I think this is felt to be a forgotten classic of its type. I finally bought the blu ray and watched today. Apart from a typically strong performance by Scheider I was not that impressed by this film. It is the sort of film I like but it just did not grab me.

This 1970's Police Procedural doesn't even try to hide its Connection to Preceding Pictures, the highly Acclaimed "Bullitt" (1968), and "The French Connection" (1972). In one Scene Roy Scheider is seen with an Upside Down Shoulder-Holster. The more blatant "Homages" are the Cast and the Riveting Car-Chase.While not quite attaining the Classic Status of its Influences, this one manages Trends that was so Prevalent in its Era. Dirty Unrestored NYC Locations, Unfettered Policing by an Undercover Unit trying to hold its own against increasingly Ruthless Adversaries, and an Intense, Tell-It-Like-It-Is Display of Real Human Beings, Flaws and All.This could be Honorably Included in a Triple-Feature along with its aforementioned Betters, because of the Talented Cast and On-Location Attention to Detail and a Complex Plot. The Chase Scene gets all the Ink, but the other things that Showcase the Zeitgeist are Better Than Average.Underrated, but the Film does have a loyal Following and certainly Deserves its Status as a Hardly Unique, but nevertheless Engrossing Product. It Captures that 70's No-Nonsense, Newly Acquired Freedom of Expression that Hollywood was Riding Post-Hays-Code.Overall, Will Not Disappoint Fans of this Type and is a Time-Capsule Worth Watching.

I saw 'Jaws' for the first time aged 7 but a good chunk of why i LOVED that film was Roy Scheider's Brody, I honestly can't imagine that film without him and his "SMILE YOU SON of a B...H" Back to "The Seven-Up's"I'd read a little about this film in movie magazines and books over the years but had never ever seen it until yesterday (thanks I have to say to YouTube), had wanted to see it for over 30 years and finally I have done so.I'm with the majority of reviewers here...it's gritty, well made with some good performances especially Schnider who with his brown leather jacket makes it his 'Bullitt' there is even a scene in which he removes the cool jacket to reveal a black turtle-neck and holster (a knowing nod to McQueen's classic film perhaps?) I have to admit that the first 40 minutes or so are kinda slow as with many of the 1970's cop thriller's/drama's of the time but stick with it as the pace builds and it gets better and better from this point.The CAR CHASE is a stand-out as many here have stated (and might be worth the watch for this wonderfully filmed sequence alone) it starts out as a fairly ordinary affair but turns into a terrific pursuit.Richard Lynch always had the look of a good villain and he is again here.One of the reasons I'd wanted to see it (apart from Scheider) was I had read it almost played out like an unofficial "French Connection" sequel and it kinda does.Tony Lo Bianco is terrific as Buddy's (Scheider) friend and he was also in Connection, it could be argued that this is a far better film than that films sequel and I would subscribe to this as the French Connection II was to me very disappointing.Fans of 1970's Cop Thrillers will find much to enjoy in the second half of this film...the ending is terrific with shades of Blue Thunder's ending, speaking of which that is another terrific Roy Scheider film along with '2010', 'Jaws', 'Jaws II" (yes really, Scheider makes it thanks to Brody and that "I know what a shark looks like up close and I don't intend on going through that hell Again" speech) and "Marathon Man.Roy was a terrific actor and has left us with some wonderful performances in some wonderful films...God Bless.Now to track down "Sorcerer" (aka Wages of Fear) another I've never managed to see.

Very much a spin off from the highly acclaimed film "The French Connection," which Roy Scheider had done a few years earlier, but "The Seven Ups" falls short of the same level of intensity. Even some of the same background music is reused. But Scheider is more wooden and unappealing in this film. Thankfully the film explores new areas of New York in its scenes. Bill Hickman is great once again in his stunt driving, this time along 10th Avenue and one of the parkways. Richard Lynch is his suitably scary accomplice, Moon, who gets his justice in the end. Tony LoBianco returns from the French Connection, this time as Roy's longtime friend, who pretends to be an informer for the police, but is actually working against the police. Police procedures in the film are once again highly questionable at best, and more often illegal, but the results are all that matter, apparently. Women are mostly missing in this film.