Three little criminals get a tip for a great coup with lots of money in it. Unfortunately they lack the starting funds to buy the required welding torch. So they persuade their successful colleague Alphonse to join their team. But the well thought-out coup fails, and Alphonse is the only one of them who ends up in jail for several years. When he's released, he's out for revenge.

年捍探周福祥（费翔）的好友金（梁家仁），因误杀余人而引咎辞职，由警察沦为职业杀手。金所执行的多宗凶杀案中，恰巧由周负责这些案中，好友二人一明一暗，在命运安排下，面临生死决。期间周发现一个重大秘密。

年捍探周福祥（费翔）的好友金（梁家仁），因误杀余人而引咎辞职，由警察沦为职业杀手。金所执行的多宗凶杀案中，恰巧由周负责这些案中，好友二人一明一暗，在命运安排下，面临生死决。期间周发现一个重大秘密。

死党阿华，师爷仔及飞牛三人分别任职于会计，律师楼及警员。他们均喜欢包租婆的女儿蒙珠。一日，阿华知道会有巨额运抵公司及发现有贼人已铺好路线偷款。于是将计就计，他们预先偷走巨款，然后嫁祸给劫匪。虽然钱得手，但全是废纸，而烦恼才刚刚开始……

沃尔特·希尔编导的风格化西部片，剧情交代粗枝大叶，但镜头分解动作却拍得十分细致，动作场面也拍得十分血腥暴力。故事描述詹姆斯、米勒、杨格等三个美国西部犯罪中著名的兄弟家族在年轻时闯荡江湖的事迹，其最大特色是真的请来了明星兄弟来饰演剧中的兄弟，包括：大卫·卡拉丁、基思·卡拉丁、罗伯特·卡拉丁分饰杨格三兄弟；丹尼斯·伦迪和丹尼斯·奎德分别饰米勒两兄弟；斯泰西·基彻和詹姆斯·基彻分饰詹姆斯两兄弟，使片中人的兄弟情更显得水乳交融。此外，瑞库德气势澎湃的电影配乐也很精彩。

在禁酒时期，走私者科尼利厄斯正在逃离美国海岸警卫队。他在电影片场遇到了一位无声电影女演员琳达，并爱上了她。

这电影太小众了，导演和演员没一个认识，要说知名度，就属曾经扮演黄飞鸿而一时广为人传的史仲田，他是在郭南宏导演的提拔下拍摄了《铁三角》等几部片子而成为武打片不可或缺的武打能手，本身史仲田是擒拿和蒙古摔跤的教练，体型也是比较壮实，在本片饰演淮北特勤处处长陈彪的一个打手，特勤处是日本人设在中国的杀人组织。倚靠陈彪的王天川为虎作伥，鱼肉东乡乡民，义士张大越（陈强饰）回乡见未婚妻芳姑（张琴饰），为村民打抱不平，最后和救过他一命的童子安（华汉饰）杀死了日本人以及陈彪。本片剧情紧凑，不拖泥带水，是一部中规中矩的武打片。

这电影太小众了，导演和演员没一个认识，要说知名度，就属曾经扮演黄飞鸿而一时广为人传的史仲田，他是在郭南宏导演的提拔下拍摄了《铁三角》等几部片子而成为武打片不可或缺的武打能手，本身史仲田是擒拿和蒙古摔跤的教练，体型也是比较壮实，在本片饰演淮北特勤处处长陈彪的一个打手，特勤处是日本人设在中国的杀人组织。倚靠陈彪的王天川为虎作伥，鱼肉东乡乡民，义士张大越（陈强饰）回乡见未婚妻芳姑（张琴饰），为村民打抱不平，最后和救过他一命的童子安（华汉饰）杀死了日本人以及陈彪。本片剧情紧凑，不拖泥带水，是一部中规中矩的武打片。

A telephone rings in the dark—three times, pauses, then rings three times again. A fully-clothed figure lights a cigarette before rising from bed, dons a raincoat, then sets out into the night. Another figure emerges from the shadows, lights a cigarette, then discards a crumpled cigarette pack, which the first picks up and carries home. Back in his room, the first man places the refuse on his desk, paces apprehensively about his apartment before he finally removes the inner foil and examines it. After letting what it reveals sink in, he sets it on fire, and a cold look comes over his face... 　　Thus begins The Thief, a 1952 cold war, espionage thriller—unique in that it is completely without dialogue—directed by Russell Rouse, and produced by Clarence Greene, who co-wrote the screenplay. Allan Fields (Ray Milland) is an award-winning nuclear scientist working at the Atomic Energy Commission research laboratory. He is also a spy, photographing top secret documents, then relaying the miniature film canisters back through an elaborate network to enemy agents in Egypt. His signal is the telephone, and his liaison outlines his assignments through instructions on his cigarette refuse, with nary a word spoken. It is a dangerous business, and one that creates many close calls—too close for comfort. When one of his assignments goes awry, the FBI begins to close in, and the race is on to leave the country before he is caught. 　　The Thief has all the trappings of classic noir. Produced at the height of the "Red Scare," the film manages to maintain a constant state of tension, relying heavily on reaction shots and Herschel Burke Gilbert's riveting musical score. The cinematography heightens the effect, utilizing lighting and camera angles to convey the unspoken. Milland, who won an Oscar® for his role in Billy Wilder's The Lost Weekend, carries the part off to perfection, letting the audience read his character's thoughts solely through facial expression and body language. The direction also fools the audience into anticipating dialogue, then cleverly avoiding it. Only the Oscar®-nominated score and sound effects break the silence. 　　This is a fascinating use of visuals to tell a story, and a gripping suspense film, which held my interest throughout, and aside from one sequence where Fields' conscience begins to plague him, the narrative is fairly straight forward, without much in the way of gimmickry. Avoid the back cover text because it gives away the ending, which was the only part that didn't really work for this reviewer. For those interested in cold war-era film noir, this is certainly worth a look, if for no other reason than its uniqueness.