if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

I caught this on BBC 1 one night many years ago . I forgot the title but could vividly remember a number of scenes especially a line of dialogue where two characters describe a third one having his genitals mutilated . This type of movie would be broadcast on television 30 years ago and no one would blink an eyelid but at the same time you can understand why it wouldn't be shown on network TV today . It as also a sign of the times back then that the TV broadcast had the F word overdubbed to something less offensive but the racial slurs against both black and whites remained intact . Perhaps the fact this film is consciously insensitive and hard hitting works against it ? This is a pity because it's not some " Blaxploitation " fare but more of a New Hollywood thriller at its best The story itself is no great shakes - a couple of black dudes rip off and kill a few members of the Mafia and the black underworld and also kill a couple of uniformed cops in the process and find if not the entire world against them then at least the law enforcers and law breakers of NYC wanting to cap their ass . It's the sort of film Tarantino has been inspired by but unlike Tarantino's work this movie is devoid of post modernism and crippling self indulgence and is a relatively tightly plotted screenplay where lots of nasty things happen to lots of nasty people . There's a subplot featuring character interaction between Anthony Quinn's nasty racist white cop and Yaphet Kotto's not very nasty by the books black cop that might have been clichéd but does seem fresh and realistic , probably down to the fact the performances and writing portraying a rather amoral relationship between the two men and the wider world . And this does feel like an exceptionally amoral film that we never see nowadays more is the pity

Adapted from Wally Ferris's 'Across 110th' (Harper & Row, 1970) by playwright-screenwriter Luther Davis ('Lady in a Cage'), 'Across 110th Street' is often lumped into the blaxploitation genre but is atypical in several respects. Created by white filmmakers, 'Across 110th Street' does not cater to black audiences by featuring the requisite black-urban-outlaw-superhero wreaking vengeance on the white power structure through acts of stylized mayhem. A cross-town street, 110th in Manhattan skirts the northern edge of Central Park and divides Harlem to the north from the upper East and West Sides, i.e., the then-mostly poor black and Hispanic ghetto from the mostly affluent white districts. More than a street, 110th is the city's dividing line between the haves from the have nots. Three black working-class Harlemites—Joe Logart (Ed Barnard), Jim Harris (Paul Benjamin), and Henry J. Jackson (Antonio Fargas)—figuratively cross the line when they rob a mafia counting house in Harlem of $300,000 and, in the process, kill seven people including two cops. The robbery and mass murder naturally trigger parallel pursuits by the NYPD and the mafia; the former determined to bring the trio to justice, the latter bent on exacting vengeance and recovering the stolen loot. Because the crimes took place in Harlem, Lt. Pope (Yaphet Kotto), a young, by-the-book black detective, is put in charge of the investigation, much to the chagrin of Capt. Mattelli (Anthony Quinn), a brutal, racist 55-year-old cop strictly "old school" in his methods and beliefs: the kind of match-up already made archetypal by Sidney Poitier and Rod Steiger in 'In the Heat of the Night' (1967). On the mafia side, Nick D'Salvio (Anthony Franciosa), the grinning, psychopathic son-in-law of a mafia don, is assigned the task of catching the three killer-crooks. Further complicating the situation is the menacing power of Mr. Jessup (Joe Attles), a gruff black crime boss who maintains an uneasy alliance with the mafia and crooked cops (including Capt. Mattelli) over the rackets in Harlem. Across 110th Street fails to generate much suspense because the mafia easily bests the cops in getting to each of the fugitives first. On the upside, Barry Shears' direction is surefooted, the film is graced by an evocative soundtrack by Bobby Womack and J.J. Johnson, and features solid acting, relentless action, suitably grotesque violence, and an aura of gritty authenticity that could only be had by filming on location in New York City at one of the lowest points in its modern history. Blaxploitation fan Quentin Tarantino incorporated a version of Bobby Womack's title track, "Across 110th Street," into his third film, 'Jackie Brown' (1997). VHS (1998) and DVD (2001).

Anthony Quinn and Yaphet Kotto play mismatched cops, but they are far from buddies, and neither character is particularly likable. The story focuses on three opportunistic black guys, who rob $300,000 from the mob in Harlem, while killing both mob members and cops. What follows is the pursuit of these three individuals. The film actually presents the killers in a sympathetic light, while the mob and cops seem ruthless and somewhat similar in their techniques. Racial stereotypes are on parade, and there are lots of colorful peripheral characters. Along with plenty of violence, one gets a gritty look at life in 1970s Harlem. - MERK

Unlike in most reviews there are to find on "Across 110th Street", I will try not to participate in the debate about whether or not the film classifies as a genuine Blaxploitation effort. I will, however, elaborate as much as I can on all the things that "Across 110th" does represent … and that is quite a lot! This is a bona fide gritty, vile, uncompromising and unceasingly violent action-thriller from the glorious early 70's. It's a hardcore-to-the-bone tale of corruptness and survival with solid acting performances and a tight screenplay, yet without pushy morality lessons or unnecessary sentimental interludes. "Across 110th Street" is arguably the best Blacks Vs Italians thriller ever made, and this intervened with a strong story about two completely unmatchable cops that are forced to work together results in an unimaginably powerful and unforgettable movie; albeit one that only can be enjoyed by people with strong stomachs and nerves of steel as the bloodshed is relentless and the level of suspense is unremitting. Petty thief Jim Harris and his two accomplices decide to steal a large sum of money from the Italian Mafiosi that are running the show in Harlem. The heist goes terribly wrong, though, and Harris kills no less than five gangsters and two police officers. The Italians send their most lethal psychopath to Harlem and the black gangster community organizes their own manhunt as well. Meanwhile the police force deals with internal racial issues. The aging and corrupt but veteran Captain Mattelli is forced to hand over the investigation to Lieutenant Pope, who's fresh out of university and still full of ideals. This is one of the grittiest and frighteningly realistic depictions of the crime-infested New York City district during the early 70's. There are hardly any amiable characters in the entire film, the ambiance is constantly on the verge of depressing and the downbeat ending comes a massive slap in the face. The racial tension between the "main" police officer characters is always present and noticeable, yet moral values and speeches are never shoved down the viewers' throats. The performances are incredible, particularly Anthony Franciosa as the crazed mafia killer and Paul Benjamin as the small thief turned murderer. But the utmost respect is for Anthony Quinn, for courageously illustrating a dismal and raw cop-character with his status in Hollywood. The soul soundtrack is amazing and the actual Harlem filming locations make the film all the more authentic. Barry Shear's direction is surefooted and tight, and I can't believe I haven't checked out some of his other work yet. I still have a copy of "The Todd Killings" lying around, so I hope it's as masterful as this film!