to not be such a good guy - and stays that way. "Straight Time" begins on Max's (Hoffman) side and shows us what appears to be a handsome, wounded soul suffering at the hands of an injustice legal system. But Max turns out to be no angel, and yet through the very end, we care about his fortunes and want things to work out for him. It's a brave and gritty role, and Hoffman, on screen the entire film, embodies it. Compare "Straight Time" to "Monster," and see that Lee Wuornos and Max Deblor are cousins. Both characters are labyrinthine in their depth, and both actors find the perfect pitch.