Across 110th Street

The grimy 70's atmosphere, lack of a real main character, sense of realism, pervasive feelings of anger... what a fantastic combination. Even though the story isn't all that special, everything surrounding it worked wonderfully. Sudden but great ending too.

Feels a little dated in the shadow of the films that followed it, but still a snappy, ugly little urban thriller which may not ultimately add up to much; the finale might have been more resonant if either Quinn or Kotto had been given more substantial characters to work with. Has an appealingly rough documentary quality which is mirrored in the admirably unsentimental evolution of Quinn and Kotto's working relationship (and both men are in peak form). Props to gravelly voiced scene-stealer Ward!

It has serious editing problems and slightly disjointed at times; but it is full of interesting characters and great music. Also, the use of natural light and the inherent obscurity of the setting makes you feel like a by-stander rather than someone watching a movie. From this to Homicide Kotto did not change one bit by the way.

A very solid thriller. What really made it for me was the feeling of the world bearing down on every character. The robbers, mobsters and cops are all under extreme pressure to do what they do, and the sense of the very real hopelessness of it all is powerful.

Set apart from many similar movies by the way it focuses on the characters, gives us moments where they're more than just stereotypes carrying the plot, where they actually think about their actions, actually hurt, actually dream. A thriller where it pays to keep your eye on the characters, even as the fake blood gets sprayed around by the bucketload.

There have certainly been made more elegant films on both sides of 110th Street, but this one makes up for it with memorable characters and a gritty, confrontational 70s atmosphere.

Dingy, sad, and understated. The blaxploitation equivalent of The Friends of Eddie Coyle.

Hardly a masterpiece of mystery or complex plotting, but it skates by on account of its raw style and grit and unrelenting violence. You can feel the heat and dirt of Harlem in every scene. Also interesting because it shares a couple actors (Yaphet Kotto and Gloria Hendry) with Live and Let Die, the "blaxploitation" Bond movie that came out the next year.

This is not a very elegantly crafted film. It's loose and ragged with a fast pulpy style ... all fast close-ups and rough cuts. It fits the material though which is all about conflict. The black gangsters clash with the white gangsters. The white cop clashes with the black cop. The black gangsters clash with the white cop. Everyone wants to find out who has the money, and newarly everyone ends up dead.

This film has a good cast and an interesting script. There are a number of good scenes in this movie. Overall I would recommend this film.

So gritty, raw and often uncomfortable neo-noir flick -- torture scenes in the second could make anyone nauseous -- depiction of desperate living/surviving in 70s NYC, where everyone is running around trying to escape their own fate -- from the three guys that do the robbery and don't quite know what to do after that, the detectives who hate each other (new guy, Pope, and racist, about to retire Mattelli) and the Italian mob losing control of their business in Harlem.

Raw and gritty. Am I talking about the incredible street photography and violence during a hellish 24 hours in Harlem OR whatever the hell Burt Young eats to look like the worlds oldest 30 year old.

a guy shoots at a car until it ignites and explodes a la Grand Theft Auto and it jolted me upright as I yelled "holy shit!"

Borderline terrifying

Viewed August 15, 2021. Does an effective job of framing the economic desperation and racial tension that drives the narrative. By making it clear that the criminals are also victims of an intrinsically flawed system, it creates a lot of ambiguity around its protagonists' search for justice. It's too shapeless in its storytelling to work as well as it should, and the extreme violence and relentlessly grimy atmosphere clash with elements like Anthony Franciosa's phony mafia man performance.

While this has a blaxploitation exterior, the meat of of the film is an extremely gritty urban crime thriller. This thing is straight up mean. The cast is great, with Yaphet Kotto and Anthony Quinn each bring their own version of anger. What it lacks in finesse, Across 100th Street makes up in something more tactile.

A prime example of the harshness of 70's independent Cinema.

A brutal and unsparing picture of crime in 1970s Harlem, but a bit too solemn and principled to be written off as blaxploitation in my opinion. The characterizations are inconsistent - such as the part interesting and part banal cop duo, but the anti-heroism is refreshing and there's something very real, raw and atmospheric about the rest of it. Its strongest point may be the acting, including awesome chops on display from Paul Benjamin. It also helps that the soundtrack isn't overwrought.

anlık parıltıları haricinde sürünen aksiyon sahnelerini gerçekçi, karanlık tonu kurtarıyor. sınıf, ırk ve suça dair yorumları bu açıdan filmi yükseltiyor çünkü ne kadar basit dahi olsalar bugün bile birçok aksiyon filminde çok çiğ geçilen bu etkenler burada çok daha ayakları yere basan biçimde işliyor. nihayetinde güzide bir 70ler amerikan sineması örneği.

The best Blaxploitation film I've seen. It takes the hallmarks of police brutality, racism, crime as an escape, community strength, gangs, and a strong black presence and mixes it with noir's flair for melodrama and sense of style. It's not perfect, the middle sags due to too many thin characters and not enough focus, but the strong style and gritty story kept me watching. There was one "what moment" where it cuts to a night scene to a daytime scene and back to a night scene.

Extremely well-conceived, but highly violent, vision of America's early 1970s urban crisis from a male perspective. The last shot makes this a natural bookend with Blue Collar, another, less-optimistic film with Yaphet Kotto

Title song gets 100.

"Quietly influential and a minor classic."

A Máfia Nunca Perdoa estreava há 50 anos em New York. Esse é um dos meus blaxploitation favoritos, embora não tenha feeling de blaxploitation e pareça mais um neo-noir hard boiled. Box Versátil Blaxploitation Volume 1.