One of the best political thrillers ever.

Orange Bowl - 1501 N.W. 3rd Street, Miami, Florida, USA

Charlton Heston, Martin Balsam, Beau Bridges, John Cassavetes, Jack Klugman, Gena Rowlands, David Groh, Marilyn Hassett, David Janssen, Brock Peters, and Walter Pidgeon in Two-Minute Warning (1976)

Ann-Margret and Roy Scheider in 52 Pick-Up (1986)

Henry Fonda, Timothy Bottoms, George Segal, Susan Strasberg, and Richard Widmark in Rollercoaster (1977)

Anne Bancroft, Charles Durning, George C. Scott, William Atherton, Burgess Meredith, Jean Rasey, Roy Thinnes, and Gig Young in The Hindenburg (1975)

Richard Harris, Omar Sharif, Shirley Knight, David Hemmings, Clifton James, and Roy Kinnear in Juggernaut (1974)

Charlton Heston, Victoria Principal, Geneviève Bujold, Ava Gardner, Lorne Greene, George Kennedy, Marjoe Gortner, Lloyd Nolan, Richard Roundtree, and Barry Sullivan in Earthquake (1974)

Now, just blink for "yes", or die for "no".

Robert Shaw and Fritz Weaver in Black Sunday (1977)

Bruce Dern, Tom McFadden, and Nick Nickolary in Black Sunday (1977)

Robert Shaw

Bruce Dern

Marthe Keller

Thomas Harris

Ernest Lehman

Kenneth Ross

When a Black September terrorist group begins a plot to carry out a massive terrorist attack in the United States, an Israeli commando works with the FBI to identify the target and conspirators, and prevent the plan from succeeding.

John Frankenheimer

Black Sunday

I&apos;m a sucker for movies with blimps and hot air balloons (from Jules Verne to James Bond).  A movie where the Goodyear Blimp plays a major role is right up my alley.  But that&apos;s not all.  This is one of the most realistic political thrillers ever filmed.  Each actor regardless of the size of role in this film simply blows away most of what passes for acting today. Frankenheimer&apos;s direction (style later copied on Hill Street Blues and NYPD Blue) was perhaps ten to fifteen years ahead of its time, and the editing at times perhaps second only to Jaws and maybe a Hitchcock film or two (though it does slow down in the middle).  This is a film where the obvious villain, played by a colorful Bruce Dern, is the central character driving the story, and Robert Shaw&apos;s underplayed hero somewhat of an antagonist getting in the way.   Dern&apos;s character is not glorified (as many of that film era were such as in Bonnie and Clyde, The Sting, and Butch Cassidy). The camera is there so we may understand his character without romanticism or sympathy.  We are left to make up our own mind about his villainy, and Dern&apos;s performance leaves little to question that he is a deranged lunatic. Perhaps this is why the film is not so known today.  Vietnam vets returning home was a fairly new topic for films at the time (ironically &quot;Coming Home&quot; with Bruce Dern as a sympathetic vet was the first big film about this subject).  The &quot;crazed Viet Vet&quot; became a stereotype and politically incorrect.  It is too bad this film was lumped into that group, because it is as good as a thriller can get.  Next to &quot;Jaws,&quot;  this is Shaw&apos;s best performance.  This is a film that can be watched over and over because it is so complex.  I recommend buying the film as opposed to renting it, so you can savor it like a good wine.

Black Sunday is the powerful story of a Black September terrorist group attempting to blow up a Goodyear blimp hovering over the Super Bowl stadium with 80,000 people and the president of the United States in attendance.

Official Trailer

https://m.media-amazon.com/images/M/MV5BNjdjNWFmM2EtMmU3MS00NjAxLThjMTItNWUzYzQ2NGU1YmE5XkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw@@._V1_.jpg

I'm a sucker for movies with blimps and hot air balloons (from Jules Verne to James Bond).  A movie where the Goodyear Blimp plays a major role is right up my alley.  But that's not all.  This is one of the most realistic political thrillers ever filmed.  Each actor regardless of the size of role in this film simply blows away most of what passes for acting today. Frankenheimer's direction (style later copied on Hill Street Blues and NYPD Blue) was perhaps ten to fifteen years ahead of its time, and the editing at times perhaps second only to Jaws and maybe a Hitchcock film or two (though it does slow down in the middle).  This is a film where the obvious villain, played by a colorful Bruce Dern, is the central character driving the story, and Robert Shaw's underplayed hero somewhat of an antagonist getting in the way.   Dern's character is not glorified (as many of that film era were such as in Bonnie and Clyde, The Sting, and Butch Cassidy). The camera is there so we may understand his character without romanticism or sympathy.  We are left to make up our own mind about his villainy, and Dern's performance leaves little to question that he is a deranged lunatic. Perhaps this is why the film is not so known today.  Vietnam vets returning home was a fairly new topic for films at the time (ironically "Coming Home" with Bruce Dern as a sympathetic vet was the first big film about this subject).  The "crazed Viet Vet" became a stereotype and politically incorrect.  It is too bad this film was lumped into that group, because it is as good as a thriller can get.  Next to "Jaws,"  this is Shaw's best performance.  This is a film that can be watched over and over because it is so complex.  I recommend buying the film as opposed to renting it, so you can savor it like a good wine.

bappamtv

Black Sunday

🎭 Top Cast

💰 Box Office

🎬 Technical Specs

🏷️ Keywords

🎯 Categories

⭐ Featured Review

💡 Did You Know?

🎬 More Like This

📖 Synopsis