Superior Charles Bronson action-thriller skillfully directed by Michael Winner. In addition to the finely-crafted action scenes, it also works as a compelling character study and a darkly comic buddy movie. Great score by Jerry Fielding. One of the best of its kind.
Essentially a film about the highs and lows of contemporary 70's shag decor. I oogled fringe chain lamps and kitchens designed entirely out of glazed amber Mexican tile. Hieronymus Bosch triptych ftw~!
Undervalued movie. Though a great movie. Charles Bronson as such is underevaluated, too. Though an excellent actor. The pity is, he is squeezed pretty often into the same "character". Not talking too much, but confident; slow to anger, but brutally efficient when fighting back. This is Charles Bronson more or less in all his movies. And I love him for this. I always liked his "characters"; I wonder, if it was him....
Economical in narrative and with many moments of quiet for literary characterization, never moving the plot along sans story. The hitmen characters have this detached emotional feel (like I expect mafia hitmen to be), which gives the film both a realistic touch and a cynical tone that makes it a bleak and effective downer. Despite the exceptional story, both the action and ugly photography feels pedestrian, though.
A hugely misanthropic, cold-blooded film, and way beyond bromantic - in its sharklike, lipsmacking decadence, this is virtually gay, with Charles Bronson and Jan Michael-Vincent as Verlaine and Rimbaud composing assassinations instead of poems. It's a wallop.
Lo mejor de la película se resume en la presentación del protagonista en una secuencia inicial basada estrictamente en acciones, sin diálogo alguno...muy en la línea de El Samurai del gran Jean Pierre Melville.