jeżeli twoje dziecko najbardziej na świecie kocha filmy, a ty najbardziej na świecie kochasz swoje dziecko, to kup mu spekulacje o kinie, pozakulisowy apendyks:

Like Alain Delon does to the mafia dons in No Way Out, and Dr. Phibes does to the doctors in his vendetta, Bonet and Louie individually take out the no name special guest stars playing the gargoyle slumlords. One lawyer is punched to death by a karate fist thrust through a car window, there’s a poison death ala-You Only Live Twice, and one unfortunate brother gets a bag of hungry rats tied to his face (ala-bag of snakes in Johnny Firecloud). And the main slumlord is variously pierced and sliced. And (surprise!) the main hit man working for the big bad slumlord is none other than the local martial arts instructor/mentor, who gets cut up and tossed off the building to his death.

Director Robert Warmflash keeps the fight blocking convincing in this ‘77 martial arts entry (Bonet could have joined the team in Force Five, he’s at least preferable to that Kill or Be Killed South African goon James Ryan). Norbert Albertson Jr.’s screenplay (which includes opening narration) barely qualifies as a story. But the Manhattan location photography of this era of New York in the seventies can’t be beat. A New York exploitation movie shot by New Yorkers for other New Yorkers has the feeling of a legitimate piece of regional cinema. Really only same era all male porn has this kind of New York authenticity. A lousy rock group named Opus, under the direction of composers Mike Felder and Bill Daniels, sing the lousy opening credit song. Nevertheless, the whole tenement slumlord angle sticks in the mind and offers the flick a unique backdrop.