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

Despite being a particularly vicious entry in an already violently vicious genre, "Big Guns" aka “No Way Out” is a pretty classy affair. The film hums at a hurtling pace (as soon as it gets going i.e. wifey and brat go boom!), and Tessari has a real commitment to staging the action scenes as brutal and operatic as possible, keeping viewers interest throughout (like for instance the huge fish tank in one of the bosses house. You know it’s going to play into the eventual murder set piece, but when it finally does it’s even more spectacular than you were expecting).

But getting the gig directing Alain Delon, in his first (and only) Italian crime picture, brings the best out of the filmmaker (no lazy zooms, no forever fiddling with the focus before the camera assistant finally finds it, no sloppy post-sync flubs, and unlike a lot of pasta-land pictures, a real attempt at sound editing). And that’s partly due to Delon’s presence, Tessari’s larger then normal budget, and longer than normal shooting schedule, and his effective mimicry of J.P. Melville.

“No Way Out” doesn’t play like an Italian crime picture done in the style of J.P. Melville. It plays as if Jean-Pierre Melville came to Italy in ‘74 and made a violent Hit Man movie with his boy Delon. In fact if you want to view the whole film as a de facto sequel to “Le Samurai”, go ahead.