Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Billie Morin This movie feels like it was made purely to piss off people who want good shows

Cristal The movie really just wants to entertain people.

PimpinAinttEasy This is a lousy remake of Fistfull of Dollars/Yojimbo. The film begins with a really violent and gory car accident that is edited really well. The police discover the sewn up dead body of a kid in the car and the body contains vials of cocaine.A police officer (Henry Silva) is sent to the Sicilian countryside to solve the feud (by basically killing everyone) between two families. He usually makes an entrance with a whistling tune that is quite tuneless. A good background score could have elevated this film a little bit.The film can boast of some great locales - like the streets, avenues and villas of Sicily.Barbara Bouchet is completely wasted. She plays the ex-prostitute alcoholic wife of one of the family heads. I am no male feminist and the reason I watched this film is to look at Barbara Bouchet. But she is completely demeaned in this film - there is a scene where Silva anally rapes her with her face buried in the bloody carcass of a cow! I can never forgive the director for this humiliation of one of my favorite actresses. Hence, the 3 rating. It turns out in the end that Silva has a beef with the man who sent him on the mission. The film ends rather tackily with a sermon - The eyes that cause weeping will weep someday themselves". The hands on action scenes were quite good. It is nice to watch on Blu Ray. (4.5/10)

jadavix "Cry of a Prostitute" is a typically boring and colourless poliziotteschi flick, perhaps only notable for its (also fairly typical) attitude toward women, who get slapped around a lot. One even has her face shoved in a hog's guts as punishment for trying to seduce the manly hero.I didn't pay close enough attention to work out the plot. It is impossible to pay close attention to 99% of poliziotteschi flicks because they are so boring and badly structured. You want to pay attention but then you're faced with a stretch of film about as exciting as staring at a wall for half an hour.There are, of course, some violent moments: the movie opens with a ridiculous car crash-decapitation scene, with what looks like a mannequin's head falling out of a car window. There's also an autopsy scene where a dead body has stitches in the chest which are cut open, revealing canisters of heroin.Anyway, main man Henry Silva, one of my all-time favourite actors, is a mafia don from the US who comes to Italy to investigate the situation. Once he's there, the other don's slutty wife immediately starts coming on to him, so Silva sticks her face in hog guts, and in another scene, slaps her down and attacks her with a belt. That'll show her!The only other woman in the movie I remember gets similar treatment.I remember reading that, unlike The Godfather, Italian mafia movies show the criminals for what they are: scum. There's no honour among them because the Italians had first hand experience of this type of scumbag and knew they were exactly that: human garbage.This is not true of "Cry of a Prostitute". You are obviously positioned to think that Silva is the "hero" of the story, despite his appalling treatment of women. In the end he is clearly positioned as the better man among his criminal cohorts, which is weird. He's a woman abusing criminal scumbag, after all?

t_atzmueller The "respectable society" in Sicily isn't amused: drug-dealers have begun to use children's corpses, stuffing the bodies with heroin which they smuggle across the French-Italian border; this practice being in non-compliance with the mafia's code of honour, they suspect two rivalling Mafia clans – one being the family of local mafia boss Don Cascemi, the other by exiled Italian-American Mafiosi Ricuzzo. Not wanting to get their 'good' names involved, the mafia hires Tony Aniante, a hired hit man who has learned his trade in the US. Tony infiltrates the fighting families and, using both physical violence and psychological warfare, he get's both families to wipe each other out while at the same time settling an old score of his own.Don't make the mistake to confuse American mafia films like "The Godfather", "Goodfellas" or even "The Sopranos" to the ultra-violent subgenre of Poliziottesco; apart from the topic of organized crime, both really have very little in common. In the Americanized versions, the Mafiosi are invariable shows as corrupted yet often charismatic, honourable even amiable at times; you won't find an amiable character throughout the entire film. There's no Tony Soprano, no Sonny or Vincent Corleone, there's only Tony Aniante – and if you find any redeeming elements in this 'protagonist', well, you might consider seeking out medical advice.Henry Silva as Aniante is impressive: eyes like burning coal, features reminding us of some carrion animal, that could only be replicated with the use of special-effect (if they wouldn't happen to be Silvas features already). At first Aniante comes across like a tough guy who might harbour some decency within him (for example, in the scene where he saves the handicapped grandson of one of the clan-heads from assassination). About halfway through the film, we realize that he's nothing more than a ruthless, ice-cold psychopath, left traumatized by a violent childhood and a pathological hate for women. He rapes, beats and kills with such glee and passion, one doesn't know whether to be scared or repulsed by Aniante, who's not above crushing the bodies of two opponents whom he's just killed, with a steamroller. His form of romance consists of slamming a lonely woman unto a slaughtered cow, sodomizing her and beating her to a bloody pulp. Need I mention who becomes the new godfather of Sicily at the end of the movie? The topic 'trauma' runs through the entire film, not just through the disturbed characters but by showing us a deeply traumatized society, were everybody has their share of scares, caused by generational violence and bloodshed. "Queli che contano" doesn't show us that beautiful, jolly south of Italy, where the people do nothing else but sing, dance and drink Chianti; it shows us a barren land, scorched by the sun, where sweat-drenched shirts are a way of life and even the buildings speak of decay and degeneration.If "Queli che contano" has a message, it is that there is no "respectable society" within the mafia – just corrupted souls, ruthless criminals and even the most honourable Mafioso is still a thug, a murderer and a thief. It may well be the last movie that a Mafioso may want to see – and in case this should be my last review, please tell my wife that I love her and keep searching that bay for a guy standing inside a concrete block.Despite all the sleaze and exploitation, it's very powerful, even an authentic film that's certainly not easy to enjoy (unless you're a complete sadist), but it might well be a cure for people who tend to idolize the mafia, cossa nostra, camorra or any other organized crime organisations. I'd give it seven from ten.

William WOW! Another false ad campaign by Joseph Brenner! He mis-advertises this film at the theatres as some kind of a woman beating movie, as the poster shows a woman's face all bruised up, with the caption "for a lousy 50 bucks he could do whatever he wanted with her", when it is another Italian Mafia film with Henry Silva! Even the video box hints it is some kind of a motel sex film, when it isn't! And it isn't a good mafia movie either! This is one of the mafia films that is so bad it probably ENDED the mafia film craze! The opening credit isn't even the original, as it is a tacked in credit with music from DELTA FOX! UGH! To be avoided!