trashgang This is not your typical action flick from the eighties. I came across this one due a friend remembering this one and knowing i like Burt Reynolds. This is made after Deliverance (1972) and even his funny part in Smokey and The Bandit (1977). For many this is the best flick with Burt and it was even directed by him. It's a more psychological flick then action because there's a lot going on in the mind of Sharky (Burt Reynolds). It's a slow moving flick but even clocking in just over 2 hours it never bored me. It's only in the beginning you will see some action and towards the last part. But it's so typical end seventies, early eighties. The sound, the score, the way of using the camera. Burt isn't the macho here as we used to see him, for some this will be outdated but it's still worth picking up just to see all those thespians from those day.Gore 0,5/5 Nudity 0/5 Effects 2/5 Story 2,5/5 Comedy 0/5

PathetiCinema Burt Reynold's is tough cop Sharky. He likes sitting in skyscrapers and watching things through binoculars. So much so that the whole of this movie has Sharky sitting in a skyscraper watching things through his binoculars. Occasionally, he relieves himself by taking an urgent urination but soon it is binoculars time again. This is exciting! Later in the movie we get a glimpse of Burt sitting in a skyscraper watching things through his binoculars. Then, in an unexpected burst of action, he decides to watch things through his binoculars. The highlight of the movie is undoubtedly the ending scene where he watches things through his binoculars while in a skyscraper. A few less scenes of Burt watching things through his binoculars would have moved things along a little faster but, on the whole, not bad.

mickeyshamrock I think the most important thing to keep in mind while watching SHARKY'S MACHINE is that Burt Reynolds directed it... that sunk in yet? OK good. I'm not knocking Reynolds' ability behind the camera, I actually think he does a commendable job (p.s. I'm a big Reynolds fan), I just always think it's important to note when an actor directs and stars in their own movie. Sure, it's dated and fairly rough around the edges, but there's a great movie in here that continually peeks through the cracks. Unfortunately it just never seems to peek through long enough to win over most viewers. However the movie features some good old fashioned cop stuff, some good old fashioned violence, and a great, good old fashioned bad guy (the lost art of the great bad guy) played by the always stellar Henry Silva. It also features an awesome stunt by stunt legend (whatever happened to stunt legends?) and Reynolds' STICK co-star, Dar Robinson. As usual, Reynolds is great in the title roll of Sharky - I've just always wondered if a more experienced director (perhaps John Frankenheimer) had helmed this film, and STICK for that matter, would that have elevated this film to action classic status? It's very possible...

lost-in-limbo This was one of those films I would always come across (be it on TV or cheap DVD), but never struck me to give it a shot as I thought I wasn't missing out on much. It was on one night and I thought oh well… why not. A good decision too, as I would kick myself for taking so long to get around to it. For me it left me impressed, as it's up there with Burt Reynold's best features ('Deliverance', 'White Lightning' and 'Boogie Nights') and streams back to those 70s/80s gritty, hardboiled urban crime thrillers that weren't afraid to be forebodingly obscure and go out of their way to set-up characters, pack-it with realistically brutal force and effectively incorporate the local locations (Atlanta being the case here) to the fold with grounded photography. In certain shades it kind of reminded me of 'Dirty Harry', but that's loosely. However it's saucily honed blues score with its simmering kicks, funky shifts and unhinged sounds, very much had me thinking of Lalo Schifrin's pulsating score he orchestrated for 'Dirty Harry'. The music soundtrack on the other hand is hit or miss.Sgt. Tom Sharky was an Atlantic narcotic agent before a slip-out during a bust saw him demoted to vice work. Along with his new squad they come across a prostitution ring, which catches their interest due to fact it's owned by one hard-to-track and to convict crime lord. What they dig up involves a prominent government figure and a call-girl which can give them some important names, but they must get to her before she's made a target.Burt Reynold's acts, but also directs in an unyieldingly firm and muscular fashion which would suit his laconically hard-nosed performance and Gerald Di Pego's thematically hard-bitten and taut screenplay (that was adapted from William Diehl's novel). Well he does show some sort of heart/insightful thoughts amongst that armor within the scenes involving the fetchingly able British actress Rachel Ward, be it the stake-out scenes when he's watching her from another building (and slowly becoming infatuated by her) to when they finally come together, but these latter interactions mid-way through do slow up the momentum but give it noir like strokes. The performances are fairly spot on with Reynold's formulating a great rapport with exceptional actors Charles Durning, Earl Holliman, Brian Keith, Richard Libertini and Bernie Casey. The scathing profanity and witty dialogues between these guys were a blast. As for the corrupt villains, Vittorio Gassman builds imposing strength and power, but it's Henry Silva (who seems born for these roles) icily cunning and unstoppable turn that makes the show. Where his appearance seems to outline things to come and help them fall into place. Plus his adrenaline-filled and violent cat and mouse climax with Sharky and his team is brilliantly done.The exciting action passages might be quick and dry, but remain lethally violent like an immensely teeth-grinding interrogation sequence. Some handy, old fashion filming techniques add to the suspense. The intriguing material keeps it quite tactical being character derived, but when we think its smooth sailing it offers up a blunt surprise or two along with some intensely brunt confrontations.