La poursuite implacable

A promising, clever premise of a prison warden, played by genuine bad-ass Oliver Reed, who surreptitiously allows a prisoner to escape before abducting him in exchange for his (own) kidnapped wife... occurring between steely, intentionally claustrophobic scenes in dingy offices harboring dingier jail sells... almost succeeds...

The best moments of this action/thriller hybrid involves polar opposites Reed ("a stray dog without a home") and prisoner Fabio Testi on the run... in the latter's rogue territory...

Petty thief Testi teaching strict/timid lawman Reed to steal a car is a standout, and there needed more of this kind of Film Noir-inspired ambiguity combined with the European tough guy team-up (although their roles should be reversed) instead of a subpar subplot involving a pretty boy musician connected to a powerful politician...

Leading to an 11th hour escape by use of hiking across a mountain border and yet, despite the flaws, Italian ingenue Paola Pitagora brightens up the joint while Reed, using the same American Classic Gangster accent he had in an episode of THE SAINT (and that he often does as a satirical impression), doesn't need to overact to show the audience his love for this woman...

Any sane man would because, in REVOLVER, Paola's both a knockout and standout.

If you are a fan of Sergio Sollima then I don't have to tell you that you will enjoy this film. I am so glad that I have discovered Italian action films from the 1960s and 1970s. I only wish that I could see some of these films on the big screen. There is something special about these films.

Revolver takes the viewer on a sort of chase. There is elements of mystery and action, but during the course of the film the relationship between the two

characters, played by Oliver Reed and Fabio Testi, evolves in a way that brings in drama into the story. Like Sollima's other films, there is fast paced action, violence, and a little bit of sex.

There is a gray area between who is good and bad, and that is something

Sollima has stated in interviews. In fact he has said that he has always been a fan of bad guys because sometimes the good guys mess things up more in the

end then the bad guys. He shows that in Revolver.

I may be cynical, but sometimes I look at my collection and see 50 copies of the same movie. Explosions, love interest, conservative "twist" ending, cut! Revolver may be just as derivative of 1970's flicks as the explosion fests of the 21st century are today, but for some reason it was refreshing to watch. I can't see anyone lavishing "rabid fanboy" praise on it, but Revolver was enjoyable, moving at times, and had two great performances. If you thirst for a change of pace, but want to retain the comfortable action standbys of guns and violence, Revolver may be right up your alley. The fantastic extras don't hurt either.

I've never seen a movie quite like this. The best descriptor I can muster is "spaghetti thriller". It's a seventies crime drama with a bit of Dirty Harry, a helping of Reservoir Dogs, a few drops of eau de western, a scoop of melodrama, and a dash of political commentary. Though it oscillates between boredom and epic, Revolver delivers the kind of entertainment that today's movies can only parody. If you buy into the characters, you'll be treated to a satisfying drama. If modern sensibilities prevent that, you can at least enjoy the campier aspects (bad lip synch, fur coats) and delight in the commanding score. The score alone is worth it.

Were it not for the truly shocking dubbing on the version I saw, this could have been much more enjoyable to watch. One you get used to that, though - it isn't half bad. Oliver Reed is "Cipriani" a cop turned prisoner governor whose wife is kidnapped. In order to secure her return, he must arrange for one of his prisoners "Milo" (Fabio Testi) to be delivered to a gang on the outside. This he duly arranges, but of course that's only the start of the shenanigans for both of them as they try to get to the bottom of who wants what from whom..and why? It has plenty of action, but it's also a little more sophisticated that you might expect. There is genuine intrigue to the story, and Reed comes across well as the man of some integrity, torn between many years of loyalty to his country and saving his wife from the hoodlums who appear to reach high into the upper echelons of Italian - and French - government. It is quite derivative - you could see a Clint Eastwood or Gene Hackman in the Reed role quite easily, but I think that says much for the usually underrated Reed's performance which is strong. I was a bit disappointed by the rather weak denouement, but all told I did quite enjoy watching the film. Just needs someone to re-synch the audio.

Another great and unconventional crime drama from those beloved Italians, this one made by master of class Sergio Sollima (SANDOKAN) and containing a greater depth of plot and character than one might expect from other pulp adventures from the time. This tough flick is great and interesting thanks to the unconventional plot and the raw, almost documentary-style camera work which follows the characters around a variety of European settings. The plot is complex and gets murkier as the film progresses, with multiple characters lurking around the edges who have no clear motives. At times the film ventures into the area of the psychological thriller as it puts the characters through tense situations, at all times leading to a climax that you just know won't be a happy one.

Chief enjoyment comes from unlikely star Oliver Reed, playing a typically gruff character who is forced to confront his morals as the film progresses. Reed is great in the role, especially as he is forced to become more and more emotive as the film goes on, and he really fits into the role of the character nicely so that you forget that he's acting; personally I think this is one of the best performances I've seen from the underrated star. Fabio Testi is the criminal, Milo Ruiz, and puts in a genuinely good performance along with Reed, shining in a part that allows him to play a character rather than a wooden figure for once. The supporting cast is fine, especially Agostina Belli's frightened captive.

BLOOD IN THE STREETS is more plot-centric than most and thus contains a lesser degree of action than you might expect, although Sollima does throw in one outstanding shoot-out in a street for action fans. Nonetheless the sheer level of twists and turns in the plot and the performances make it hugely engrossing. One last thing to mention: there's a fantastic and stylish score by the acclaimed Ennio Morricone which enhances the action no end. This combination of winning elements makes it one to watch.