Coraggio... fatti ammazzare

A rape victim is going around, bumping off her attackers one by one, having been denied justice originally. A rather unconventional detective, Callahan is put on the case.. but whose side will he take?

This is one of the most brutal films I've seen in quite some time. Virtually every scene seems to be a set-up for some punks to make the mistake of annoying our hero, who then proceeds to beat the living daylights out of them, or simply blows their heads off. I am 100% convinced that if any serving officer did what the Eastwood character gets away with in this film, he would not only be stripped of his badge, but also be looking at a considerable stretch in prison. Another striking aspect of the picture is the violence used against the fairer sex. The female cast members get punched in the face, kicked when on they're on the ground.. And that doesn't even include the constant flashbacks we get of Sondra Locke's sexual assault ordeal (We get one every time she carries out one of her revenge attacks on her aggressors). The misogyny displayed on screen is incredible and is unlikely to endear itself to anyone concerned about domestic violence.

So why am I recommending it? Well for a start, the film is well directed, with some very exciting gunfights and car chases which will keep you on the edge of your seat. But the main reason for watching is Clint himself, the evergreen icon giving us another classy performance as a veteran cop who might not share the ethics of the modern police force, but tends to do the job 10x better than his colleagues who do it all 'by the book'. If only we had someone like that here in Britain, perhaps this country wouldn't be the crime hotspot it is these days.. 6/10

The Dirty Harry series are great films. Forget reality and political correctness, just enjoy the films. Like the rest of the series the formula is perfect in Sudden Impact, a great actor delivering action, humour, thrills and excitement.

It's a strange thing to see a film where some scenes work rather weakly (if only in comparison to other films in its legacy), and others in a 'sub-plot' or supporting story are surprisingly provocative and strong. Sudden Impact is one of those cases, where Clint Eastwood as star/producer/director shows when he can be at his best, or at his lessor of times when dealing with a crime/mystery/detective story in his Dirty Harry fame. We get that 'make my day' line, and un-like in the first film where his 'do I feel lucky' speech was playful and cool the first time and the second time at the end tough as nails, here it's switched around. He gets into another shamble with the department, as usual, when he tries to fight crime 'his' way, in particular with a diner robbery (inspiration for Pulp Fiction?) and with a high speed pursuit with a senior citizen bus. He's told to 'take a vacation', and that's the last thing on his mind. This whole main plot isn't very convincing aside from the expectancy of the story and lines, which just adds to the frustration. But soon his story merges with the sub-plot that Eastwood develops from the start.

Enter Sandra Locke's character, Jennifer Spencer, whom we soon learn after some (appropriately) mysterious scenes that she and her shy sister were victims of a cruel, unjust sexual assault (err, outright rape), and is sleekly, undercover-like, getting revenge. Her scenes and story are the strongest parts of the film, the most intense, and finally when it goes into Callahan's storyline (he's getting facts in the same small town she's in on a murder), the film finally finds a focus between Eastwood's classic form of clearly defined good vs. evil (though sometimes blurred, to be sure). Eastwood films the flashbacks, not to say too much about them, expertly, in a fresh, experimental style; the trademark Lalo Schifrin score is totally atmospheric in these scenes and in others. It almost seems like a couple of times an art-house sensibility has crept into Eastwood's firmly straightforward storytelling style, which helps make the film watchable.

It's a shame, though, that in the end it goes more for the expectable (or maybe not expectable) points, and until the third act Callahan doesn't have much to do except his usual 'it's smith...Wesson...and me' shtick. However, with Locke he gets out of her a very good performance (more subtle and touching than the one in the Gauntlet) and an exciting climax at an amusement park. In a way I do and don't agree with Ebert's remark that it's like a 'music video' in Eastwood's style here. I admit there is comparisons with the simplicity of both, the directness, but the scenes where Eastwood does break form are superior to those of any music video. It's cheesy, it's hard-edged, it's not up to par with the first two 'Harry' pictures, but hey, there could be worse ways to spend a couple hours with the master of the .44.

It's at this point that the 'Dirty Harry' series really starts to blend into itself, with set-pieces from one entry easily being mistaken for those in another. The overall stories still distinguish themselves, though. 'Sudden Impact (1983)' is perhaps the least conventional in the franchise, at least in terms of how it relates to the first in its series, as it follows both Eastwood's disgruntled detective and the serial killer he's chasing in, essentially, equal measure. It's at its most interesting when it explores themes of justice, revenge and how the system can sometimes fail. Unfortunately, it sort of goes back on Harry's character in the process, ending on a decision that would have made his skin crawl in any other feature. It's not a huge issue, but it is noticeable. So is the generally less entertaining nature of the flick, which doesn't feel quite as confident as any of the others in its franchise. It's entertaining enough, don't get me wrong. In fact, it's usually enjoyable. It's just that it has stretches that are almost dull and, as a whole, isn't as compelling as it could have been. It's a good film, just not a great one. 6/10

For a while, "Sudden Impact" plays like a a highlight reel of Dirty Harry's signature moves. The altercations occur one after another, his superiors are pretty much meaningless, and Eastwood scowls all throughout. Forget rationalizing his actions; it's just entertaining.

Up until that second half at least, which is when things turn towards dramatic as a serial killer/revenge flick. There's still the body count, but it's not as fun as seeing Eastwood laying down larger-than-life street justice. Take that early coffee shop robbery for example; a well-staged shootout that almost brings The Man With No Name to mind. It's terrific.

6/10