Hellen I like the storyline of this show,it attract me so much

BlazeLime Strong and Moving!

Portia Hilton Blistering performances.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Leofwine_draca Mistakenly released in the US as a horror film, THE EXECUTIONER (the European title) is one of Umberto Lenzi's first crime flicks, pairing up two of the biggest names in Italian polizia cinema - Henry Silva and Tomas Milian. This also happens to be Lenzi's most sadistic crime film of all, miles ahead of even the gruesome violence in VIOLENT NAPLES and the cold brutality of THE CYNIC, THE RAT AND THE FIST. It's a downbeat, nihilistic tale of a kidnapping gone horrifically wrong and a weaselly, immensely hateable street thug turned gang boss, as played by Tomas Milian. Lenzi concentrates on his political themes of the poor revenging themselves on the rich as a basis for Milian's character and once again we're "treated" to scenes of the upper class being abused, humiliated, and mercilessly killed by lower-class street thugs.This was Milian's first time playing a really nasty bad guy, a slimy, slightly insane criminal, and it was a role he would revisit throughout his "polizia" films, whether playing a crippled hunchback or a slick greasy gangster boss. He's scarily good in the role, creating a character you really love to hate, and puts his all into the performance. Some might call him hammy but his mannerisms and delivery of dialogue are spot on for me, a really memorable villain and one of the best - or is that worst - in the genre. Amongst other activities, Milian kills a security guard for what amounts to a couple of pennies; machine-guns a man in cold-blood; turns a mild-mannered robber into a murderous thug through the use of drugs; enters a house party and rapes then violently massacres the inhabitants; and bumps off loads more people by the time the credits role.This is hardly cheerful entertainment, but Lenzi makes it watchable thanks to assembling a large degree of talent both in front of and behind the camera. Technically, the film is superior with good camera-work and some excellent scenes of action, including the fine opening car chase (footage from this turned up in later Lenzi flicks) and plenty of shootings and what-not. Between the action there's plenty of suspense and hot tempers to keep things gripping. The film is pretty bloody and gory in places, earning Lenzi's reputation for violence, and the action is bolstered by a strong Morricone score.The familiar Euro-cult cast includes the beautiful Laura Belli playing the unfortunate kidnap victim; giallo regular Anita Strindberg as Milian's girlfriend, and Ray Lovelock as the young, inexperienced gang member. Stealing his scenes is an ever-present Henry Silva as the grimly determined police Inspecter Grandi, following Milian's trail of destruction right through to the end. Another fine performance from Silva here with plenty of hard stares and snappy dialogue as he chases after the villains. Finally, bringing up the rear are soon-to-be-Lenzi regulars including Bruno Corazzari, playing a policeman this time, and Luciano Catenacci as yet another violent bad guy, but no moustache yet. Despite the grim and unpleasant subject matter, Lenzi has created yet another madly entertaining and intermittently exciting crime flick of huge appeal to genre fans.

Bezenby Yet another winner from Umberto Lenzi, one of the masters of the Italian Crime movie (and there are many). For this one, he focuses mainly on the exploits of Guilio (Tomas Milian), a psychopath out for that one big score, who struggles to keep his insanity in check.Julio's just botched a bank job by getting a bit paranoid and killing a traffic cop, and after receiving a well-deserved kicking from some gangsters, he heads off to his girlfriend's house to mooch some cash. When not getting a kicking or mooching, Guilio hangs around with his petty thief mates, preaching about a big score. After killing yet another cop while being caught stealing from a cigarette machine, Julio stumbles upon his plan – to kidnap the daughter of a wealthy businessman and hold her for ransom. He's got two problems with this plan. The first problem is that Cop Henry Silva is on his trail ever since the murder of the cop at the cigarette machine. The second problem is that Guilio is a complete psycho and kills without thought, leaving a trail of bodies for Silva to find. Silva himself has a problem – he's a victim of the apathy and red tape of the Italian crime system and his fury grows every time he's held back from stomping all over Guilio's head. Although Almost Human is violent and sleazy, it's not as over the top as Violent Naples or The Rat, The Cynic, The Fist. Those two films had a larger cast, more car chases, and more characters to be killed off in various ways. Almost Human on the other hand is Milian's show all the way. Despite, according to the interview on my DVD, Milian being a bit full of himself, he really can act and here he displays every side of a sociopath, from a screaming murderer to a grief stricken boyfriend, to a begging, pathetic weasel (the switches in personality are really impressive). As the film concentrates almost exclusively on Milian, it's slower paced but not without it's set pieces, from Milian and his gang crashing a party, to Milian's drive with girlfriend Anita Strinberg out into the country. I'd say the title doesn't just refer to Milian, but also to Silva, who displays little emotion throughout the film, save his rage against Milian. I recommend this and all the other Lenzi crime movies I've seen: Violent Naples, The Rat, the Cynic, The Fist, and Syndicated Sadists. It's a pity he got bogged down trying to outdo Ruggero Deodato with those vile cannibal flicks, because it's with the crime genre he excelled at.

bensonmum2 Given my limited experience with Italian crime/cop films, this is easily the best I've seen. Tomas Milian is Giulio Sacchi, a small time crook with big time dreams. He shows no hesitation or remorse when it comes to killing. He will kill anyone who he thinks is in his way. He even kills a policeman for the change from a cigarette machine. He hatches a plan to kidnap the daughter of a wealthy man. That's when all hell breaks loose. Anyone, and I mean anyone, in his way had better watch out.Almost Human is incredibly violent. At times, I was reminded of vicious nature of movies like The Last House on the Left. It's that sadistic. One of my "favorite" moments has to be when Sacchi and his pals tie three people from a chandelier and torment them physically and sexually before finally filling their bodies with bullets. It's an incredibly brutal scene that goes a long way to showing how demented Sacchi really is.Milian has always been a favorite of mine, but the more I see of his work, I become even more impressed. While I may have liked his portrayal of Rambo in Syndicate Sadists more, there's no denying how good he is at playing Sacchi. The rest of the cast is also very good. Henry Silva, as the cop who won't stop, and Anita Strindberg, as the doomed girlfriend, really standout.

Giovanni rossi A claustrophobic brilliant movie, I think it's more about an italian social class disorder than milian being a criminal,his the regular working class guy pissed of about being poor, and in Milan more than any other region in Italy, the social class is very important, and very very present, when milian kills all those people, you feel bad for them, but on the other hand you can see his mission, and you feel for him, in the end when he pulls it off, you almost feel relieved, anyway this movie is a real movie just like "il Boss/wipeout" and it deserves to be watched, the only problem with this movie and "il boss/wipeout" is that after you see these movies every other movie will seriously bore you, and you'll find no depth in them. After I seeing these movies, personally, I couldn't watched anything else for at least 2 weeks, I tried, but I wasn't able to. This movie is powerfull and most of all real