Almost Human (1975)

Brilliant and touching

Pretty good movie overall. First half was nothing special but it got better as it went along.

The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Not sure what went wrong here. I like a good poliziotteschi (Massimo Dallamano's 'What Have You Done To Solange' and 'What Have They Done To Your Daughters' being two of the finest examples of Italian 70s cinema I can think of) and I'm also not adverse to some of Umberto Lenzi's grindhousey campfests either ('Eaten Alive' being a personal fave), but for some reason 'Almost Human' was a bit of a struggle to get through.It's not without its moments of tension and typical giallo style nastiness, but nothing could disguise the strictly amateur hour feel of the whole thing, which smacked of both trying too hard and yet somehow not trying hard enough to engage the viewer. All the noise, sleaze, action and violence weren't enough to conceal a pretty self indulgent and ultimately directionless shaggy dog story. The dubbing, script and acting weren't even bad enough to be funny either. Overrated for my money, and I'm mystified by the largely excellent reviews on here.

Sensational Poliziotteschi from Umberto Lenzi, set in Milan(Italy) stars Tomas Milian, in a terrific(..and terrifying) performance as a sadistic homicidal thug who is the mastermind behind the kidnapping of a politician's daughter for a major ransom. His scheme seems to be going without a hitch, but his psychopathic tendencies can only continue for so long before he eventually hangs himself at some point. Henry Silva, intense and smooth as ever, is the detective out to catch him. Ray Lovelock and Gino Santercole are Milian's accomplices. The delectable Anita Strinberg has a small role as Milian's doomed lover, whose vehicle and sexual favors are used on a regular basis. The beautiful Laura Belli is the innocent kidnapped by Milian whose fate doesn't have a very promising outlook. Luciano Catenacci makes the most of a secondary role as a dangerous Milan mobster for whom Milian has worked for..Milian's dealings with Catenacci have been worrisome affairs due to his violent and unpredictable nature(..not to mention Milian's screw-up during a planned heist when he murders a street cop in cold blood). Guido Alberti is the politician Milian wishes to milk for half a billion. Strinberg was an employee of Alberti, and Milian's idea just came about out of sheer desperation for some cash. Milian creates quite a frightening persona in his unhinged hood, always tearing into his bubble gum, twitchy and unstable..the kind of character that is spontaneous and destructive.The opening car chase through Milan is riveting as the police chase after Catenacci's hoods with Milian in tow, when a bank robbery goes awry. Those that consider Lenzi an unaccomplished director should take a gander at ALMOST HUMAN, because the pacing is incredible as is the emphasis on moving the story along without unnecessary set-backs. Ernesto Gastaldi's unpretentious screenplay focuses on the plot while also providing the cast(..particularly Milian, Silva, and Lovelock)with chances to further expand their characterizations. The film is ultimately a showcase for Milian because the story itself derives from his impulsive and criminal activity..he is the source for all the horror that takes place throughout, the lightning rod if you will. The aftermath, once the money drop takes place, is certainly shocking, perhaps leaving a bad taste in your mouth, but it shows that Milian's scumbag is devoid of humanity, with no moral compass other than his own goal of attaining wealth through any means necessary without being caught. Following the DIRTY HARRY model, Silva soon realizes that he must take the law into his own hands since going by the book hasn't helped keep a murderer off the streets..appropriately downbeat ending even after revenge was served because so many were left dead by Milian's deeds. The most unsettling sequence would have to be the result of a massacre at the hands of Milian who attacks a bourgeoisie gathering, with even a little girl being shot and killed(..the "roulette by chandelier" with two women hanging, with their breasts exposed, as Milian opens fire is rather horrifying).

ONCE upon a time in Italy the "poliziottesco" movie. Titles like "Milano odia", "Roma violenta", "Torino nera" ecc. were common and that is significant to understand the 70, with fear of terrorism, austerity after the bachanal of the '60 boom. So, according to the Siegel line, Lenzi creates probably his best movie. Tomas Milian is the ideal actor for that kind of loser, raged agaist the richs but without ideals. Only ferine rage hopelessy. So today this film illustrated well the clime of grey tension of that years. In the days of his issue someone shout that it was a "fascist" movie, only because the cop (Silva) can applies his revenge not as a policeman but as a private citizen...this is a little bit siegelian... The only thing than Lenzi could make better is to realize a more significant characterization for the figure of Henry Silva, wich substantially is marginal in respect of Milian. But we all know that the importance of the movie is based on the shoulder of the loser. All in dark, dirty locations with bad wearing...Once upon a time the '70!!!

Not an horror film, yes, but one of the best movie about pulp, filmed when Quentin Tarantino's mother blowed his nose yet ! In "Milano Odia" you can view Tomas Milian at his best and director Umberto Lenzi saw "the light" in this ultra-violent movie. See this bad film before it's too late.