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A film like this never gets any respect from the industry it bankrolls. Someone tacked the title "Three Tough Guys" onto the film when it obviously should have been "Two Tough Guys" (as the title sequence song by Isaac Hayes accurately reflects). But someone wanted to the public to think that the film featured as much of Fred Williamson as it did the actual "two tough guys", when in fact, Williamson is barely involved. I would be surprised if analysis revealed that he was on-screen for more than 10 or 12 actual minutes. So if you want to see this film just for Williamson, you probably will be disappointed.

But the film has a lot going for it - at least for a genre exploitation film.

I could listen to Hayes read the phone book and enjoy it.He's not really an actor, but he's relaxed and comfortable on camera and he's fun to watch. It's a shame that his film career didn't go further. I've never seen the Italian guy before, but he is pretty convincing here as the world's toughest crime-fighting priest; he has a forceful presence that lets him pull off what is essentially a ridiculous role. A lot of actors couldn't make this part work (even some pretty good ones), but he mixes piety and punching in a way that carries the movie quite well.

There isn't a lot of chemistry between the two leads, but the dialog is spare and unsentimental and it hardly ever seems forced. The screenwriter (and the Italian film industry) didn't indulge in their normal practice of having everyone talk way too much (especially in the English dub) for once, and the results are pretty good for American sensibilities.

There's lots of punching, lots of gun-play, a bit of actual suspense, and some fairly good characterization (for an Italian exploitation flick) even for the minor parts. (One exception is the "bishop", who is forced to play the exasperated part usually reserved for the rogue cop's chief in standard cop thrillers. He sucks on toast, but it's not really his fault - it's the weakest and most contrived role in the movie and there isn't much he can do with it.)

The DVD conversion in the "Grindhouse Experience" collection is pretty bad - lots of blurring, some scenes so dark you can hardly tell what's going on, some muffled sound here and there,etc. But I've seen worse conversions - even in this collection - and for once the English dub is pretty good.

If you can't find this movie, don't fret - you aren't missing all that much. But as a representative choice for a "Grindhouse Experience", this is actually a very strong entry in the collection, easily in the top 5.

This is to my knowledge Lino Ventura's only American production (though directed by an Italian director):it's amazing for an European to see him play opposite Isaac Hayes ,but the pair works quite well.

Ventura portrays a priest ,an updated version of Leo MCCarey's Father O' Maley ("going my way" ) in the seventies ,who does not content himself with celebrating the mass (the way he finishes his second service is very funny) but keeps a close watch on his flock and plays the occasional detective .His colorful character contrasts with his co-star's restrained performance who also wrote the music as he often did at the time.There's also a supporting part of a finally modern bishop.

Good actors ,but a very derivative screenplay however.

Having previously been in Black Caesar and its sequel, Hell Up in Harlem, it's not too surprising to see Fred Williamson play the kind of role that's the opposite of his usual good guy. As such, he's not in the movie very long despite his name being one of the three above the title. The other two are Lino Ventura and Isaac Hayes, the latter making his film debut as well as contributing the music score not unlike what he did for the original Shaft. Ventura is a priest and Hayes is an ex-cop who's looking for the same people for different reasons. I'll just now say this was quite an exciting thriller taking place in the city of Chicago during the time I lived there as a child with my family. Unfortunately, the print I watched online was a second generation one looking nearly blurry throughout. Still, I recommend Three Tough Guys. P. S. I also like Paula Kelly in this.

THREE TOUGH GUYS is a film with varied influences. Made with French and Italian funding, shot in America by an Italian crew and produced by Dino De Laurentiis, it's a movie that attempts to cash-in on two big genres of the time: the blaxploitation film and the gangster epic. Thus we get a buddy-buddy cop story in which a hard-fighting priest and a tough black ex-cop team up to battle some gangster types searching for missing loot. The guy directing this is Duccio Tessari, a guy who pumped out a few peplum and spaghetti western flicks among others during a long and varied career.

Despite – or maybe because of – the diverse influences, this film actually works as a fairly good thriller. It hasn't got much in it that's not been seen elsewhere, but the story moves along quickly and the various shoot-outs and fist-fights are well handled. It also boasts some interesting leads. I don't know who Lino Ventura is, but his hard-bitten priest character is definitely tough. Isaac Hayes, playing opposite him, is a giant of a man with the softest of voices, and contributes some decent music to the proceedings. The third of the tough guys is Fred Williamson, appearing as a little-seen villain in this. It's unusual seeing Williamson cast as a bad guy and I wish he'd been on screen more, but there's no knocking his presence. Character actors familiar from Italian cinema pop up, like William Berger and Jess Hahn.

There are a few car chases thrown in for good measure, along with some antagonistic cops and a fantastic interlude in which one of our heroes is very nearly fed into a furnace. The set-piece finale takes place at a run-down bowling alley, but not before plenty of people have been shot or beaten up. It may not win any awards for wit or originality, but THREE TOUGH GUYS is a perfectly serviceable entry in both the blaxploitation and crime genres.

He will forever be known to people my age as the man who wrote and sang "Shaft." To the younger generation, he is "Chef" from "Southpark." He is the man Isaac Hayes, and, in his first film, he is running with one of Europe's best character actors, Lino Ventura, as Father Charlie.

Their enemy is the great Fred Williamson (Black Caesar, From Dusk to Dawn), former football star and blaxploitation actor.

Add a lot of Italian actors and an Italian director who worked with Sergio Leone in A Fistful of Dollars, and you have the Italian version of a blaxploitation action flick.

Nothing to write home about, but some fun entertainment.