Diagonaldi Very well executed

Micransix Crappy film

Peereddi I was totally surprised at how great this film.You could feel your paranoia rise as the film went on and as you gradually learned the details of the real situation.

Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Stephen Bird Kicks ass and takes no prisoners, that best sums Death Wish..., indeed there were a few sequels that followed the original in later years, but none of them were as raw and shocking as this first one.Charles Bronson was never the greatest actor, rather stoic in his approach he came across as unloving and didn't possess much emotion, hence why he was the perfect fit for the character of Paul Kersey, otherwise known as the vigilante killer!The idea behind Death Wish was sound, who doesn't want to watch scumbags and general low-lives get their comeuppance? And that is basically what Death Wish is, a guy who's wife is senselessly murdered by a trio of thugs ends up heartbroken and mentally damaged by his loss, this leads to the guy going out on a killing spree, looking for the right kind of scumbag in the right kind of place and leading them to their death. What struck me as odd was how lax the police were in finding the killer, it felt like I was watching a superhero film where the hero always seems to evade the law and everyone else, how Charles Bronson's Paul lasted so long without being caught was just a tad fantastical, in reality the police would've done better and Paul would've slipped up at some point. Death Wish was also a shining example of the changing times, seedy and dreary, and a tad erotic too..., e.g. a woman at one stage shows her bear breasts for all to see, it goes into disgusting detail when the two ladies are being assaulted by the thugs, and I believe one of them may have been raped; the murders also were overly detailed and shown in all their vile glory......Alas the film Death Wish was released in 1974, only ten years prior though this kind of film would've been outlawed by the strict rules imposed on Hollywood at the time, how times change indeed, Death Wish was released well after the New Hollywood era has emerged and explicitly demonstrated how much freedom there now was in Hollywood. Not an overly amazing film but definitely a landmark film of sorts, a perfect example of what a certain era in cinema history was like, in this case the 1970's and the New Hollywood era.

ramsfan Though the theme had been tackled many times before, it can be argued that Death Wish is the father of all revenge films. Countless knockoffs, both good and bad, have been made since its release in 1974. Yet to characterize it solely as a revenge movie would be a disservice. It is a culturally significant movie which raises issues about the role of vigilantism in our society. Charles Bronson, who'd enjoyed previous success in feature films prior to Death Wish, became an anti-hero of sorts in a couple dozen movies throughout the next fifteen years after its release.Bronson plays Paul Kersey, an architect who lives in a New York City apartment. His world is shattered when his wife is beaten to death and his daughter is savagely raped by thugs posing as grocery deliverymen. After an unspecified mourning period and for cathartic effect, he is sent on a land developing assignment in New Mexico, where he meets client Ames Jainchill (Stuart Margolin). In contrast to Kersey's conscientious objector war beliefs, Jainchill embraces responsible gun use and winces at the "toilet" New York has become. He piques Kersey's interest at a gun range and a Wild West re-enactment show. Following completion of the project, Jainchill sees off Kersey at the airport and puts a gift in his luggage: a shiny new revolver.Kersey is accosted one night by a mugger and shoots him dead, after which he returns to his apartment and becomes physically sick. Ruminating on the death of his wife and his now-catatonic daughter, he sets himself up as a target for a variety of street scum throughout the city, killing them at various intervals and earning himself the tag of "vigilante killer" by the Press. Police Detective Frank Ochoa (Vincent Gardenia) is tasked with the dilemma of upholding the law in identifying the killer while facing the reality that his superiors and many New Yorkers are not all that upset at the city unconventionally being relieved of its criminals.Death Wish was extremely popular during a dreary period in the city's history when crime was rampant and presents the obvious ambiguity of vigilantism in a civilized society. The assault on Kersey's wife and daughter are brutally depicted, even by today's standards of viewing. It allows us to justify Kersey's actions towards a variety of unsavory characters. Disturbing to some, however, is the controversial way Kersey sets himself up as a target to draw out the criminals, a sense of entrapment if you will, in going from hunted to hunter.Not surprisingly, the financial success of Death Wish spawned several sequels, none of which were memorable. But the original packs a punch and tests our own beliefs about street justice. A very good film from the 70s which still holds relevance today. Highly recommended movie.

alexanderdavies-99382 "Death Wish" was the film that made Charles Bronson into an overnight star and a box office draw. He had made several movies in Europe for a while and became a star over there. He had worked with the British director Michael Winner on three previous occasions and the films they made are great. The above film is their best collaboration. Released in 1974, "Death Wish" pulls no punches in depicting the efforts of Paul Kersey who kills off as many muggers and street punks as he can. These events have resulted after his wife is murdered and his daughter viciously attacked. The audience is truly on the side of Bronson as he takes the law into his own hands. New York is the ideal setting and location for this film. It works to the films advantage to be made in winter time. This adds to the gritty and harsh look of the film - shades of "The French Connection." Charles Bronson was never an actor in the usual sense of the word but his image is perfect for his role here. The supporting cast are excellent, look out for Jeff Goldblum in an early role as a mugger. The plot is fairly streamlined which is an advantage, as the film is kept on an even keel without any unnecessary subplots. The violence isn't particularly pleasant, especially at the beginning of the film. It is no wonder that the B.B.F.C refused to grant "Death Wish" a video certificate when all videos considered for release in the early 80s in Britain, had to be reclassified. As a result, "Death Wish" was exceptionally hard to obtain. Then in 2000, the film suddenly turned up on video, albeit in a censored form. Now on DVD, we have the uncensored version. There are some great action scenes along the way but "Death Wish" is more than that, it is making both political and social comments about vigilantes and law and order in general. The dialogue is certainly above average, considering the films content. It could have easily been the case of just producing cliché- ridden stuff but luckily, this doesn't happen. It is debatable whether Bronson is slightly unhinged in some way, as the vigilante. I would say it is more likely he is expressing the anger and injustice he feels after what has happened to his family and to his way of life. The sequels that followed are pretty good but the original is still my favourite. A classic film of 1970s American cinema and not to be missed.

classicsoncall It seems the sequels to the original "Death Wish" appear with some regularity on cable channels in my area, so I've been catching them out of order every now and then. However it occurred to me I never reviewed the picture that started it all, having seen it when it first came out and not again till the other day.Given the circumstances of how Paul Kersey's wife was murdered and his daughter left a catatonic invalid, the response we get in this story is almost mild by comparison to the over the top violence we see in movies today, including the sequels spawned by this film which started up eight years later. I don't know if this was the revenge film that initiated the genre, though it has a pretty good claim to the title.It's interesting to note the advance in technology from the mid-Seventies to today by way of that scene where Frank Ochoa's (Vincent Gardenia) partner ran around looking for an available phone booth to call Kersey's apartment and got frustrated to find one where the line had been cut. I'm curious how younger viewers of today process that scene, when even a kid can make a call on a cell phone. How primitive the Seventies must have been. In case you didn't keep count, Paul Kersey gunned down a total of ten muggers in the picture, missing one and getting shot himself on his final outing. By then it wasn't a surprise that Ochoa would offer him a way out of the headlines if he accepted a deal to get out of town. However there was an element of closure lacking regarding the three hoods who opened the picture with the attack on Kersey's family; he never ran across them to get the vengeance he was seeking. Speaking of which, and I know all actors have to get their start somewhere, but what a way for a young actor like Jeff Goldblum to catch a break by landing a role in his very first picture as a slimy street thug.