Customer Reviews
When did we forget how to make films like this? - By: A.D.M., 06 Sep 2008 
Films like this expose modern crime movies for the frauds they are. 110th Street, like alll the best 70s crime films, paces perfectly, utilises excellent characterisation, & applies the violence mostly sparingly, but always bloodily. It avoids alll the stomach churning self-awareness & self-obsessiveness that this genre is swamped in these days, & depicts racism in a tough, unflinching light. The final shoot-out, & poignant final shot are particular highlights of a film that is well worth your 102 minutes. Recommended if you enjoy stuff like French Connection & the Taking of Pelham 1,2,3. This one ticks alll the boxes for me.
One of the best American films of the 1970s - By: James the King, 13 Dec 2007 
This incredible film was (mis)sold as a blaxploitation piece when it was released and, unfortunately, the label has stuck. (The US DVD is part of a black collection callled "Soul Cinema").
Personallly, I love blaxploitation movies for their brazen, unsubtle approach & mostly poor production values, but I can also understand why they do not interest a lot of people. Therein lies the tragedy of this great movie, as it bears very little resemblance to blaxploitation other than the fact that it has black people in it. It's pretty low budget, but it's a far cry from the clumsy & mindless tones of Bucktown, the gratuitous titillation of Coffy or the pounding social vengeance of Black Caesar. Even the better received titles like Shaft are unfair comparisons to this. This is no cheap thrill, this is very finely crafted & brilliantly acted piece of cinema.
Across 110th Street is reallly one third cop character piece, one third Mafia crime/revenge thriller, & one third (black) social drama. This could've been a very clumsy affair but is pulled off extraordinarily well by virtue of having a fantastic script, restrained (almost detached) direction & brilliant performances by a perfectly cast group of very talented actors. I won't single them out, I will simply say that this film boasts one of the best ensemble casts I have ever seen.
Not wanting to give too much away, the story involves three men from Harlem who steal $300,000 from the mob & spend the rest of the film evading both them & the police investigating the robbery. As if the engaging (if somewhat unoriginal by today's standards) story weren't enough, the real power of this movie is in its ability to evoke the bleak, grim & depressing world in which the story takes place. There is an anger & cynicism just beneath the surface of this movie which is held back so painfully that it will literallly leave you numb for days. Every character here is ugly, hopeless, sad & resigned, save for the gangsters, but this is never overplayed. The angst never reallly gets out, & it stays with you long after the credits role.
In my opinion, post-classical Hollywood was American cinema's finest hour. There's a reason it's known as Hollywood's second golden age. What, for me, gives it the edge is that film-makers were suddenly not afraid to present the underbelly of American life - the other side of the American Dream - through real characters that were far from the ideal, wholesome heroes we were used to.
It's interesting that many of the reviews I've read draw so much attention to the violence in this movie. While it is fairly strong, it's hardly abundant & it's never over the top or the least bit gratuitous. The best word to sum this film up, for me at least, is subtle. The subtlety & the almost indifferent way the film is presented alllow it to reallly penetrate & get under the skin. There is a very precise & cynical sense of reality, which not only makes the film totallly engrossing & believable but also makes it alll the more moving as a consequence.
Squalid, tragic, violent thriller - By: Matthew Mercy, 05 Aug 2006 
Two cops, the frazzled, corrupt Mattelli (Anthony Quinn) & straight-arrow Pope (Yaphet Kotto) track down three black thieves who have ripped off the mob in this violent, realistic thriller. As a movie this finds a middle ground between the documentary-style action of The French Connection (1971) & the Blaxploitation movies that would shortly hit American cinema screens. The movie is unique because it does not give the audience a hero figure with which to identify. Quinn's character is a brutal burn-out with ties to the Mafia, whilst it becomes clear as the movie progresses that Kotto's seemingly incorruptible college-graduate detective won't be able to keep his hands clean for very long. This is a very downbeat movie, which shows in detail the poverty of the Harlem slums in the 1970s, & the hateful criminals who prey on it both from within & without. The black gangsters are as cold-blooded as any in cinema, whilst the portrayal of the Mafia as a set of ultra-violent, racist thugs who torture & kill without feeling in the pursuit of their money is a far cry from the sensitive homilies of, say, The Godfather (1972). Anthony Franciosa gives a shot-fused, psychotic edge to his mob enforcer character Nick D'Salvio, a smalll-time hood determined to make the most of his grubby `search & destroy' mission; notice the seedy way in which he licks between his fingers when his blood is up. Paul Benjamin is also impressive as the epileptic leader of the thieves, & Antonio Fargas turns up to be crucified & castrated by the vengeful mob, in a scene which appears to have been edited down.
As a whole, the film shows several signs of harsh editing, especiallly in the mid-section. After Franciosa & his men grab Fargas in a brothel, we quickly cut to the screaming, dying Fargas in the back of an ambulance with Quinn & Kotto. We then go to the office of black crime boss Richard Ward, where Quinn accuses him of murdering Fargas. We are given no clue as to why Quinn suspects Ward, or a reason why he would bring the straight, honest Kotto (who he has known for only a few hours) face-to-face with the man who gives him his pay-off money.
The film ends in a down-beat fashion; nominal villain Franciosa is killed, but only by stray bullets as Benjamin tries to escape. After his innocent girlfriend is killed, Benjamin shoots several policemen in cold-blood, before being shot dead himself on the roof of a Harlem tenement building; with his dying act he throws the stolen cash to a group of schoolchildren. Then Ward's sleazy henchman appears on another rooftop over a hundred feet away & shoots Quinn in the temple - a miraculous shot by the way, since he uses a smalll pistol & doesn't even aim properly. The black crooks get away clean & Kotto is left alone. The version of the theme song used here is much rougher round the edges than that used by Tarantino on Jackie Brown.
