Across 110th Street
Across 110th Street

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- 70/100 based on 6,820 votes

In Harlem, two Italian mobsters meet three black gangsters that work for the kingpin Doc Johnson to collect dirty money from their associates in an apartment building. Out of the blue, the small-time thieves Jim Harris and Joe Logart knock on the door disguised as police officers to steal US$ 300,000.00 from the Mafia. However, they startle when the suitcase with the money falls on the floor and Jim kills the five men with a machine gun. They flee to the runaway car driven by... (Full plot summary below)

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Actors in Across 110th Street:

Anthony Quinn
Yaphet Kotto
Anthony Franciosa
Paul Benjamin
Richard Ward
Antonio Fargas

Full Plot Details

In Harlem, two Italian mobsters meet three black gangsters that work for the kingpin Doc Johnson to collect dirty money from their associates in an apartment building. Out of the blue, the small-time thieves Jim Harris and Joe Logart knock on the door disguised as police officers to steal US$ 300,000.00 from the Mafia. However, they startle when the suitcase with the money falls on the floor and Jim kills the five men with a machine gun. They flee to the runaway car driven by Henry J. Jackson and they kill two policemen. The idealist NYPD Lt. Pope and the violent Capt. Mattelli investigate the case while the Italian Mafia and the black gangsters hunt the killers down. Will Jim Harris and his accomplices be found?

Review & Comments

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Movie Reviews

ColeSmithey.com - 9/10 by Cole Smithey[VIDEO] As exaggerated as the violence appears, it is in keeping with the social climate of the time. No punches are pulled, and rightly so.
PopMatters - 9/10 by Christopher SievingViolence, especially violence at the expense of the black community, has seldom been more candidly dissected and critiqued in American film as it is in Across 110th Street.
Blu-ray.com - 8/10 by Brian OrndorfGritty and mindful of perspective, the feature is a bruising examination of power and desperation, filled with energetic chases and fiery confrontations.
EmanuelLevy.Com - 7/10 by Emanuel LevyOne of the best actioners of the 1970s, this unpretentious film benefits from sharp editing, on-location shooting and strong acting.
Variety - 6/10 by Variety Staff[Across 110th Street] is well-made, realistic in presentation and effect with uniformly good portrayals from actors, but depressingly lacking in a sympathetic focal point for audiences to grasp.
Time Out - 6/10 by Geoff AndrewIt's a gutsy affair, given a distinct lift by the Harlem locations; and between the bouts of physical aggression, there are occasional moments of insight into the fraught relationship between Quinn and Kotto.
Radio Times - 4/10 by Adrian TurnerBarry Shear's picture tries to be hard-edged and aim for realism, but doesn't always succeed.
User Review - 10/10 by Adam DBlaxploitation movie? I guess I can see why people default to this classification, but.... no. Buddy cop movie? I mean, the cover's got a black cop and a white cop on it, but.... definitely the fuck not. Mob movie? Not really.... no. Crime-drama? I guess this is the closest we're gonna get, and I'll spare you the rest of the genre arguments I could be having with myself and settle with that one. A distinct soul track plays under the opening credits, and for me that was hugely misleading. I'll get to why.... sorta right now, also later, I guess. This movie has bronze fucking balls. Nah. Balls of adamantium. There are scenes here in which you think the conflict at hand has been resolved, that no more searing words will be exchanged, that every one has said what he needs to say, and the scene will end. Not the case. This movie takes some scenes several (underlined) of these steps past how far I feel most other movies would go. Very very intense, with great performances all around. The idea of protagonists and antagonists is obliterated. No character, save perhaps for Yaphet Kotto's (and a few of the minor women characters), is truly innocent here. And yet, every major character, including the Italian prick, is developed in at least one scene. Indeed, some of the 'bad guys' are far more empathetic than some of the 'good guys.' Another interesting thing at work here is the dichotomy between power and strength. The Italian prick and Anthony Quinn characters have power, but little if any strength to resist the will to abuse it. Two of the three-man "crew of gun-totin' gangstas" (as the movie's box fucking stupidly calls them) are among the strongest characters in the movie, but are set to be buried beneath a shitstorm from every other group of power here. I think the Kotto and Doc Johnson characters are two figures who maintain their strength as well as positions of power. Getting back to the main reason why the opening led the way for the rest of the movie to catch me with my pants down: the violence. The violence is not so much 'realistic' as graphic, brutal, bloody, and... often. Yet not a single act of violence here feels gratuitous. This movie has balls, indeed, but not because of the level of violence in general. This isn't one where you cheer at your screen due to the badassery ensuing. It's cautionary. It's anti-violence. Again, much of it is truly fuckin' brutal, and the movie rarely defaults to cartoonish levels of violent fun. There's in fact one instance I can recall of this being the case. It's an extremely complex movie, but one effortless to follow at the same time, and that's fully to it's credit. We're emotionally invested in so many characters on so many different sides, it's amazing. There are so many cripplingly powerful moments, whether character-based or due to a shocking outbreak of violence, I found myself quietly muttering "ohhhh shit," and "hooooly fuck" a number of times. Very highly recommended. It's really a shame this movie is so misplaced by its packaging and genre-labeling and so overlooked in general. Sam Cooper and John Papp MUST see this one. Oh, and Richard Ward speaking of his own character in saying "This is me: Doc Motha Fuckin' Johnson" is possibly the COOLEST instance of "motha fuckin'" I've EVER heard.
User Review - 10/10 by Toni BThe story is grim, bleak and violent and the grit and grime of Harlem is present in every scene. The movie's theme is black vs. white with no subtle shades of gray. Three black men steal money from the Mafia, who control Harlem and do a lucrative numbers business in that community. The robbers are disguised as policemen but that ruse eventually comes to light, and the Mafia search for the men, not only to reclaim their money but to teach the brazen thieves a savage, brutal lesson.
User Review - 10/10 by Andy KThere is debate about whether this film should be classified as a blaxploitation film, or as a forerunner to those films. I'm on the fence about it (for now), but one thing is certain regardless: this is an outstanding, well made and pretty solid crime film in its own right. I could ramble about this one for a while, but just for the sake of time, I'll just try to keep it short and say that I love how this film manages to be gritty, violent (I was surprised at how violent this ended up being), and entertaining, yet still retain a hearty dose of intelligence and substance. That's probably why this film usually gets a fair amount of praise from the critics and intellectuals who normally look down upon blaxploitation and urban crime films. There's tons of subtext, yet none of it is too heavy handed or preachy. Another great thing about this one is the acting. Anthony Quinn and Yaphet Kotto each give wonderful performances that are multilayered and believable. The music and cinematography are also quite nice, although I feel it necessary to give a mild jeer over the fact that the climactic ending is supposed to be in Harlem but was actually shot on location on the Lower East Side. The rest of it was filmed in Harlem, so why not the whole thing?

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