Like the other Dirty Harry films, the action setpieces pertaining to Harry’s beat are rarely relevant to the central story/plot line, which detracts from their focus and effectiveness. But unlike every other Dirty Harry film, it creates sympathy and depth for its villain, making it not only as good as the 1971 original, but this rape-revenge victim is a far more dynamic character than Harry’s now-redundant persona.
Clint's personal take on series rejuvenates the grim setting and discomfort which made the first film so distinct, but got completely ignored afterwards. Trademark themes are being reinterpreted in an interesting way as officer Callahan hunts a bizarre soul-mate villain rather than a "punk", partners a useless dog, and becomes discouraged by lowlife well rooted even inside the picket-fenced American suburbs.
One of the best "rape-revenge" movies out there and a well done dark and gritty tale and if there is one man who understands his own character as a director it is Clint Eastwood himself who handles the direction strongly here. The biggest mistake is that they didn't end the series with this one.
Another supposed exercise in the why and wherefore of vigilantism, both within the police force and without. Of course there's no substantial discourse (was there ever?) here centred on rape revenge as an unappealing justification and garnish for the expected bouts of violence. The gimcrack dialogue and canine light relief merely add to the paucity of imagination.
Il poliziesco non è un genere che mi fà impazzire e anche questo diretto da Clint (in cui pone qualche accenno di Leoniana memoria) non differisce molto dagli stereotipi del genere:il poliziotto maschione contro colleghi incapaci o collusi,i criminali stupidi o super-incapaci e la legge della giungla da preferire spesso alla legge della civiltà.Tutto un pò eccessivo,e quindi quasi solo per gli amanti del genere.3*