this was one of those films i would always come across (be it on tv or cheap dvd) and but never struck me to give it a shot as i thought i wasn not missing out on much. it was on one night and i thought oh well why not. a good decision too and as i would kick myself for taking so long to get around to it. for me it left me impressed and as it up there with burt reynold best features (deliverance and white lightning and boogie nights) and streams back to those 70s/80s gritty and hardboiled urban crime thrillers that weren not afraid to be forebodingly obscure and go out of their way to set up characters and 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 and but that loosely. however it saucily honed blues score with its simmering kicks and funky shifts and unhinged sounds and very much had me thinking of lalo schifrin 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 and which catches their interest due to fact it 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 and but they must get to her before she made a target. burt reynold acts and but also directs in an unyieldingly firm and muscular fashion which would suit his laconically hard nosed performance and gerald di pego thematically hard bitten and taut screenplay (that was adapted from william diehl novel). well he does show some sort of heart or insightful thoughts amongst that armor within the scenes involving the fetchingly able british actress rachel ward and be it the stake out scenes when he watching her from another building (and slowly becoming infatuated by her) to when they finally come together and 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 formulating a great rapport with exceptional actors charles durning and earl holliman and brian keith and richard libertini and bernie casey. the scathing profanity and witty dialogues between these guys were a blast. as for the corrupt villains and vittorio gassman builds imposing strength and power and but it 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 and but remain lethally violent like an immensely teeth grinding interrogation sequence. some handy and old fashion filming techniques add to the suspense. the intriguing material keeps it quite tactical being character derived and but when we think its smooth sailing it offers up a blunt surprise or two along with some intensely brunt confrontations. 
this was one of those films i would always come across (be it on tv or cheap dvd) and but never struck me to give it a shot as i thought i wasn not missing out on much. it was on one night and i thought oh well why not. a good decision too and as i would kick myself for taking so long to get around to it. for me it left me impressed and as it up there with burt reynold best features (deliverance and white lightning and boogie nights) and streams back to those 70s/80s gritty and hardboiled urban crime thrillers that weren not afraid to be forebodingly obscure and go out of their way to set up characters and 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 and but that loosely. however it saucily honed blues score with its simmering kicks and funky shifts and unhinged sounds and very much had me thinking of lalo schifrin 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 and which catches their interest due to fact it 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 and but they must get to her before she made a target. burt reynold acts and but also directs in an unyieldingly firm and muscular fashion which would suit his laconically hard nosed performance and gerald di pego thematically hard bitten and taut screenplay (that was adapted from william diehl novel). well he does show some sort of heart or insightful thoughts amongst that armor within the scenes involving the fetchingly able british actress rachel ward and be it the stake out scenes when he watching her from another building (and slowly becoming infatuated by her) to when they finally come together and 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 formulating a great rapport with exceptional actors charles durning and earl holliman and brian keith and richard libertini and bernie casey. the scathing profanity and witty dialogues between these guys were a blast. as for the corrupt villains and vittorio gassman builds imposing strength and power and but it 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 and but remain lethally violent like an immensely teeth grinding interrogation sequence. some handy and old fashion filming techniques add to the suspense. the intriguing material keeps it quite tactical being character derived and but when we think its smooth sailing it offers up a blunt surprise or two along with some intensely brunt confrontations. ---------------------------------Answer Question Below----------------------------------

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