Stoutor It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

Glucedee It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

Lucia Ayala It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Ginger Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

Bezenby Uh-oh! We've got a hit-man here who has fallen in love and wants to go straight – we all know that there's only one way to leave the mob, right? Bronson is the hit-man and Jill Ireland is the chick who's turned his head, and after one of my favourite credit sequences ever where we see Bronson under observation to a kick-ass Morricone soundtrack, a bunch of guys turn up to waste our stone-face killer. One car chase and a double-cross later, Bronson's having bullets pulled out of him and sent to jail for a while. It gives him plenty of time to stew over what's happened. Seems the last guy who hired to him to kill someone has double-crossed him and somehow his missus seems to be involved. Being a 'let bygones be bygones' kind of guy, Bronson's first task upon being released from jail is to try and track down these two and kill them both. Luckily for us his past-employer is also a race car driver! That gives us a lengthy sequence at a race track where Bronson scopes out a good place to take out this guy with a sniper rifle, a sequence which is dialogue free and lasts about ten minutes. Also, it takes place under a huge advertisement for Pan-Am airlines, so I guess they were fitting the bill for the film, or Sergio Sollima was just a big fan of that airline. Once this guy has been incinerated, Bronson starts receiving pictures of him setting up the kill at the race track, and realizes that starting a new life won't be so easy after all…Those expecting an action-packed film with Bronson taking down waves of bad guys would probably be better switching the film off around the ten minute mark because the film is more about Bronson brooding about his relationship with Jill Ireland and arguing with Telly Savalas (a mob boss who is blackmailing Bronson and wants to hire Bronson full time). Savalas is good here as a seemingly legit-businessman who may be telling more home truths than Bronson wishes to hear. Set possibly in New Orleans and Detroit Michigan at the same time (I was a bit confused by that), the film looks great, sounds great and for the first half is great, but be warned that pace slows way down before you get to the grim ending. Also, the version I watched had eight minutes of extra footage added in Italian with English subtitles that seems to add a bit more depth to the proceedings. For the mopiest hit-man that wants to leave the mob, look out for Tony Arzenta!

Jacob I have to say that even my being a Charles Bronson fan didn't help me watching this movie. The beginning is not bad and much promising with a nice car chase scene. But that's all the good you'll see because then it starts getting weaker and weaker and weaker. The problem of this movie is that the plot is very little, uninteresting and has no integrity. It's just a sequence of events. I constantly had the feeling there was no firm hand making this movie and all the actors were just wasted. They couldn't even figure out to the very end of the movie in what direction it should be going. So, as you can probably guess the writing in whole was really bad to say the least. Although there were some good lines delivered by Telly Savalas and Charles Bronson, nothing redeems this movie to me. Speaking of the absence of definiteness, here's an example: you see Telly's thugs at least in 2 or 3 scenes, that is they did exist, but it turns out so easy for Bronson's character to just step into Telly's house and kill him. So what was the purpose of those guys? That's what I'm saying. There's no outcome to anything in this movie, no culmination, in other words everything turns out in the worst way one might expect. A lifeless and empty movie shot in a very unorganized way. I truly hope this review will prevent other people from being disappointed the way I saw. Just avoid it.

Woodyanders Lethal and laconic professional hit-man Jeff Heston (the almighty Charles Bronson in peak rugged form) gets double-crossed and left for dead. After getting out of jail, Jeff tracks down both the shooter and the man's alluring, yet treacherous mistress Vanessa Sheldon (splendidly played with classy and sexy panache by Jill Ireland) to New Orleans. Shrewd and ruthless crime boss Al Weber (smoothly essayed with delightful twinkling humor by Telly Savalas) wants Jeff to join his organization, but Jeff refuses. This begets a series of explosive events with dangerous consequences for all involved. Director/co-writer Sergio Sollima relates the complex and absorbing story at a steady pace, maintains a tough, no-nonsense tone throughout, punctuates the plot with occasional moments of startling brutal violence, stages the action set pieces with thrilling expertise (the totally silent opening car chase is an absolute corker), delivers a flavorsome evocation of the Big Easy setting, and tops everything off with a real doozy of a surprise bummer ending. This film further benefits from tip-top acting by the stellar cast: Bronson excels in a tailer-made role that plays to his strengths (Jeff is a quiet guy whose actions speak for him), Ireland likewise impresses with her deliciously seductive portrayal of the conniving and duplicitous femme fatale supreme Vanessa, Savalas makes the most out of his few scenes, and Umberto Orsini positively oozes as smarmy and opportunistic lawyer Steve. The ubiquitous Ennio Morricone provides a perfectly robust and pulsating score. Aldo Tonti's crisp widescreen cinematography adds a nicely expansive sense of scope to the picture. Well worth seeing.

sc8031 Man, Charles Bronson was such a weirdo. His on-screen presence was so cold, shady and unlikable, but the bad guys were even worse. So the viewer is always left to reluctantly root for Charlie -- by default. This one is no different (of course, why should it be otherwise?). "Violent City" starts out with some badass car chase and action sequences. The driving in this movie (sans power-steering!) is really legit. But the second half of the movie just drags.I thought the plot was okay: the idea of this sexy girl double-crossing the main character, using her feminine wiles to survive in an underworld of sleazy, dangerous mobsters and killers. She's blameless but ultimately as guilty as the rest of them! There are some okay plot twists that come along, and Bronson's crazed "tragic love" seems reasonable: there aren't that many hot babes that will fall in love with a contract killer (unless I'm mistaken). The movie is pretty violent and sexually explicit, though. The sexual themed moments are either cheesy or rough, and the (surprisingly) monotonous score by Morricone makes this a total '70s gangster exploitation film.Unfortunately the editing is a little choppy, some plot elements just are not explained very well (such as what happens in prison near the beginning of the film) and the American version is overly censored. I should point out that this film does not have Italian in the American script, contrary to what some other reviewers have mentioned. It was dubbed, both in Italian and in English, and the non-American releases have segments in Italian. The version I watched was a non-American version, so the parts that had been cut out from the American version were in Italian. The sudden transitions into Italian were pretty amusing.It was entertaining, but not that memorable. The car chases and the sniper scenes are pretty hot, though.4.5