UnowPriceless hyped garbage

Platicsco Good story, Not enough for a whole film

Limerculer A waste of 90 minutes of my life

Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

rodrig58 I saw "Hard Times" several times as a child, as an adult, each time with great pleasure. It can be seen any time, in "hard times" or in happier times, never gets old. Because it has four aces: Charles Bronson, James Coburn, Strother Martin and director Walter Hill. There's also Jill Ireland, true life's partner of Charles Bronson, they were together also in "Cold Sweat"(1970), "Someone Behind the Door"(1971), "The Valachi Papers"(1972), "The Mechanic"(1972), "Chino"(1973), "Breakout"(1975), "Breakheart Pass"(1975), "From Noon Till Three"(1976), "Love and Bullets"(1979), "Death Wish II"(1982), "Assassination"(1987). Plus two unique faces, Robert Tessier (who appeared with Bronson in "Breakheart Pass") and Nick Dimitri, another favorite of director Walter Hill. Good music and highest level picture signed by Philip H. Lathrop. Editing provided by Roger Spottiswoode, who would become a great director himself ("Under Fire"(1983), "Air America"(1990), "Stop! Or My Mom Will Shoot"(1992), "Tomorrow Never Dies"(1997).

A_Different_Drummer If you were born after 1970, the success of Charles Bronson could possibly be something of a mystery to you. He came up the hard way, playing character parts in TV series and heavies in movies. He even played an Indian. Somewhere along the way, the public took a shine to Bronson (especially in the oddball DEATH WISH movies, most of which were so badly made, they simply don't stand the test of time) and, typical of the soft spoken man, he supplied the star power for a handful of very unusual pictures. Of his entire body of work, this film is not only his best performance -- ever -- but also one of the best fight films ever constructed AND THAT INCLUDES ALL THE MARTIAL ARTS FILMS from overseas. First the part was practically written for him (and indeed may well have been). A taciturn, older, well-muscled individual who picks up cash in the depression by street fighting. The gag (and in this film the gag works and works and works) is that he looks like someone's father, not like a boxer. Until of course he take off his shirt. Coburn played himself, which, to be fair was not a bad thing. Jill Ireland (Bronson's actual wife, and he INSISTED she appear in each of his films, whether she fitted in or not!) is, as always, completely forgettable. The script was years ahead of its time. The writer understood something that even today's fight films have overlooked -- structure the fights, layer the opponents, so the audience can go along for the ride and actually see the action as reasonable and logical. A classic. A must see.

dougdoepke Footloose Bronson hooks up with gambler Coburn in a series of no-holds-barred slug fests in 1933 New Orleans.Richly colorful movie showing seamiest side of the seamy Depression. Street fighter Chaney (Bronson) speaks with fists instead of his tongue (hope they weren't paying him by the word). My gosh, Bronson's 50-something, but's got the torso of a 20-year old. He's convincing as heck as a slugger with a pile-driver punch. Meanwhile, Coburn plays his fast-talking promoter Speed, and he better be speedy to stay one step of the guys he owes money to. I love the staging in this film. Talk about junkyard dogs, that's where the fights appear staged, in one junkyard after another. It's also a blood lust fight crowd at its noisiest. Throughout, Chaney remains as enigmatic as a Chinese box puzzle. He comes from nowhere and seems to care less where he's going. You never know what he's thinking, what with that deadpan expression and wordless mouth. He's his own man to say the least-- a free spirit, as Lucy (Ireland) ruefully finds out. At least we know he likes stray cats since he's pretty much one himself. Coburn's got all the lines, and suits the slick-talking gambler to the proverbial 'T'. But surprise, surprise, for me—Strother Martin (Poe) has a sympathetic role for a change as a trustworthy associate. No doubt about it, this is a man's picture and about the worst 'date movie' I can think of, unless she likes bare male torsos. But it's also one heckuva gritty Bronson flick.

Scott LeBrun In this excellent period piece, a clean shaven Charles Bronson has one of his best ever big screen roles as Chaney, a hard luck loner in Depression era America. He arrives in New Orleans by train and discovers that he can make money using his fists, by becoming a bare knuckled street fighter. He hooks up with a slick gambler named Speed (James Coburn), who arranges his bouts. Things go well for them for a while until Speeds' irresponsible way with money begins causing problems. Speeds' mobster associates lean on him to repay his debts, and a prominent, well dressed gambler named Gandil (Michael McGuire) agrees to foot the bill IF Chaney will take on Street (Nick Dimitri), a fighter from Chicago.This marked the directing debut for a young Walter Hill, who'd achieved some success in Hollywood as a screenwriter, writing or co-writing things such as "Hickey & Boggs", "The Getaway", and "The MacKintosh Man". Here Hill brings his talent for creating striking male milieus to the forefront, telling a story of struggling to survive during a bleak chapter in American history. With the assistance of a solid crew of professionals including editor Roger Spottiswoode, art director Trevor Williams, and director of photography Philip H. Lathrop, he captures on screen an incredible evocation of the N.O. of the 1930s. The music by Barry De Vorzon is wonderful. The fights are well choreographed and always feel very convincing; still, this isn't as violent as some reviews may lead you to believe.The acting is solid all the way down the line, with an assortment of familiar faces to back up the stars. Bronson was still a fine physical specimen in his 50s and delivers a typically low key performance; Coburn is great fun as the outgoing handler. Bronson once again acts opposite his real life spouse Jill Ireland, who plays a feisty love interest. Strother Martin is a delight as always as Coburns' cheery associate. Also appearing are Margaret Blye as Coburns' perky fiancée, Felice Orlandi and Bruce Glover as mobsters, Edward Walsh as the sleazy Pettibon, Robert Tessier as smiling fighter Jim Henry, Frank McRae as a heavy, and, in his film debut, an uncredited Brion James.This is compelling all the way and well worth a viewing for fans of action and drama, with a kick ass final fight between Chaney and Street that works even without music to accompany it. Recommended.Eight out of 10.