Sharky's Machine

The jazz soundtrack makes this seem like a Clint Eastwood movie.

In fact the whole thing strikes me as Burt doing Clint. The story is good and the movie is full of one liners that I carry with me to this day. (Reynolds to bad guy: I'm gonna pull the chain on you pal, because you're f'n up my town. And you wanna know the worst part? You're from outta state!)

Highlights: The Technics 1500B reel to reel is nice set dressing for audiophiles!

Charles Durning coming unglued while listening to wiretap tapes of prostitutes having (sort of) phone sex. (You'd have to see it, trust me, it's hilarious.)

Brian Keith plays against type as a tough guy. (And does it well!)

Bernie Casie's preoccupation with Zen.

Rachel Ward. WOW! (Where'd she go?)

Doc Severinsen and the Tonight Show band play their rears off as usual. (Joe William's guests on vocals. Manhattan Transfer re-recorded "Route 66".) The soundtrack lends class to the whole affair.

Need I say more? It might be Reynold's best film ever.

(Yeah, he plays himself, as usual, but it works!)

Enjoy!

I like Burt Reynolds (Boogie Nights) playing a cop, and he didn't do too bad as a director here either.

He had a great supporting cast of cops and criminals: Vittorio Gassman makes a great crime boss; Henry Silva (Ghost Dog: The Way of the Samurai) makes a great psychopath; Brian Keith ("Family Affair"), Charles Durning (The Best Little Whorehouse in Texas), Bernie Casey, and Richard Libertini (A Grandpa for Christmas) all make great partners; and, there is, of course, Rachel Ward ("The Thorn Birds"), who got a Golden Globe nomination out of her performance.

Lots of action, superb performances, and a great story.

Sharky's Machine finds Burt Reynolds as a narcotics cop who after a failed buy and bust that wasn't his fault, but that got a few people killed in it, he finds himself demoted to the vice squad in Atlanta.

The prestige is hardly as good as the narcotics beat, but it does have its fringe benefits. One night after a roundup of working girls where one of their books falls into their hands, the guys ask for surveillance on Rachel Ward's place. She's an expensive item, servicing both notorious mobster Vittorio Gassman and law and order gubernatorial candidate Earl Holliman.

Their surveillance however records a murder and the rest of the film is Sharky and his new colleagues from vice trying to solve this prestige case.

Though it's a Burt Reynolds film and those usually have some humor to them, the comedy is kept in check as the film turns as deadly serious as Dirty Harry. It was reported in fact that Clint Eastwood was offered this film.

Look for some good performances by fellow vice cops Bernie Casey and Brian Keith and by Henry Silva the coked up brother of Gassman who does the dirty work of the organization and loves his job.

It's not a bad film, a mixture of Dirty Harry and Laura. Why Laura? You'll have to see Sharky's Machine for that answer.

I haven't seen every single movie that Burt Reynolds has ever made, but this one (which I've just finished watching, for the third time) may very well be his best! It suffers only from some slow stretches; Burt perhaps tried to make it more "arty" than it should have been. On the other hand, he managed to avoid many of the usual cliches in the presentation of the "tough cop" role he plays (notice, for example, the scene in which he attempts to kiss Rachel Ward for the first time, or the fear he expresses just before the final showdown with the indestructible Henry Silva). In fact, Silva and those two ninja assassins are three of the most memorable villains of cop thrillers of the 80s. The film also has some offbeat touches, a surprising amount of humor, a brutal and gripping fistfight and many well-directed shots. (***)

On the surface SHARKY'S MACHINE is just another crime thriller come star vehicle with the slight gimmick that its star also directs the film . Truth be told Burt Reynolds isn't the greatest actor of his generation but he does have a certain manliness that served him well throughout his career . Likewise as a director there's nothing outstanding here but by the same token it's certainly more than competent . The film is certainly helped by its setting and 1970s cinema is a highpoint of American film making and everything about the film screams 1970s , an era of great cynicism but one that Reynolds has successfully translated well to screen

It wasn't well in to the running time that I realised I was watching a film set in Atlanta because I thought the story was taking place in New York . In those days New York had a terrible reputation as a sleazy place where crime and vice was running out of control . Regardless as to the truth of all this even if you'd never visited the city you'd have images of dirty streets falling in to a state of disrepair and police stations full of hard bitten sarcastic cops interrogating hookers all day every day , a reputation that was probably reinforced by American film makers . Truth to be told Reynolds certainly plays up to this reputation

The film works best in the first third as Reynolds goes undercover to trap a drugs dealer only to see his hard and dangerous work ruined by a colleague and then finds himself being assigned to the vice squad where every enjoyable and amusing cliché is served up to the audience . Once the story starts where Reynolds cop investigates a beautiful call girl called Dominoe things start to fall apart slightly . As several people have mentioned already the film would have worked much better if several scenes had been trimmed or left out completely and the film would have been much better if it was a 90 minute film than a two hour one . As it stands it's an okay crime thriller but you'll probably enjoy it more if you can remember the 1970s