John Flynn directs *The Outfit*, adapting the screenplay from a novel by Richard Stark (also known as Donald E. Westlake. The film features Robert Duvall, Joe Don Baker, Karen Black, and Robert Ryan, with music by Jerry Fielding and cinematography by Bruce Surtees. It seems it took some time before people recognized the 1970s as a strong period for neo-noir films. While filmmakers of the 60s often copied the style of the 40s and 50s, those working in the 70s frequently prioritized noir plots over visual flair, using their own stylistic choices to match the tone of the story. *The Outfit* exemplifies this approach; it's a clever and atmospheric film that’s sometimes brutal and at other times a wry revenge tale filled with sharp dialogue. Bad luck doesn’t last forever. The plot follows Duvall as Earl Macklin, who, after being released from prison, discovers his brother has been murdered by "The Outfit" and is now on their hit list. It turns out that Earl and his brother robbed a bank with significant ties to "The Outfit," triggering the attempt on their lives. However, Earl isn't willing to disappear quietly and decides to turn the tables on those pursuing him. Macklin’s quest for revenge and financial gain unfolds in a world of unpleasant characters dressed in dated suits, often set in dull and colorless locations that complement the story’s momentum. Alongside Earl is Cody (Baker), a fearless and observant man who can spot a femme fatale from afar. Bett (Black) joins them as well; she's Earl’s girlfriend, a somewhat shallow woman who quickly becomes involved in the violent events. Overseeing everything with quiet menace is Mailer (Ryan). In one of his final films, released the year he died, Ryan delivers a character whose every word demands attention, while his relationship with Rita (Cassidy) offers moments of amusing tenderness alongside coldness. The other antagonists are fairly standard but primarily serve as targets for Earl and Cody’s macho rampage; their dialogue exchanges are particularly well-written. Baker and Duvall give excellent performances, supported by a strong cast—a roster of film noir heroes, villains, and victims. The film's noir credentials are exceptionally high, from the original writer Stark (known for *Point Blank* and *The Grifters*) and director Flynn (*Rolling Thunder*), to the actors involved; it’s a kind of noir paradise. While some might wish for appearances by figures like Elisha Cook and Marie Windsor, Flynn makes his intentions clear and conveys his appreciation for the genre. There are minor issues. The film lacks truly dark nighttime photography, and Black's casting feels somewhat off, though she manages to get away with it because the filmmakers seem to intend her as a plot device. Some viewers may be bothered by how women are portrayed, but tonally it seems appropriate for the world of the story. Then there’s the ending! I haven't seen the television version, but the one presented is certainly (within the noir universe) far superior to the official release and more fitting with what precedes it. Despite these small flaws, *The Outfit* is a great film and worth watching. 8.5/10

Source on TMDB