My review was written in February 1986 after a screening at UA Twin theater in Manhattan.
"Foxtrap" is an uneventful, so-called action picture, marking actor/athlete Fred Williamson's ninth feature as director. Box office prospects are weak.
Overreaching in its attempt to masquerade as a globe-hopping adventure in the James Bond vein, pic has Williamson as Thomas Fox, a bodyguard who reluctantly agrees to a private eye-type job for John Thomas (Chris Connelly). J. T, says his brother's daughter Susan (Donna Owen) is missing in Europe and sens Fox to find her.
After several dull reels and pointless killings, Fox finds Susan, unconvincingly bamboozles her into coming back to Los Angeles with him and then exposes J. T.'s secret, which has to do with tohose old genre standbys: balckmail, drug addiction, pimps and prostitutes. At fadeout, a threatening title alerts the viewer to "Watch for 'The Fox and the Cobra' next summer".
Pic has almost no action, with Williamson padding the proceedings with sluggishly edited wandering around shots and scenic transition footage. Locations at Cannes, Rome and L. A. are naturally photogenic but spoiled by the constant distraction of people in each exterior shot ogling the camera -apparently no extras were used for this cheapie.
In place of action, Williamson applies his budget to frequent costume changes for himself. Another personal touch is the presence of an array of international beauties who, naturally, can't keep their hands off the star.
"Foxtrap" is an uneventful, so-called action picture, marking actor/athlete Fred Williamson's ninth feature as director. Box office prospects are weak.
Overreaching in its attempt to masquerade as a globe-hopping adventure in the James Bond vein, pic has Williamson as Thomas Fox, a bodyguard who reluctantly agrees to a private eye-type job for John Thomas (Chris Connelly). J. T, says his brother's daughter Susan (Donna Owen) is missing in Europe and sens Fox to find her.
After several dull reels and pointless killings, Fox finds Susan, unconvincingly bamboozles her into coming back to Los Angeles with him and then exposes J. T.'s secret, which has to do with tohose old genre standbys: balckmail, drug addiction, pimps and prostitutes. At fadeout, a threatening title alerts the viewer to "Watch for 'The Fox and the Cobra' next summer".
Pic has almost no action, with Williamson padding the proceedings with sluggishly edited wandering around shots and scenic transition footage. Locations at Cannes, Rome and L. A. are naturally photogenic but spoiled by the constant distraction of people in each exterior shot ogling the camera -apparently no extras were used for this cheapie.
In place of action, Williamson applies his budget to frequent costume changes for himself. Another personal touch is the presence of an array of international beauties who, naturally, can't keep their hands off the star.