Released from prison, Stick meets up with a friend and joins him on a job delivering a bag. His friend gets killed in the setup. Stick gets away and is ready to forget all and see his daughter, but they won't forget.
An ex-C.I.A. hitman running from his past (Malone) finds just how difficult it is to retire when he runs accross a small town controlled by mercenaries and a family that's resisting their ... See full summary »
Tom Sharky is a narcotics cop in Atlanta who's demoted to vice after a botched bust. In the depths of this lowly division, while investigating a high-dollar prostitution ring, Sharky stumbles across a mob murder with government ties, and responds by assembling his downtrodden fellow investigators (Sharky's "machine") to find the leaders and bring them to justice before they kill off all his partners and witnesses, including Sharky himself.Written by
When Clint Eastwood made the comedy Every Which Way but Loose (1978), Burt Reynolds reportedly said to him, "Clint, you're getting into my territory [comedy], and if it's a success, I'm going out and make 'Dirty Harry Goes to Atlanta'!". When Sharky's Machine (1981) went into production, Eastwood sent a telegram to Reynolds saying, "You really weren't kidding, were you?" Reynolds has described this movie as 'Dirty Harry Goes to Atlanta' whilst many reviewers and critics have likened it to the 'Dirty Harry' film series. See more »
When the killer shoots the shotgun through the door, the hole is jagged and oddly shaped, as it would be. Later, when the detectives are at the crime scene, the hole is perfectly round with smooth edges. See more »
This is all you know, isn't it? Pushing, hitting, and punching! Does it make you feel good or something?
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UK cinema and video versions are briefly cut by 9 seconds to edit some shots of nunchakus (although they remain clearly visible in other scenes). See more »
In a departure from his customary late '70's/early '80's fare (and sporting a new, close-cropped toupee), Reynolds directed and starred in this tough, lurid crime drama. He plays a narcotics cop who, after slightly botching a drug bust, is demoted to the vice squad. Here, he becomes involved in the surveillance of a high-priced call girl (Ward) who is linked to a gubernatorial candidate (Holliman.) This leads to all sorts of violence and intrigue as it is discovered that the call girl is but one piece in a puzzle of corruption and criminal behavior. Reynolds does a decent job, both in the director's chair and in front of the camera. He wisely surrounds himself with an array of strong character actors and gives each of them the opportunity to register with the audience. His familiar brands of charm & sarcasm are present, but in a much more toned down way. Casey gets one of his most significant big screen roles, Keith has a few amusing moments and Durning bellows and mouths off in his enjoyable, expected way. Gassman is an appropriately sleazy crime lord and Silva is a chilling (if sometimes unintentionally funny) assassin. Ward's performance is a matter of taste. Many viewers are swept away by her looks and find her acting strong. Others see her as pretty, but unspectacular as an actress. In either case, this was a major showcase for her which did not translate to a major big screen career. Drawbacks of the film include a muddled storyline in which the bad guys' motivations aren't made particularly clear. Also, the sound effects and the blaring song score are cranked up much higher than the dialogue which makes for an uncomfortable audio situation. There is some nice aerial photography, notably containing shots of Atlanta's Peach Tree Tower. The music varies from classic tunes by top talent to loud, horrific and agonizing "music" by inferior singers whose voices are almost as bad as Reynold's torture on the boat. Though the film is engrossing and stylish, just a nip and tuck along the way would have made it even better.
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