It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.

One of the most extraordinary films you will see this year. Take that as you want.

One of the worst ways to make a cult movie is to set out to make a cult movie.

This is a dark and sometimes deeply uncomfortable drama

A hard-nosed look at race relations in the gutters of Harlem, if "Across 110th Street" has any surprises, it's that empathy exists in unlikely places. Look, everyone knows that you don't steal from the mob, and yet you actually feel kinda bad for the murderous schlubs that cross this line - if only because of the mafia's gruesome rampage.And all the while, Anthony Quinn and Yaphet Kotto butt heads as they try to put out the fire. The NYPD detective pairing isn't exactly "In the Heat of the Night", but it's not far off, and Quinn's boorish old-world racist isn't evil in his own right. Still, it was easy to root for Kotto on this one. Cold, unrelenting and vicious, this is a worthwhile crime movie all around.7/10

Forget blaxploitation - this is a grim, negative, but clear-eyed crime movie from the '70s. The main takeaway from this film is that the mob doesn't like it when you take their money. Some fantastic acting in this one. Anthony Quinn and Yaphet Kotto are fantastic as proud, tough cops. There is tension between them but one senses grudging mutual respect emerging as the film progresses. Race divides them and their relationship is a great depiction of how men can address this issue in a realistic way. The local mob bosses (Gilbert Lewis and Richard Ward) are great - they will brook no interference in their neighborhood and they defend their turf. The small-time thieves (Jim Harris and Paul Benjamin) are great as guys with very few prospects and taking their shot at getting their piece of the American pie, by any means necessary. Tony Franciosa very much reminded me of James Woods in Godfather - as an entitled, bullying enforcer. There are no winners in this movie and there isn't even the passing pleasure of seeing a blaxploitation hero get one up on the white man. There is no glamor in this movie - it's pretty grim. Actually, the plot - whether the cops or the mob will get to someone first, reminded me of The Departed. It doesn't have quite the sophistication of the plot of that movie, but if you like a gritty crime procedural, this one's for you.

Three black hoodlums break into an apartment in Harlem where the Italian Mafia is collecting their proceeds for the week from their local black henchmen. A gunfight breaks out and all of the Mafia members are killed. Responding to the commotion two police officers are also gunned down by these same gunmen who manage to get away with $300,000 of the Mafia's money. This causes quite a stir within the Mafia as they fear losing control of Harlem to local black gangsters. So "Nick D'Salvio" (Anthony Franciosa) is sent into Harlem to find those responsible and make an example of them. Likewise, the police also want to bring these three men into custody for killing two of their own. So with both the Mafia and the NYPD looking for them the odds against any of these three crooks getting away are pretty slim. Especially since one of them, "Henry J. Jackson" (Antonio Fargas) makes no effort to hide his newly gotten wealth. Anyway, this film is notable for showing Harlem from a certain perspective that is not too kind. It is dirty and gloomy. But in the process it adds a sense of realism to everything. Both Anthony Quinn (as "Captain Mattelli") and Yaphet Kotto ("Lieutenant Pope") perform in an adequate manner in spite of the fact that their characters are obvious Hollywood creations. However, one thing I didn't care for was the last scene at the end which I thought was completely unnecessary. But that's just my opinion. In short, I rate this film as slightly above average.

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!