Titreenp SERIOUSLY. This is what the crap Hollywood still puts out?

Juana what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Cissy Évelyne It really made me laugh, but for some moments I was tearing up because I could relate so much.

Staci Frederick Blistering performances.

bensonmum2 A heroin shipment between Italy and New York goes missing and a small time pimp, Luca Canali (Mario Ardof), is wrongly blamed (actually, framed is probably more accurate). The New York boss sends two hit men to Milan take out Luca. Luca's also got the Milan boss and his goons breathing down his neck. But Luca's not going to go down without fight.What a fantastic movie! The Italian Connection (or Manhunt or any of the other names this movie has been released under) is the second film in director Fernando Di Leo's "milieu trilogy". While I'm not sure I enjoyed The Italian Connection quite as much as Caliber 9 (I still haven't seen The Boss), they're both excellent, exciting, gritty movies. I think my preference for Caliber 9 is related to the plot twists near the end. Otherwise, it's hard to choose. I'm a relative newbie as far as Di Leo goes, but he's quickly becoming one of my favorites. Di Leo had the ability to film action as well as any director I've run across. Luca's chase scene across Milan is just brilliant. De Leo's film is often bloody and brutal, but always entertaining. I hate to spoil anything, so I'll just say that there is one death scene (and you'll know it when you see it) that Di Leo filmed and set-up in such a way that it's heartbreaking. The cinematography is stunning. The gritty streets and alleyways of Milan are photographed like works of art. And the film's pacing is excellent. There's not a dull moment in the entire runtime. In fact, I would use the word "frantic" to describe much of the movie – particularly the chase. The acting in The Italian Connection is spectacular. First, Mario Ardof is wonderful as Luca. I really can't say enough positives about him. The fact that he (and Di Leo) was able to take a low- life, scummy, greasy pimp like Luca and turn him into a sympathetic hero is nothing short of remarkable. It's a truly brilliant piece of acting. In addition to Ardof, the cast includes Henry Silva and Woody Storde as the ruthless New York hit men, Adolfo Celi as the Milan boss, Luciana Paluzzi of Thunderball fame, and Sylva Koscina as Luca's estranged wife. It's quite a strong, talented cast for a movie of this type. I could go on and on praising The Italian Connection, but I'll end it here. Even though I said I preferred Caliber 9, I'm rating The Italian Connection the same 9/10. It's that good.

Leofwine_draca A pumping soundtrack. An appealing cast. A profanity-strewn script. A pace that never lets up. Oodles of hard-knuckle thrills and incredibly sadistic action. Yes, ladies and gentlemen, what we have in our hands is MANHUNT IN MILAN, another top-notch Italian crime thriller which plays like a pasta version of CHARLEY VARRICK, albeit without the classy acting and intelligent script, but at least it's a lot more exciting. MANHUNT IN MILAN is proof of the fact that the Italians are in their element when staging elaborate high-speed car chases through beautiful sun-bleached city locations or fast shoot-outs where, if you blink, you'll no doubt miss a death or two. This is a great viewing experience that easily rivals the work of Umberto Lenzi and Maurizio Merli in their later great collaborations in the genre.This sleazy film takes time in introducing the leading anti-hero character of Luca Canali, a good-natured pimp who nevertheless likes to hang out at dodgy clubs and surround himself with naked Italian women. Canali is played to perfection by Mario Adorf as a greasy, loud-fashioned yet kind and initially gentle man who is pushed to the edge as he finds himself pursued across his home city by a series of increasingly violent hit men, who work for big-name gangster Don Vito, played by one-time Bond villain and genre regular Adolfo Celi who excels at this kind of thing and pulls the part off perfectly. The stakes are raised when Adorf's ex-wife and child are brutally murdered by the Mafia and he arms himself to take revenge, taking out Don Vito's entire family in the process and eliminating tons of goons in exciting shoot-outs.The various thrills are handled spectacularly by director Fernando Di Leo (an action specialist who also gave the world CALIBRE 9 - also with Adorf). The pacing is slow to start off with but gradually builds up into breakneck speed, culminating in a huge city-wide chase sequence at around the hour mark which is truly amazing stuff. Stuntmen risk their lives, vehicles are totalled in milliseconds, and you'll be swept away by the rhythmic music that perfectly accompanies the action and makes the whole thing madly exciting. Definitely one of the best chases I've seen in the movie and, trust me, I've seen a lot. The finale, in which Adorf faces off against the two hit men in a junkyard, is highly suspenseful and ends with a fine imaginative payoff for the villains.When it comes to the violence, Di Leo doesn't hold back, with women being savagely beaten, point-blank gunshots to the head, and all manner of beatings and stabbings along the way. The main reason the film works, however, is that it never loses touch with characterisation, instead fleshing out Silva and Strode from being one-dimensional villains into understandable, even somewhat likable real people. Along with Adorf and Celi, Silva and Strode (great-sounding pair, that) put in excellent portrayals of ruthless hit men. Silva is fine as the smarmy womanising partner whilst Strode is at his best playing it tough and silent. The supporting cast are also fine with lots of familiar faces in minor parts, these include Luciana Paluzzi as the fragile female lead and Puzzle's Bruno Corazzari playing yet another sleazy low-life. The cast, the pacing and the action combine to make MANHUNT IN MILAN one of the Italian 'polizia' (I guess it falls into this category despite the almost total absence of police in the film) to beat and a highlight of the Italian film industry. See it!

skullislandsurferdotcom Although two New York hit men, Henry Silva and Woody Strode, supposedly templates of Quentin Tarantino's Jules and Vincent PULP FICTION thugs, are far better villains than local Mario Adorf is a antihero, this Italian mobsploitation juggles each character decently enough... and everything narrows down to one thing only: Adorf, as small time pimp Luca Canali, is – if Silva and Strode can help it – a dead man.The endearing traits of imported crime movies are here in droves: the wah-wah peddle guitar vibrates through the bursting horn section orchestrating insert-heavy action scenes, naked ladies, and a pivotal car chase as Canali, with a fierce boar-like countenance, seeks the thug who killed his family.More attention on Silva, a sly womanizing braggart, and Strode, the brooding baseline, would have been nice – they're far too cool to serve as an eventual backdrop to Canali's quest to survive and then seek answers. That is, until the incredible climactic shootout between all three within a junkyard. Tarantino swears by this one, and who's to argue? For More Reviews: www.cultfilmfreaks.com

zardoz-13 "La Mala Ordina" (1972) ranks as a brutal, violent, no-holds-barred, urban crime thriller from Italian director Fernando Di Leo. New York mafia kingpin Corso ("The Day of the Jackal" gunsmith Cyril Cusack) dispatches two laconic, no-nonsense torpedoes, Dave (Henry Silva of "Johnny Cool") and Frank (Woody Strode of "The Professionals"), to Milan to knock off Luca Canali (a heavily mustached Mario Adorf of "Fedora"), an inconsequential pimp who has been framed by the Milan mafia for stealing heroin from New York. The likable Luca is surprised when he discovers that two Americans are hunting him down. Talk about an underdog hero who uses his head, in one scene, our outraged protagonist head butts a telephone and shatters it. Meanwhile, Dave and Frank seem to be loitering around Milan with a pretty tour guide Eva Lalli ("Thunderball" bad girl Luciana Paluzzi) who doesn't seem to realize how notorious her two charges are. Rough stuff galore follows in what is a generally comprehensible, hard-knuckled Mafioso melodrama. Top Milan Mafia chieftain Don Vito (another "Thunderball" alumnus Adolfo Celi) wants his henchmen to capture Luca before the Americans can collar him. Writer & director Di Leo puts his hero through the ringer. Poor Luca watches in shock as his estranged wife Lucia (Sylva Koscina of "Hornet's Nest") and their daughter are run over by a madman in a mini-van. The grief-stricken but revengeful Luca chases the fiend down and leaps onto the front of the mini-van. Di Leo pay-offs two scenes that foreshadow Luca's use of head butting his opponents and a telephone, and Luca head butts his way through the driver's windshield and into the driver's seat. The showdown in a junk car lot is just as terrific. Look for lots of nudity, too. Don Vito's gunsels get their hands on one of Luca's squeezes and try to tear off her nipples during a nasty interrogation scene. Neither Koscina nor Paluzzi are used as anything but sex objects. Interestingly, Koscina and Paluzzi are struck and killed by cars. Fans of raw-edged Italian crime dramas will enjoy this opus.