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Customer reviews

4.2 out of 5 stars
29
Across 110th Street [DVD]
Format: DVD|Change
Price:£7.74+ Free shipping


on 24 January 2015
Yes this is a great film, a Blaxploitation 1970s special film. With equally great performances by its leading actors. Across 11Oth Street has a very “cool” soundtrack by Bobby Womack. If like me you love 1970s films then this is for you. A great film with a great plot, great actors, and plenty of action – so go buy it!
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on 24 November 2017
The old ones are still some of the best
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on 15 April 2016
one of the great gritty movies produced during the 70s great soundtrack as well
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on 1 March 2016
A little like streets of San Francisco meets Tarrantino, not a great film but great nostalgia, it gives you a nice old time feel.
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on 3 March 2016
Great 70's styling, music and film!
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on 2 January 2016
all good
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on 16 July 2014
Three friends decide rip off a mafia racket,the heist doesn't go as they expected it to and scores of people are killed including police officers.When the area boss Nick D'Salvio (Anthony Franciosa) hears that the crew got away with 300,000 dollars of his money he's determined to not only find them but to make an example of them.Tensions begin to rise within the black community as there's a deep mistrust of the police and also because Harlem is being controlled by a black gang boss under the guidance of the mafia.As the police start to investigate a code of silence kicks in as the hoods try to intimidate any possible witnesses,a black officer (Yaphet Kotto) is placed in charge of the case and he's forced to work with an old school cop (Anthony Quinn) who doesn't always go by the book.The pair don't get along at first as there's a deep mistrust between them with Kotto questioning Quinn's methods.As their investigation begins to pick up pace a mutual respect grows between them and it becomes a question of who will find the fugitives first,the cops or the mafia's henchmen who are using increasingly brutal methods to garner information that might get their money back.When one of the crew is found and brutally beaten causing him to die the remaining crew members decide that it's time to leave town before suffering the same fate.Some people have unfairly labelled this film as blaxploitation but it's much more than that,in my view it's one of the best films of the 70s,the film grabs you by the throat from the start and rarely lets you up for air.People may say that the violence is too gratuitous but for me it's necessary to convey the films overall tone,which is very bleak.It's superbly shot and moves along at breakneck speed,you can almost feel the desperation of these chancers as they long to escape the grinding poverty of downtown Harlem.The two leads are outstanding as is the whole cast who all excel,the direction is excellent it's guaranteed to have you gripped from start to finish.It never takes the easy way out and is shot in an ultra realistic fashion,you almost feel like you're stood in the same room watching the action unfold.There's also a pulsating soundtrack from the late great Bobby Womack.All that's left to say is see it now,you won't be disappointed.Thanks for reading and I hope that you enjoy the film.
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on 15 February 2017
Was a nice gift.
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on 19 July 2017
Crappy copy. Didn't play in any of my dvd playing machines
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HALL OF FAMETOP 100 REVIEWERon 22 October 2015
Despite Bobby Womack’s classic title song and the film’s marketing over the years (it even turned up as part of MGM/UA’s ‘Soul Cinema’ collection), Across 110th Street is not really the blaxploitation flick of lore but one of those state of the nation 70s thrillers about New York tearing itself apart at the seams between rising crime, shrinking morale and widespread corruption and racial tensions.

Kicking off with a trio of losers pulling a heist on a mob collection disguised as policemen that goes horribly wrong, leaving a trail of bodies on both sides of the law and sets New York’s less than finest and the Mafia on their trail, it’s driven by characters with something to prove in a world that just doesn’t care. Anthony Quinn’s ageing old-school cop who looks the other way for what he kids himself is ‘just gambling money, not drugs money’ and does his interrogations with his fists wants to prove he’s still up to the job; Yaphet Kotto’s college educated detective wants to prove that he’s not only as good as a white cop but better because he knows where to draw the line; the politicians want to prove they’re not racist; the mob want to prove that they still run Harlem and Anthony Franciosca’s sadist that he’s more than just an errand boy who married the capo’s daughter; and Paul Benjamin’s loser wants to prove that his luck has turned even as his partners in crime (Ed Bernard and Antonio Fargas, the latter driving the crapest getaway car in screen history) meet messy ends. The only one who’s on a winning proposition is Richard Ward's black mobster who sees it as a chance to clean house and get rid of the mob and some dead wood on his police payroll.

Co-produced by Quinn and directed by Barry Shear entirely on location in the days when New York was twinned with Sodom and Gomorrah, it’s driven more by anger and frustration than by action, with the majority of the film taken up with butting heads rather than kicking butts until the finale ups the bodycount a little too much en route to a final moment that just feels a little too schematic and contrived to genuinely shock: it simply doesn’t feel pragmatic enough an action for the character behind it. The rest of the film is thankfully rather more subtle, which is probably a strange word to use in a story where raised voices are the norm rather than the exception, cutting through its characters delusions. There are even odd moments of irony like the camera pulling back from a poster of Malcolm X to reveal Franciosca’s Mafioso and his black underlings who despise each other. But the battle lines aren’t just racial tensions, it’s the futility of any kind of effort that’s the dominant theme here. Quinn may be on the way out, with even the mob phasing him out of payoffs and tipoffs, but Kotto’s more humane approach is no more successful, stopping the investigation in its tracks and only starting it again when he takes his first steps to following Quinn’s path by taking tipoffs from Ward.

It’s never quite as important a statement or quite as successful a thriller as you feel it wants to be, but it’s still got enough strong moments to more than pass muster.

Sadly MGM/UA's DVD releases were less than impressive widescreen transfers, and while Kino Lorber's US Region A-locked Blu-ray release offers no more in the way of extras than the theatrical trailer (which was included on MGM/UA's US DVD but not their European one), it does have a better transfer - it's certainly not without some damage or room for improvement, but there's more than enough of a difference to make it worth picking up
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