All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
Detective Harry Callahan. He doesn't break murder cases. He smashes them.
When a madman dubbed the "Scorpio Killer" terrorizes San Francisco, hard-boiled cop Harry Callahan -- famous for his take-no-prisoners approach to law enforcement -- is tasked with hunting down the psychopath. Harry eventually collars Scorpio in the process of rescuing a kidnap victim, only to see him walk on technicalities. Now, the maverick detective is determined to nail the maniac himself.
The Outlaw Josey Wales takes out the trash on the streets of San Francisco armed with his .44 Magnum in Don Siegel's quintessential man's man fuck you political correctness action flick that introduced the world to one of the coolest badass motherfuckin' characters in the history of cinema Dirty Harry Callahan. Rooftop swimming pool. Shell casing. Scorpio manifesto. Mayor John Vernon. The usual. 211. Sudden Magnum Impact Force. The infamous question. Fuck haircuts. Fuck partners. Fuck highbrows. Fuck them all! Horoscope classifieds. Psycho smile. Blue Thunder's cousin. Tits at the window. Hot Mary? Useful partner? Jumper. Clint's hair. Chico's glasses. High-tech binoculars. Peeping Harry. Loose tooth. Payphone. Wild goose chase. Make out mountain. Alice. Statue stillness. Ski mask. Chico's timing.…
Well, this is surely the most confounding Terrance Malick film. Oh wait, that script was never produced.
What was produced turned out to be one of the most iconic films of the 70’s, and one that ushered in a new style of gritty detective drama. The Man With No Name is transported through time, and now works on the San Francisco police force. As the gun-slinger era drew to a close, Clint and his director friend Don Segal crafted “Dirty” Harry Callahan as the face of the modern day moral gunslinger; one who lives and acts by his own rules. The cherry on top in the form of the equally iconic pair of questions “Do I feel Lucky? Well, do…
It is so nice to re-watch a film you have known for your entire life and find that it really is as good as you remembered.
I'm not sure why I don't grab a Clint film automatically for my Friday Night Action/Thriller selection. Clint is the man. That sounds so 80s but he is The Man. He's always the same reliably rogue character with fantastic zingers when it counts. I was surprised to find that in Dirty Harry none of those were delivered in that way modern movies tend to include "The Zinger That May Go Viral". His were all understated and à propos. Nothing cute and catchy for its own sake. So refreshing.
What is particularly interesting about this…
I know what you're thinking. Didn't he review this already?
Well, to tell you the truth, in all this excitement, I didn't really lose track myself. No, I just decided to watch one of my absolute favourites again and I might as well just run through the whole series while I'm at it.
I reckon this is probably about my 63rd viewing of Dirty Harry and as I've mentioned before I probably first saw it, albeit in a heavily edited version, when I was 8. Each time I watch this film I think I watch it in a very different light. I think if you watch a favourite film enough you can start to see things that probably…
If there is one film that I'm most afraid for it falling into the hands of the Hollywood remake machine, it's this one.
It would not make my day if that would happen.
One of those rare films that wholly embodies its time period of disorderly, restless 70s crime, grime and ghetto culture, yet remains timeless in its storytelling. This movie could be released today as a period piece and still blow away audiences with how reserved it is. Still one of the coolest characters to ever grace to screen.
I guess I'm not on board with this one. I found the whole thing to be sloppy, with the motivations for the killer not being clear at all (even if they were unclear, they could've been interesting), Harry as a character being completely reckless, and again, uninteresting, and the whole thing not making a whole lot of sense. I've never been one to present logic as being the be all and end all of a movie's lifespan but I do have some questions for this one:
Why, when they have the killer trapped on a roof, would they go and mess it up so thoughtlessly by not either waiting for him to leave and catch him on the ground, or…
Expertly directed by Don Siegel, this is one of the greatest, if not THE greatest cop film ever made. The taut editing and excellent acting bring this gritty classic above the movies that ripped it off in the years that followed. A masterpiece of badass 70s cinema!
I think that a poncho fits Clint Eastwood far better than a suit and a badge.
It's not a bad cop movie. Kind of reminds me of Lethal Weapon with less humour. The main villain kind of freaked me out. As scary and vile as he was, there was a lot missing, both story-wise and acting-wise.
I'm a little surprised at how unaware and daft Harry seems to be when it comes to following the rules. Yeah, sure, he's a badass that doesn't give two hoots about doing things by the book, but he is also inexplicably surprised when he's told that that's not how things work.
I'm watching all five movies and I do know that it gets better, so I'll write this down to setting up the character and what appears to be a small budget.
There's something about it that makes me love it more than it might deserve. Maybe it's Scorpio who still is one of the freakiest killers on film. Or maybe it's the backdrop of San Francisco that made the city stand out and be so remarkable first watch and still manages to hold on to that wonder during rewatches.
No matter what it is, it's a great crime movie with some very pleasant cinematography.
Simply a damn cool film.
The first shot of this film is the barrel of a gun, and what a fitting way for this film to begin. Specifically, this is a film about guns, and more importantly about two specific individuals who wield the guns. On one hand you have Harry fucking Callahan, a damn cool cop who does police work by his own brand of personal ethics. On the other side lies Scorpio, a Zodiac-esque killer terrorizing the streets of San Francisco. As a viewer one would hope the collision between the two would ultimately result in a slick and stylish 70's crime drama. Thankfully for the viewer, such is very much the case here.
The setting may be…
Unrepentantly conservative gun-justice parable about a cop who wears sunglasses and grows his hair slightly longer than every other cop.
I still enjoy this, I can't deny. Don Seigel knew exactly what he was doing.
Watched in preparation for the "Dead Pool" edition of the SBS Podcast. For more info check this out: separatebutsequelpodcast.podbean.com/
This review reportedly contains spoilers. I can handle the truth.
Bottom-line: Iconic movie that does a really good job of translating the Western Clint Eastwood to a modern urban setting.
Clint Eastwood is Police Inspector Harry Callahan. He is a San Francisco cop who wants justice by any means necessary. It’s summertime and a serial killer named Scorpio (Robinson) strikes. He demands one hundred thousand dollars or he will kill “a Catholic priest or a nigger.” While the cowardly mayor tries to raise the money, the police undertake a manhunt. Callahan and his partner capture the killer but almost at the cost of their lives. Unfortunately, by going outside of protocol and outside the law, the killer goes free. Callahan urges the police system to act saying, “He’ll kill again...he…
Siegel's functional, unfussy directorial style - in which prolonged action setpieces are not chopped up to split seconds and the often music-less soundtrack doesn't pummel one's ears - feels like a cleansing experience if compared to today's histrionics of the cop thriller subgenre. Bruce Surtees' nocturnal cinematography deepens the ever-present sense of urban danger and grit. The script is just as objective in its critique of laws and rights which can be more advantageous to a clever criminal than to the police.
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…