L'assassino di pietra

This movie with Charles Bronson was extremely no nonsense, whatsoever. "The Stone Killer" is when Bronson plays a hard as nails cop who uncovered a group of Vietnam veterans who are do the dirty work for the Mafia. That form of dirty work is to take out the completion. In this movie, there are future "Three's Company" stars John Ritter and Norman Fell. Ritter plays the one in uniform, while Fell plays Lou Torrey's boss Les Daniels. Lou Torrey (Bronson) worked for the NYPD, until a incident with a young offender caused him to quit the force. So he ends up moving to Los Angeles as a detective to investigate mob like killings. It turns out that the mafia has been using Vietnam veterans to kill the competition. Some of their help have ended up dead by the people that hired them. This was a coast to coast situation for the police to handle. And Torres showed plenty of tenacity to put an end to this mess. The shootout in both areas was awesome. Especially in the parking lot scene in New York. Great movie, great plot, great cast, "The Stone Killer" makes great sense! 3 out of 5 stars

The Stone Killer (1973)

*** (out of 4)

Charles Bronson plays tough Detecitve Lou Torrey who finds himself investigating a murder, which no one seems to know what it's connected to. After getting a name the investigation grows deeper and more and more bodies begin to pile up. Soon Mafia boss Al Vescari (Martin Balsam) enters the picture.

In a lot of ways this film borrows from DIRTY HARRY. Bronson is basically playing the same type of character, although this movie makes sure to show his character as someone who isn't a racist but instead someone who will beat you no matter what your color is. The film touches on several issues including racism but there's no question that the viewer isn't meant to think too much. Instead this is just a fast-paced action movie that has a lot of fights, a lot of gun battles and of course the lead doing what he does best.

It's really interesting watching the films that Bronson and director Michael Winner made during this period. In many ways this one here contains the most violence and it's certainly the most action pack. I'd say that the story has a bit too much going on as there's a lot of plot here for this type of movie but thankfully the screenplay basically just puts Bronson into one dangerous situation after another. This is a great thing because he shoots bad guys, beats confessions out of people and basically does whatever he can to get the job done.

Bronson is quite good in the picture and once again he isn't given too much dialogue. The actor always acted with his body and he would have been perfect in the silent era. He turns in a very good performance here and really packs a punch with the role including some very funny bits of dialogue. The supporting cast is also very good with Balsam doing a good job in the Mafia role and especially a scene set in a cemetery. You've also got Jack COlvin, Norman Fell and even John Ritter in an early role.

THE STONE KILLER has a lot of good things going for it but the action and stunts deserve a lot of credit. As you'd expect for the era, there's a pretty good car chase as well as plenty of scenes where bullets are flying and bodies are dropping. Fans of Bronson will certainly eat this one up but he and the director were about to make their masterpiece the following year with DEATH WISH.

I sought relaxing and undemanding action entertainment, I found …. Charlie Bronson! What's better after a hard and long working day than to sit down in a comfortable couch, switch off all still operational brain functions, and watch Charlie kill off some random street scum? During the 70's and 80's, Bronson mastered in depicting unorthodox coppers/relentless vigilantes in ultra-violent and gritty movies, and personally I love each and every single one of them, even though – admittedly – they're not the most sophisticated or even memorable form of art! In this same period, Charlie collaborated a number of times with director Michael Winner, who himself isn't exactly known for his subtlety and flair either, so a joint venture of these gentlemen is a guaranteed piece of uncompromising trash. "The Stone Killer" boosts a slightly more ambitious storyline – one based on a novel by John Gardner – but eventually it just remains a raw 'lone cop' thriller. After the umpteenth "shoot first, ask questions later" incident, lieutenant Lou Torrey gets transferred from gloomy New York to sunny California. There, during a banal prisoner's transport, he stumbles upon a convoluted crime network that brings him all the way back to New York. Torrey, thanks to the help of bizarre informants and dissident interrogation techniques, gradually uncovers the plot of a mafia war to end all mafia wars. Bronson's acting performance is more automatic pilot than ever, but Michael Winner serves numerous exciting car chases and vigorous shootouts, including a wildly out-of-control finale. Did I mention that the film is violent?!? This is early 70's at its best, full of racial slur, realistic dummies falling from the nineteenth floor and gay musicians getting run over by a Cadillac! Oh, and this movie proves that Charlie Bronson is the most efficient shooter ever! With him, each shot is a hit. Whether from inside a shaky helicopter or from an impossible angle on a staircase, it's always bullseye!

In a three year period in the early 70s (72/73/74) director Michael Winner made three violent thrillers with leading man Charles Bronson. Sandwiched in between The Mechanic and the wave making Death Wish, is this effective piece. A film that is for sure the weakest of the three but still a film worthy of reappraisal.

The screenplay is by Gerald Wilson who adapts from John Gardner's novel A Complete State of Death. Joining Bronson in the cast are Martin Balsam, Norman Fell & Paul Koslo. The plot sees Bronson play a tough New York cop, Lou Torrey, who is forced to leave the service after shooting dead a teenager during a pursuit. Later, he is hired by the LAPD and finds himself in the middle of a plan by a Mafia don (Balsam) to avenge the slayings of Mafia dons back in 1931 (The Night of Sicilian Vespers). His plan involves using Vietnam Veterans as hit men as opposed to the conventional Mafia ways of eradication. It's a big operation, a dastardly operation, and as the bodies start to pile up; it's evident that this case calls for the toughest of detectives to get to the bottom of it.

Ah, the tough cop movie. In fact, ah, the tough grizzled no nonsense cop movie. It's a formula that the cinema and TV loving world would get plenty of during the 1970s. The decade would start with a bang as Clint Eastwood and Gene Hackman laid down markers in Dirty Harry and The French Connection respectively. Which, to be frank, is a tough standard for any one to have to follow. Enter Michael Winner and Charles Bronson. Bronson had done some fine work in the 60s, with his weather beaten face, raspy voice and machismo seeping from every pore, Bronson was every inch a tough guy actor. Yet there was more talent in his armoury, talent that sadly was very rarely tapped into by directors more concerned with using him as a macho prop. Something that Winner does here. Dialogue for Bronson is kept to a minimum as Winner rides in on the crest of a tough cop driven wave. Which while that doesn't do Bronson any favours as an all rounded thespian, it does however let him excel at the physical side of his character, and in the process of doing that he also gives Torrey the moody method treatment.

Ultimately it's only those who are in it for the action and violence that will get something from The Stone Killer. For although it's a nicely layered story (in spite of the daft core of the villain waiting 40 years to enact revenge!), it's swamped (enjoyably so) by Winner's eagerness to lay down action and adrenalin rushes whenever possible. He may not be the best director with actors, but he is more than capable when it comes to gun play and chases, both of which greatly serve The Stone Killer well. The stunt work and choreography is top notch here, something that more than makes this a worthwhile excuse for a night in with the beer and snacks. There's also nice snapshots of early 70s Americana in the story, with weird Hippies and the Militant Black Activists nestling alongside the Mafia. All of which gives Bronson the chance to brood and flex his muscles some more.

It's escapism so it is. Nothing more, nothing less. View it as such and it entertains, because this really isn't deserving of the scorn that is often poured down on it. 7/10

Tense but violent film about a tough detective named Lou Torrey (Charles Bronson) who from New York is transferred in the underworlds of Los Angeles and uncovers a perfectly executed scheme carried out by a Sicilian gangster (Martin Balsam) to utilize Vietnam vets (Stuart Margolin , among others) to murder all his enemies in a mass killing , rerun of the 30's "Sicilian Vespers" when the former generation of Sicilian mobsters were all murdered on a single day by orders Lucky Luciano . Lou Torrey gets numerous tracks that something big occurs.

This exciting film contains suspense, noisy action-packed drama, intrigue, thrills and lots of violence . Interesting screenplay Gerald Wilson from the book ¨A complete state of death¨ by John Gardner .This is a formula two-fisted cop stuff in the Vigilante mould . Bronson with his usual stoic acting displays efficiently his weapons such as ¨Dirty Harry¨ style and killing mercilessly nasties . Bronson as wealthy and cold cop who takes the law on his own hands offers the sort of monolithic acting as always . It's certainly thrilling , though the morality may be questionable , even in this time, as the spectators were clearly on the top cop Bronson's side . Packs thrilling multiple shootouts staged in a remote location on Mojave desert . As the picture emerges as a series of spectacular set-pieces , each perfectly realized ; the best of theses are the chase scenes between Charles Bronson-Paul Koslo , the busting on the desert and the Mafiosi slaughter with subsequent climax final . Furthermore, appears a nice secondary cast as Norman Fell as assistant cop , Ralph Waite as obstinate police , Paul Koslo as heinous hoodlum ,John Ritter in his film debut, Charles Tyner in minor role, Stuart Margolin as Vietnam veteran and Martin Balsam as mafioso chief. In addition , an atmospheric musical score composed, orchestrated and performed by Roy Budd .

This motion picture is professionally directed by Michael Winner though passionless , such as the successive films with his main star, Charles Bronson. In the mid-70 Winner had great commercial hit , ¨Death Wish¨¨ , a box office success he repeated when badly in need of another big hit smash with the sequel , but both of whom , Bronson and Winner, looked increasingly cold , clinic and mechanical in the later years of their partnership . The worst sequels in which Kersey goes on to torture robbers, all of them inferior and the violence could be deemed excessive, are the following : ¨Death wish II¨ by Michael Winner with Jill Ireland and Vincent Gardenia, ¨Death wish III¨ again by Winner with Ed Lauter and Deborah Raffin . Subsequently Michael Winner career was failed , alternating some hit as ¨the sentinel¨ and various flops as ¨Firepower,The big sleep,The wicked lady, Appointed with death, A chorus of disapproval, Bullseye¨ and of course ¨The stone killer¨ that got a mediocre box office . Rating : average but is indispensable ,essential and well worth watching for Charles Bronson fans.