User reviews

Michael Winner has directed the great Charles Bronson in several films, all of which can be described shortly as 'bad-ass'. Their collaborations include some truly great films including the 1974 vigilante masterpiece "Death Wish" and the hard-boiled Western "Chato's Land" (1972). All the films that the actor/director team Bronson/Winner made together are highly entertaining, and while "The Stone Killer" certainly isn't one of their best collaborations (in fact, its arguably their weakest besides the hugely fun but very silly "Death Wish 3") it is definitely another testosterone-driven flick that will not leave my fellow Bronson-fans bored.

Bronson stars as Lou Torrey, a tough New York detective who gets transferred to LA. Soon after arriving in LA, hints lead Torrey to a Mafia-Don's plot to use Vietnam Veterans as assassins... My fellow reviewers seem to either love or hate this film, the division being between Bronson fans and non-Bronson fans. As a huge fan of Charles Bronson, I tend to be on the 'love it' side, though, as mentioned above, it is nowhere near one of the most interesting flicks of his. It pales in comparison to other Bronson/Winner Vehicles such as the first two "Death Wish" films, "Chato's Land" or "The Mechanic", but then, these are all great 70s cult favorites, and while "The Stone Killer" is, in my opinion not quite as good, it is still a decent enough film that promises action and bad-assery. Bronson is his great self once again. To me personally, the man's presence alone makes it impossible for a film not to be at least entertaining. Apart from Bronson, the film features another truly great cult-actor, the magnificent Martin Balsam, who plays the role of a mob boss. Michael Winner has been unfairly scorned by critics throughout his career. Fact is, that the man is actually an outstanding director of gritty cult-cinema, who has been successful in any genre he has worked in, be it Action/Thriller ("Death Wish", "The Mechanic"), Western ("Chato's Land", "Lawman") or supernatural Horror ("The Sentinel"). Some folks only seem to be satisfied when they can claim intellectual superiority over other people's work. Some people seem to complain about this film's lacking depth and not bringing up any ideas. I wonder what these folks expect. This is a Bronson flick: It's meant to be hard-hitting, bad-ass entertainment, not melodramatic drivel. "The Stone Killer" features Bronson, loads of action and is filmed in typically stylish 70s style. What else could one ask for? Recommended to all my fellow Bronson fans.

You either get Old Stone Face or you don't. I get him. He played virtually the same type of character in every movie from the '70s forward, although his character's profession changed from time to time. Didn't matter if he was an unflinching streetwise cop that walks outside the law to bring justice, an architect, or an amazingly tough journalist that can beat up bad guys as easily as normal people breath air (how often do you see that?), he was always a character that looked out for what was right, the law be damned. And no mamby pamby metrosexual stuff anywhere in sight.....

This movie was interesting to me in that it was filmed during the prime of the '70s Cop Movie glory days and also happened to be part of the golden age for Bronson himself. I dig the terrible period clothing, hair and lingo. I also dig the neo-psychedelic soundtrack. It was rather amusing seeing Bronson amongst the young hippie burnouts at a wacked out party when he was searching for clues, talk about a fish out of water! And even way back then, the ever popular grouchy old Italian mobster stereotype was in full play, although this was one of the first Bronson films to do this (and it often resurfaced in his movies, even in Death Wish 4 decades later). It also featured several familiar faces including "Mr. Roper" of Three's Company as a cop(!) and "Jack Tripper" of the same show as a bumbling, inept rookie cop. Those with either sharp memories or an extensive Twilight Zone collection will recognize Mob Boss Vescari as the star of the much loved wax figures episode (New Exhibit).

You're not going to see Oscar type performances in a Bronson film, but then again, that's not what they were shooting for. You do get a glimpse of a great period of gritty American cop films. They didn't have the internet to help them. No GPS. No Google maps. Just coffee, steel revolvers, typewriters and good old fashioned investigational work, and of course real cars that were driven to death by stunt men, not computer generated crashes. And you do get politically incorrect, 150 proof MANDOM of the kind that isn't made any more. And that makes for an enjoyable Sunday afternoon in my book.

I sought relaxing and undemanding action entertainment, I found …. Charlie Bronson! What's better after a hard and long working day than to sit down in a comfortable couch, switch off all still operational brain functions, and watch Charlie kill off some random street scum? During the 70's and 80's, Bronson mastered in depicting unorthodox coppers/relentless vigilantes in ultra-violent and gritty movies, and personally I love each and every single one of them, even though – admittedly – they're not the most sophisticated or even memorable form of art! In this same period, Charlie collaborated a number of times with director Michael Winner, who himself isn't exactly known for his subtlety and flair either, so a joint venture of these gentlemen is a guaranteed piece of uncompromising trash. "The Stone Killer" boosts a slightly more ambitious storyline – one based on a novel by John Gardner – but eventually it just remains a raw 'lone cop' thriller. After the umpteenth "shoot first, ask questions later" incident, lieutenant Lou Torrey gets transferred from gloomy New York to sunny California. There, during a banal prisoner's transport, he stumbles upon a convoluted crime network that brings him all the way back to New York. Torrey, thanks to the help of bizarre informants and dissident interrogation techniques, gradually uncovers the plot of a mafia war to end all mafia wars. Bronson's acting performance is more automatic pilot than ever, but Michael Winner serves numerous exciting car chases and vigorous shootouts, including a wildly out-of-control finale. Did I mention that the film is violent?!? This is early 70's at its best, full of racial slur, realistic dummies falling from the nineteenth floor and gay musicians getting run over by a Cadillac! Oh, and this movie proves that Charlie Bronson is the most efficient shooter ever! With him, each shot is a hit. Whether from inside a shaky helicopter or from an impossible angle on a staircase, it's always bullseye!

If you're not already a Charles Bronson fan, this film isn't likely to change your mind. But for those of you like their action films with side-burns, bell bottoms and good old fashioned,hard-hitting action, you'll really enjoy this. Bronson does his "Dirty Harry" impression while investigating a strange ring of murders involving ex-vietnam vets and the Mob. Great car chases. The crazy car crack up inside a parking lot is this film's action highlight. One of my favorite Bronson flicks.

In a three year period in the early 70s (72/73/74) director Michael Winner made three violent thrillers with leading man Charles Bronson. Sandwiched in between The Mechanic and the wave making Death Wish, is this effective piece. A film that is for sure the weakest of the three but still a film worthy of reappraisal.

The screenplay is by Gerald Wilson who adapts from John Gardner's novel A Complete State of Death. Joining Bronson in the cast are Martin Balsam, Norman Fell & Paul Koslo. The plot sees Bronson play a tough New York cop, Lou Torrey, who is forced to leave the service after shooting dead a teenager during a pursuit. Later, he is hired by the LAPD and finds himself in the middle of a plan by a Mafia don (Balsam) to avenge the slayings of Mafia dons back in 1931 (The Night of Sicilian Vespers). His plan involves using Vietnam Veterans as hit men as opposed to the conventional Mafia ways of eradication. It's a big operation, a dastardly operation, and as the bodies start to pile up; it's evident that this case calls for the toughest of detectives to get to the bottom of it.

Ah, the tough cop movie. In fact, ah, the tough grizzled no nonsense cop movie. It's a formula that the cinema and TV loving world would get plenty of during the 1970s. The decade would start with a bang as Clint Eastwood and Gene Hackman laid down markers in Dirty Harry and The French Connection respectively. Which, to be frank, is a tough standard for any one to have to follow. Enter Michael Winner and Charles Bronson. Bronson had done some fine work in the 60s, with his weather beaten face, raspy voice and machismo seeping from every pore, Bronson was every inch a tough guy actor. Yet there was more talent in his armoury, talent that sadly was very rarely tapped into by directors more concerned with using him as a macho prop. Something that Winner does here. Dialogue for Bronson is kept to a minimum as Winner rides in on the crest of a tough cop driven wave. Which while that doesn't do Bronson any favours as an all rounded thespian, it does however let him excel at the physical side of his character, and in the process of doing that he also gives Torrey the moody method treatment.

Ultimately it's only those who are in it for the action and violence that will get something from The Stone Killer. For although it's a nicely layered story (in spite of the daft core of the villain waiting 40 years to enact revenge!), it's swamped (enjoyably so) by Winner's eagerness to lay down action and adrenalin rushes whenever possible. He may not be the best director with actors, but he is more than capable when it comes to gun play and chases, both of which greatly serve The Stone Killer well. The stunt work and choreography is top notch here, something that more than makes this a worthwhile excuse for a night in with the beer and snacks. There's also nice snapshots of early 70s Americana in the story, with weird Hippies and the Militant Black Activists nestling alongside the Mafia. All of which gives Bronson the chance to brood and flex his muscles some more.

It's escapism so it is. Nothing more, nothing less. View it as such and it entertains, because this really isn't deserving of the scorn that is often poured down on it. 7/10

This movie with Charles Bronson was extremely no nonsense, whatsoever. "The Stone Killer" is when Bronson plays a hard as nails cop who uncovered a group of Vietnam veterans who are do the dirty work for the Mafia. That form of dirty work is to take out the completion. In this movie, there are future "Three's Company" stars John Ritter and Norman Fell. Ritter plays the one in uniform, while Fell plays Lou Torrey's boss Les Daniels. Lou Torrey (Bronson) worked for the NYPD, until a incident with a young offender caused him to quit the force. So he ends up moving to Los Angeles as a detective to investigate mob like killings. It turns out that the mafia has been using Vietnam veterans to kill the competition. Some of their help have ended up dead by the people that hired them. This was a coast to coast situation for the police to handle. And Torres showed plenty of tenacity to put an end to this mess. The shootout in both areas was awesome. Especially in the parking lot scene in New York. Great movie, great plot, great cast, "The Stone Killer" makes great sense! 3 out of 5 stars

Tense but violent film about a tough detective named Lou Torrey (Charles Bronson) who from New York is transferred in the underworlds of Los Angeles and uncovers a perfectly executed scheme carried out by a Sicilian gangster (Martin Balsam) to utilize Vietnam vets (Stuart Margolin , among others) to murder all his enemies in a mass killing , rerun of the 30's "Sicilian Vespers" when the former generation of Sicilian mobsters were all murdered on a single day by orders Lucky Luciano . Lou Torrey gets numerous tracks that something big occurs.

This exciting film contains suspense, noisy action-packed drama, intrigue, thrills and lots of violence . Interesting screenplay Gerald Wilson from the book ¨A complete state of death¨ by John Gardner .This is a formula two-fisted cop stuff in the Vigilante mould . Bronson with his usual stoic acting displays efficiently his weapons such as ¨Dirty Harry¨ style and killing mercilessly nasties . Bronson as wealthy and cold cop who takes the law on his own hands offers the sort of monolithic acting as always . It's certainly thrilling , though the morality may be questionable , even in this time, as the spectators were clearly on the top cop Bronson's side . Packs thrilling multiple shootouts staged in a remote location on Mojave desert . As the picture emerges as a series of spectacular set-pieces , each perfectly realized ; the best of theses are the chase scenes between Charles Bronson-Paul Koslo , the busting on the desert and the Mafiosi slaughter with subsequent climax final . Furthermore, appears a nice secondary cast as Norman Fell as assistant cop , Ralph Waite as obstinate police , Paul Koslo as heinous hoodlum ,John Ritter in his film debut, Charles Tyner in minor role, Stuart Margolin as Vietnam veteran and Martin Balsam as mafioso chief. In addition , an atmospheric musical score composed, orchestrated and performed by Roy Budd .

This motion picture is professionally directed by Michael Winner though passionless , such as the successive films with his main star, Charles Bronson. In the mid-70 Winner had great commercial hit , ¨Death Wish¨¨ , a box office success he repeated when badly in need of another big hit smash with the sequel , but both of whom , Bronson and Winner, looked increasingly cold , clinic and mechanical in the later years of their partnership . The worst sequels in which Kersey goes on to torture robbers, all of them inferior and the violence could be deemed excessive, are the following : ¨Death wish II¨ by Michael Winner with Jill Ireland and Vincent Gardenia, ¨Death wish III¨ again by Winner with Ed Lauter and Deborah Raffin . Subsequently Michael Winner career was failed , alternating some hit as ¨the sentinel¨ and various flops as ¨Firepower,The big sleep,The wicked lady, Appointed with death, A chorus of disapproval, Bullseye¨ and of course ¨The stone killer¨ that got a mediocre box office . Rating : average but is indispensable ,essential and well worth watching for Charles Bronson fans.

I liked director Michael Winner's The Stone Killer but the more I thought of the style of this 1973 crime/action film my memory went right back to two other action films of a similar heritage and their respective directors/stars which made me feel like this film was more or less just a cheap imitation of the following two classic action movies. I am referring to director Don Siegel's 1971 crime/action classic Dirty Harry starring Clint Eastwood as Detective Harry Callaghan who reprized his role a few more times with even greater success. The other film I am remembering is director Peter Yates 1968 classic Bullitt which starred Steve McQueen as San Francisco Police Lieutenant Frank Bullitt.

When I was watching Charles Bronson drive recklessly through the city streets of New York as he was chasing actor Paul Koslo (the bad guy) who was riding a motorcycle, my mind immediately reflected on Steve McQueen's classic car chase scene with his 1968 Ford Mustang racing through the steep hills of San Francisco. Now THAT was a car chase that director Peter Yates made for the record books that audiences are still talking about more than 50 years later.

There was also an earlier scene in The Stone Killer where Charles Bronson who plays Detective Lou Torrey is interrogating a suspect in the police precinct behind a closed door and he punches the suspect a few times such that his suspect nicknamed Jumper (played by Jack Colvin) has his face swell up and Jumper tells Detecive Torrey "Heh, stop, you can't do that I know my rights" So Detective Torrey calls in the policeman stationed in front of the door and he asks his fellow officer if he sees any swelling or bruising on Jumper's face and the police officer says "not a thing". So we just witnessed police brutality by Charles Bronson. I bring this up because again I was reminiscing about the style that Clint Eastwood's character Harry Callaghan would dish out street justice. Clint Eastwood's style of dishing out his form of street justice was just so much more memorable than Charles Bronson's as Clint always seemed to deliver his beatings not only with gusto but you anticipated (maybe even salivated over) that Harry Callaghan was going to whup this bad guy and you didn't want to miss this next scene for anything.

I cannot say that Charles Bronson's delivery as detective Lou Torrey was memorable, but just adequate. I am not criticizing Charles Bronson who is one of my favorite action heroes (he has so many memorable and great films) but I blame a rather dull film on director Michael Winner who I believe was trying to emulate both directors Peter Yates (1968 Bullitt) and Don Siegel (1971 Dirty Harry & 1973 Charley Varrick) styles on the action screen.

If it were not for Charles Bronson starring in The Stone Killer I probably would have dropped my score down another notch or two. It's an okay crime/action film but not a memorable one. I rated The Stone Killer a 5/10.

My Jaw Drops at all the Bad Press this Movie gets!!...As a Hardcore Bronson Fan (and I've seen them all!) This is one of the Best films from his 'Golden' Period (1968 to 1976); and probably one of the best 'Cop' films of the 70's; next to 'Dirty Harry', 'Magnum Force', 'Laughing Policeman'; 'Serpico', etc.....Another 'reviewer'? called this 'boring'....Unbelievable!! The film moves at lightning pace from the get-go; alternating between New York and Los Angeles (with detours to the Mohave Desert) for it's complex Mafioso Revenge plot.....I think this film must set some kind of record for on-location shots!...I counted over a hundred on the last viewing.....ALL Real locations; NONE on the lot....The film is a virtual panoramic time capsule of Mid-70's L.A. and New York....It's also an Incredible 'Who's Who' of 70's Film and TV Character Actors...EVERYBODY is in this Movie!!....You've got Ralph Waite...'Papa Walton', as a racist cop with Incredibly Bad wardrobe taste; Half of 'Three's Company'....John Ritter as an inept cop, and Norman Fell as Bronson's West Coast partner; 'Rockford Files' Stuart Margolin as a 'Nam Vet' turned Mob Hit-man; 'The Hulk's' Jack Colvin as a mob underling; Martin Balsam as a Mafia Don; and the ICONIC 70's Bad Guy Character Actor, Paul Koslo, in a key role!!....(Did I mention that this film also has one of the ALL-TIME BEST CAR CHASE SCENES in Cinema History?)....Yep; Better than 'Bullitt'......SUPERB direction from Michael Winner (Bronson's Best Director); a Razor-Sharp script from Gerald Wilson, an absolutely KILLER Roy Budd Soundtrack (that has been Heavily Sampled); combine to make this one of the TOP FIVE Bronson Films; and as I said previously; One of THE BEST 70's Cop Films; It's an Absolute CRIME that Columbia has NOT put this film out on DVD!! (There's even a Trailer for this film on their DVD release of 'Hard Times'!...So What's Up??!!)

I liked this film, despite being a bit thrown by the jumpy, confused directing of (I presume) Michael Winner. Bronson is good, as are all the actors playing the major characters. But I think I got most pleasure from the mob-style Fedora hats that almost everyone seemed to be obliged to wear perched high on their heads. Surely by 1973, this style of headgear was way out of date? It looked vaguely ridiculous but at least it kept me amused. There was a 'Dirty Harry' vibe about the film and some of Roy Budd's music was quite close in style to that of Lalo Schifrin. Overall, an enjoyable film but maybe not because of the story.

The Stone Killer (1973)

*** (out of 4)

Charles Bronson plays tough Detecitve Lou Torrey who finds himself investigating a murder, which no one seems to know what it's connected to. After getting a name the investigation grows deeper and more and more bodies begin to pile up. Soon Mafia boss Al Vescari (Martin Balsam) enters the picture.

In a lot of ways this film borrows from DIRTY HARRY. Bronson is basically playing the same type of character, although this movie makes sure to show his character as someone who isn't a racist but instead someone who will beat you no matter what your color is. The film touches on several issues including racism but there's no question that the viewer isn't meant to think too much. Instead this is just a fast-paced action movie that has a lot of fights, a lot of gun battles and of course the lead doing what he does best.

It's really interesting watching the films that Bronson and director Michael Winner made during this period. In many ways this one here contains the most violence and it's certainly the most action pack. I'd say that the story has a bit too much going on as there's a lot of plot here for this type of movie but thankfully the screenplay basically just puts Bronson into one dangerous situation after another. This is a great thing because he shoots bad guys, beats confessions out of people and basically does whatever he can to get the job done.

Bronson is quite good in the picture and once again he isn't given too much dialogue. The actor always acted with his body and he would have been perfect in the silent era. He turns in a very good performance here and really packs a punch with the role including some very funny bits of dialogue. The supporting cast is also very good with Balsam doing a good job in the Mafia role and especially a scene set in a cemetery. You've also got Jack COlvin, Norman Fell and even John Ritter in an early role.

THE STONE KILLER has a lot of good things going for it but the action and stunts deserve a lot of credit. As you'd expect for the era, there's a pretty good car chase as well as plenty of scenes where bullets are flying and bodies are dropping. Fans of Bronson will certainly eat this one up but he and the director were about to make their masterpiece the following year with DEATH WISH.

First the film has a great poster. The beginning is good, and the end is interesting. But in the middle the film is very uninvolving. The film also does not seem to know what it wants to be. Does it want to be Dirty Harry, does it want to be The French Connection, or does it want to be The Godfather. The one character actor who really I think is the most interesting of all is the Mafia boss played by Martin Balsam. Watching him, one has to think that he would have been interesting Playing Don Corleone in the Godfather, or even the Fernando Rey character in French Connection I and II.

As the poster says, ;This cop plays dirty', but sadly, for the rest of the movie, Torrey is a bore. I wonder how the character of Torrey in the John Gardner stories, was, their were apparently two of them, and who knows, maybe if this film had been both a critical and financial success, the character. like Dirty Harry would have continued. Dirty Harry success lies in not only that we had a great villain, a different kind of law enforcement officer than previous films had shown, but we got to know Harry throughout the movie. We really don't get to know who Torrey is, why he is the way he is. I am a big Bronson fan, but here in Stone Killer, I think we get to see the indifference that Bronson would show in some of his later efforts. Previously Winner and Bronson had teamed to make one of his most interesting characters, that of Bishop in the Mechanic, which is I think their best collaboration.

I think the people involved in this film missed a great opportunity in making a movie that could have focused on the idea of using Viet Nam Vets to be used as a hit squad, which was original. With the unpopular war winding down, it could have asked, what next, as thousands would return, and to what opportunities for them.

I'm sure that Winner and De Laurentis realized that this film wasn't very good, but went on to release it realizing that in Europe the film would do well as Bronson was a huge star their, though not yet in the US.

Burt Reynolds once said that they should remake films that were not very good when first released. Watching the Stone Killer, I think would be interesting to remake, with the same time period and local. With the Viet Nam angle, it would possibly make people wonder about what will happen when our veterans return from Iraq and Aphganistan and Iraq.

This is an enjoyable time waster. And to paraphrase Bronson himself (from the film), "(it) has its' gaudy moments." There is some memorable dialogue and where else can you see Papa Walton (Ralph Waite) playing a racist detective in a series of outdated cheap suits? The mob characters are cliches and the plot is somewhat farfetched. But there are worse things to waste 90 minutes on. The bottom line: THE STONE KILLER isn't one of Hollywood's greatest films, it certainly isn't the worst. It's Bronson.

While Mafia retaliation after waiting almost half a Century seems highly unlikely, "The Stone Killer" is not without interest. Biggest problem is with how the story is told. Important characters such as head Mafioso, played by Martin Balsam, really needed more background, to fully understand his motivation for all the mayhem. Another problem adding to the confusion is the location switching back and forth between New York and Los Angeles. One good thing is there is no side romance to slow things down. Bronson fans will certainly be on familiar ground, with his macho mowing down of the bad guys, including a well staged car/motorcycle chase with Paul Koslo. "Twilight Time" has done an excellent job with their "BlueRay", which along with the colorful location shooting , adds to the film's quality. MERK

Mafia don Al Vescari (Martin Balsam) seeks revenge against the heads of criminal families around the country using a team of Vietnam vets. Police detective Lou Torrey (Charles Bronson) loses his job after the death of a young suspect. He gets a new job in L.A. He stumbles upon Vescari's plan and starts investigating with Daniels (Norman Fell).

This has some darker police drama. It's not the most thought out but it works. There are some interesting bad guys. Bronson would do Death Wish the year after. The movie climaxes with lots of crashing cars, gunfire, and general fire in an underground parking lot. It's a fun, action-packed, exciting ending to a fine crime drama.

The Stone Killer finds Charles Bronson as a New York detective exiled to Los Angeles after a controversial shooting. While in Los Angeles Bronson discovers bit by bit a massive assassination plot of organized crime bosses. His biggest task is to convince his superiors to keep probing into this.

Martin Balsam is a purist and a Sicilian. 42 years after the famous feud in gangland lore the Castellammarese War he wants to get back at the guys who infiltrated the Mafia. Guys like Luciano and Costello who brought in all kinds of outsiders like Jews into organized crime. A few years earlier in the Kirk Douglas film The Brotherhood he got recruited to avenge the death of his father in that same war by getting a betrayer. Sicilians have long memories, don't forget, and hold grudges. In fact right around this time Joey Gallo was killed and among his sins was bringing in, heaven forfend, blacks into his family as associates.

Balsam is putting this all together for April 10, the anniversary of the last shootings with the help of Stuart Margolin recruiting a lot of disgruntled Vietnam veterans who've learned the trade. Sad to say this was another of those films in the Seventies where everyone who served in Vietnam was labeled a psychotic killer.

There's enough action here to satisfy any Bronson fan including a slam bang shootout with the NYPD and Balsam's picked crew. I will say that there certainly will be a leadership vacuum to contend with.

Charles Bronson does a top-notch job in "The Stone Killer". Bronson is given a great character to play and he takes advantage of the opportunity. It's one of his best performances. He strikes just the right tone for a character who's not the easiest to play. Bronson's supporting cast is one of his best. Norman Fell may never have been better. Pa Walton (Ralph Waite) took a while to get used to playing a racist tough-guy cop but at the end of the day, he played that guy just right. Waite ends up giving a very good performance and he also gets quite a few laughs. Thanks to Charles Bronson's performance, "The Stone Killer" ends up being a pretty satisfying watch.

Charles Bronson takes on the role of lone-wolf cop. It was all the rage in the 70s. Done best by Hackman in The French Connection. Done well enough by Steve McQueen in Bullitt. Done most memorably, even if the movie stinks, by Clint Eastwood in Dirty Harry.

The problem is the plot they've jammed Bronson into. Far as I can tell, it involves a mafia don - played laughingly badly by Martin Balsam - looking for revenge on a big mob hit from 40 YEARS AGO!!!. Somehow, Bronson latches on to that ridiculous scheme after seeing one of his arrested crackheads getting wacked by the mob at the airport. Not likely. Most cops couldn't figure out a murder plot if they had both the killer and the victim in the same room together at the same time.

Ralph Waite, Norman Fell and John Ritter do well in support.

Bronson gets to slap around a couple of guys, shoot a few guys, and act taciturn. The action saves it. Or at least would have made it a pretty decent 1973 Friday night at the drive-in.

A Dirty Harry clone? The Stone Killer is an interesting film, Bronson portrays a plain-clothes cop named Lou Torrey, Torrey has a penchant for being a little violent at times and it costs him his badge in NYC. Torrey eventually picks up a Lieutenant position at the Los Angeles department and gets knee deep in some real problems. War veterans (Vietnam) with itchy trigger fingers, anti-war sentiment, druggies, prostitutes, civil rights issues, a mafia-related vengeance plot that has been in the works for forty two years as well as a host of other problems. I had to watch this film twice in order to really follow the films somewhat confusing pace, there are some subplots which confused me a little bit but upon the second viewing I had, the film made a lot more sense to me than in my initial viewing. There are some scenes that go straight from Los Angeles to New York City and back throughout the film but the pace is easy to keep up with. There is a ton of action to feast your eyes upon, many gun fights, a few car chases, etc. Bronson acts in his usual tough-guy role as Lou Torrey and plays it very well in my opinion. The ending is not as satisfactory as I would have liked, but Director Michael Winner is known for having unique endings/twists to his films. As far as rating the film goes, The Stone Killer in my opinion is just a notch or two below other Bronson/Winner collaborations such as 'The Mechanic' or the classic 'Death Wish', but all in all I would recommend this film to any Bronson fan, or anyone who appreciates old, dated action films. I certainly enjoyed it.

Michael Winner is no novice to these types of 70s crime pictures, as his grounded; no bull method should suit these films. This would be Bronson's third picture with Winner (as coming before it were ''Chato's Land'' and ''The Mechanic'') and the following year would see the pair bring us a vigilante favourite and probably their most renowned ''Death Wish''. Their third outing ''The Stone Killer'' is a rigidly straight-forward, but gritty, quick-moving and no bars hold crime joint that also stars Martin Balsam, Stuart Margolin, Ralph Waite and Paul Koslo as a weaselling jazz loving crim (and who's performance is always a joy to behold ). Nothing groundbreaking or particularly spectacular about it, but Winner does a conventionally clammy, but proficient job on all fronts. I see it unfairly get labelled as a Dirty Harry carbon copy… far from it, so what if Bronson plays a detective with a cynically brutal edge that questions the authority figures and likes handing out a beating to criminals. Other than those shades, that's it. The story is completely different, if conniving and primitive in its progressive plot involving a once New York detective Lou Torrey (now residing in Los Angeles) heading back to the big apple with a prisoner, but at the airport the captive is gunned down. Thinking there's more to it; Torrey begins digging up information that leads to the discovery of the Sicilian Mafioso planning a massacre as revenge for a shoot-out that occurred over forty-years ago. It mainly centres around the build-up of Bronson's character investigating the case (involving numerous chases on foot as well a memorable one by vehicle) and putting together the pieces to reach its pulsating outcome of all-out chaos… burning rubber and guns a blazing with plenty of red paint. The violence is typical of the era, straight up --- packing a sting and the raw urban locations cementing a dangerous, but tough as nails atmospheric charge. This was also magnified by Roy Budd's saucily funky score and Richard Moore's leering, but controlled cinematography. The performances are all well-suited, as Bronson's tight-lipped manner is more so pessimistic, but hard-hitting. Also in the cast is a young John Ritter.

The Stone Killer is everything you would expect from the pairing of star Charles Bronson and director Michael Winner. A violent, woodenly acted and convoluted actioner in which plot developments are hammered home with all the subtlety of a sledgehammer.

The storyline has Bronson as a disgraced cop who leaves his job in New York and moves to quieter pastures on the Californian coast. He picks up a junkie wanted on a murder charge, but whilst escorting him to jail the junkie is killed in a Mob style hit. As Bronson investigates the hit - and other killings like it - he begins to uncover preparations for a planned Mob massacre, to be staged by some ex-Vietnam veteran mercenaries.

This film was rubbish enough back in 1973. But, to add to its problems, it now looks embarrassingly dated, with fuzzy sound (typical of the seventies), laughable costumes, and a horrendous music score from Roy Budd.