Framed for his ex-wife’s murder by a psychopathic parolee he once sent to lockup, Los Angeles cop Jack Murphy escapes from custody — handcuffed to a potty-mouthed car thief — to capture the killer by any means necessary.
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The long final at the Bradbury Building is the best, an animic space-editing articulation. The rest is the usual pachydermic Golan-Globus/Canon production with a discriminatory attitude in terms of social language - the constant and repeated homophobic jokes or women treated as reservoirs for men. Carrie Snodgress would deserve a more fruitful career and Bronson is the most inconceivable of straight machos.