Coming Soon
HIGH CRIME w/ Bill Lustig
1973
Director
Enzo G. Castellari
Starring
Franco Nero
James Whitmore
Fernando Rey
Stefania Girolami Goodwin
Runtime
103 minutes
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Legendary filmmaker Bill Lustig (VIGILIANTE, MANIAC, MANIAC COP 1-3!) joins us to introduce the premiere of Blue Underground's brand-new restoration of Enzo G. Castellari's HIGH CRIME!
From the director of the original INGLORIOUS BASTARDS, THE BIG RACKET and STREET LAW comes one of the high-water marks of Euro Crime filmmaking. An Italian police inspector (Franco Nero at his most over-the-top) matches wits with a powerful European drug ring. As he comes closer to the top of the underworld organization, his odds of survival decrease. A major jumping-off point for the savagery of the entire Italian poliziottesco genre, HIGH CRIME is a searing 'years of lead'-era tale of conspiracy, institutional corruption and getting mad as hell, all orchestrated by a master of his craft operating at his most stylish.
"Castellari's direction is just so damn good, favoring handheld longshots with tightly choregraphed blocking, whip pans, and snap zooms to keep things dynamic and moving, before switching to Peckinpah slow-mo with the de Angelis brothers score pitching things to the (rock) operatic when it gets violent. He was really head and shoulders above his contemporaries in the style department. " - Laird Jimenez
From the director of the original INGLORIOUS BASTARDS, THE BIG RACKET and STREET LAW comes one of the high-water marks of Euro Crime filmmaking. An Italian police inspector (Franco Nero at his most over-the-top) matches wits with a powerful European drug ring. As he comes closer to the top of the underworld organization, his odds of survival decrease. A major jumping-off point for the savagery of the entire Italian poliziottesco genre, HIGH CRIME is a searing 'years of lead'-era tale of conspiracy, institutional corruption and getting mad as hell, all orchestrated by a master of his craft operating at his most stylish.
"Castellari's direction is just so damn good, favoring handheld longshots with tightly choregraphed blocking, whip pans, and snap zooms to keep things dynamic and moving, before switching to Peckinpah slow-mo with the de Angelis brothers score pitching things to the (rock) operatic when it gets violent. He was really head and shoulders above his contemporaries in the style department. " - Laird Jimenez