In case you're looking for action cinema without restraints, boundaries, fake sentiment or political correctness, you have to aim your senses towards the so-called Italian "Poliziottesco" movies. That is a commonly known fact, or at least I always assumed so, but still this is a vastly underrated sub genre even among cult cinema fanatics. The same great names of Italian cult cinema often return, like for example those of director Enzo G. Castellari and charismatic lead actor Franco Nero. These two prodigies often worked together, but this is arguably their finest piece of work (or at least on par with the terrific western "Keoma"). The words "awesome" and "brilliant" spring to mind when witnessing a movie that opens with artsy credits and promptly continues with an exhilarating and non-stop 10 minutes (!) lasting car chase sequence and then a virulent explosion. The intro immediately sets the pace for a masterfully adrenalin-rushing and hardcore-to-the-bone cop thriller, reminiscent to "The French Connection" and "Dirty Harry" only much more outrageous. Franco Nero depicts the devoted and unstoppable police commissioner Belli, who initiates a merciless crusade to cleanse his city entirely of Mafiosi, drug couriers and corruption. Belli receives voluntary cooperation from a former crime boss, but he's undoubtedly doing it for his own benefit. The support from his superiors is minimal since several prominent citizens may be involved in dirty business and, whenever Belli reaches a major breakthrough in his investigations, they try and strike back on a personal level. The overall plot, with particularly the double-crossings and betrayals between crime gang members mutually, is extremely convoluted and often very confusing but the extended and mega-violent shootout sequences don't require a lot of thinking. The villains are truly relentless and loathsome thugs without a conscience whatsoever, but Belli isn't a wussy himself, as his investigation methods qualify as quite unorthodox as well. Without wanting to ruin things, I can safely say there are a couple of very effective sentimental and dramatic moments near the end of the film – as well as some blatant shocks – and "High Crime" ends exactly like it begun: with a long and fascinating explosion of violence and excitement. The score is terrific and Castellari once again proves that he's a visually very gifted director, as the stylistic trademarks are often stunning to behold.

Wow! This film has all that you've come to expect from a Euro Crime flick. Violent murders, long shoot-outs with machine guns, a hot-tempered police officer who loathes criminals, downright evil henchmen and much, much more. Franco Nero has lately become one of my favorite actors, and not without a reason; in this film he proves what a talent he really had. This might just be Enzo G. Castellari's best crime film. It's very nicely directed, with some very interesting camera work and the music by the De Angelis brothers is the best and most suitable score I've heard them deliver to this point. It perfectly fits in with the various situations that Nero's character finds himself in.The only copy I could get a hold of was a region 0 release from 23rd Century (?). It does not have the best audio or video quality, but it's watchable. Availiable on Ebay as "The Marseilles Connection".If you're a fan of either Nero or Castellari, or of course, both, this is a film you have to see!

This was the first break-through success of a Poliziotti Italian crime movie and spawned several dozen imitations. Possibly the best film ever made, High Crime delivers the goods like few other movies, blending some experimental filming and editing techniques in with some good performances, solid action sequences, great music, and some pretty stunning photography by Alejandro Ulloa. Unlike a lot of other crime flicks made around the same period, this film isn't sympathetic at all to the villains. They are cold and heartless thugs who's so anything to keep themselves out of jail where they rightfully belong. This film is completely fascist and right-wing in its undertones, yet maintains an engaging level of emotional impact throughout. The scene where Franco Nero discovers his daughter dead made me almost want to cry... and Castellari expertly handles the flashbacks and knows just when to use slow motion in all the right spots.This wasn't the film which set the trend in Italian crime films (see Violent Professionals) but it was an excellent film which caused their widespread (yet short-lived) popularity. Certain elements (like the getting-in-car-gun-down) were endlessly repeated in the genre by Castellari himself as well as his father Marino Girolami, who totally ripped off the ending of this film in ROMA VIOLENTA, a much more typical film in the genre with Maurizio Merli, who although is not as good an actor as Franco Nero, is much more intense as the leading man in these sorts of films.

One of Castellari's finest works. The acting is superb. Excellent usage of lighting and settings. Unpredictable turn of events and good images. There is almost nothing wrong with this film for people who are into crime dramas.