Very disappointing...

Surprisingly incoherent and boring

A Masterpiece!

The film never slows down or bores, plunging from one harrowing sequence to the next.

You must be either a car enthusiast, or be willing to ignore the numerous errors in this movie, in order to fully enjoy it. The acting itself is quite ordinary, nothing great there. Music is okay, but nothing great. The rambling and unrealistic screenplay is a little confusing and some plot twists are unexplained. The over-rated car chase scene is too long and at times boring. It's not only unrealistic, but badly edited. A far better car chase scene can be found in the original French Connection movie. To think that this film won any awards for anything is ridiculous. There are numerous continuity mistakes throughout the film.

'Bullitt (1968)' is mostly remembered for its standout car chase sequence over the sun-drenched streets of San Francisco but, though that sequence is just as compelling and entertaining as its reputation would suggest, the rest of the picture is oddly paced and at times quite dull, though never boring, and is actually much more of a slow building character piece than a fast-paced action film. There are a number of other memorable moments, though, and the violence is fairly shocking for 60s standards, allowing Steve McQueen to provide a solid central performance in this detective drama that doesn't pull its punches but has some narrative issues and ends rather abruptly. 6/10

RELEASED IN 1968 and directed by Peter Yates, "Bullitt" stars Steve McQueen as a resolute San Francisco detective who is determined to find the underworld kingpin who murdered the mobster-turned-witness under his protection. Robert Vaughn plays the slick, compromising politician while Simon Oakland appears as Bullitt's superior. Don Gordon is on hand as Bullitt's partner while Georg Stanford Brown plays a doctor. Robert Duvall has a small role.This was the obvious inspiration of the Dirty Harry franchise and other Eastwood cop flicks but, unlike those amped-up films, "Bullitt" is decidedly realistic, crackling with authenticity with its to-the-letter depictions of police, hospital and morgue procedures. The movie is decidedly low-key, respecting the intelligence of the viewer. Actually, it's SO realistic and mundane that it'll likely turn-off a lot of Dirty Harry fans. I suggest using the subtitles so you can keep track of who's who and what's going on.The movie draws you into its believable suspense with no less than three cat-and-mouse sequences. The first one is on foot at a hospital; the second is the iconic 7-minute car chase on the streets of San Francisco (which 1988's "The Dead Pool" paid homage to in a semi-spoof scene); and the third is another foot-chase at the airport, including the runways, which is the climax. Take note, by the way, of the green Volkswagon Beetle, which is repeatedly seen during the car chase."Bullitt" also works as a period piece of Big City, USA, 1967 (when the film was shot). It's interesting observing the designs and fashions. Jacqueline Bisset is, unfortunately, the only female and she's underused, although her character and Bullitt have a potent conversation at the beginning of the last act.THE FILM RUNS 114 minutes and was shot in San Francisco, California. THE SCRIPT was written by Alan Trustman & Harry Kleiner from the novel by Robert L. Fish.GRADE: B+

What should have been – and often is – a good action thriller, is somewhat vitiated by a script that is meandering, muddled and confused. It wasn't until I read the synopsis that I found out who the Robert Vaughn character was supposed to be. And what place Jacqueline Bissett has in the film (save to introduce periodic doses of phony philosophy) is as mysterious as the opening credits. Generally speaking, the acting of all concerned is no more than competent. If anything, Steve McQueen is even more surly than usual. The movie's chief assets are William Fraker's fine color photography, some terrific action scenes, and the director's extensive use of intriguing San Francisco locations. To my surprise, the film's editor, Frank P. Keller, won an Academy Award for his work on this film. This was obviously no fluke, because Keller also received the annual award for Best Editing from his peers in the American Cinema Editors. When I get an opportunity, this is a movie I want to see again!