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The 70s were a terrible time for NYC. Hoodlums ran rampant over honest citizens. Sadly, the mayor and the cops worried more about vigilantism than the hoodlums, and made empty speeches for the press, which then ran sensationalist headlines.

So here I am watching Death Wish for the first time in my life in 2025. It feels fresh and relevant. Ripped from the headlines, even. It even includes a scene at a c4cktail party full of liberal dooshb3hgs whining that the vigilante is racist.

The major theme is that Americans have lost the nerve to stand up for themselves. They expect impotent cops to come to their rescue. Then they whine in disappointment when it doesn't happen.

Bronson's Paul Kersey character is a Korean War vet - a conscientious objector - but he grew up a sure-shot thanks to life on a farm. Once he gets a taste of fighting back there's no stopping him. In fact, it gives him new life.

Although this is nominally a revenge flick. That seriously undersells this movie's accomplishments. It looks like it was produced on a shoestring budget. But the acting is top notch. The story moves along and makes its points without belaboring it until we feel pandered to.

And yes, it's exhilirating when Charles Bronson's character starts getting revenge on the criminals. There's no denying that. But overall it's grim, gritty and truthful.

These spaghetti Greek mytholgy movies are barely watrchable at the best of times.

Some people want to claim this isn't a straight-up entry into the genre but is actually a spoof.

I dunno. Maybe.

Either way, it's ridiculous.

Blond hero actually has b00bs, not pecs. Women are pretty hot.

Plot is ridiculous.

Back when dusk-to-dawn drive-ins were popular, I could see this one being fourth on the bill, maybe even fifth. And the only people who stayed to watch were the young couples who were too busy making out to pay attention to what was up on the screen. I can't see anyone, anywhere, taking this seriously. And it's definitely not funny.

The more Henry Fonda one watches, the more obvious it becomes he was a one-trick pony.

Talking like he's soft in the head, earnestly spouting liberal drivel that is usually decades - if not centuries - out of place for the setting of the movie.

Now combine that with director Sammy Maudlin - I mean, John Ford - who was never afraid to pour some sugar on it.

By the time Claudette Colbert is in hysterics over seeing Johnny Blue B3llz standing in her living room, I was just about asleep.

The rubes probably thought this was a fantastic movie because it was an early Technicolor. Too bad it's basically a comic book.

I had barely ever heard of this dog, and had never seen it depite being a loyal fan of TCM for about 15 years. And now I know why: It's a total snoozer.