Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Dotsthavesp I wanted to but couldn't!

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

Brenda The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

ajrcvr The preeminent characteristic of this movie is that it makes you feel as if you're actually there during these "hard times" of the early 20th century, which pretty much everybody had during those days; worse once the Depression hit. Charles Bronson's character of Chaney is a mysterious man whom we never get to learn too much about - where he comes from, why he wanders about the country, how he got to be as good a fighter as he is - but he definitely developed his persona and expertise from somewhere, and it's best leaving it at that, since how he got to this state is a whole other story, which they don't tell. The story they do tell is about this man who is, appropriately enough, a drifter, travelling by train from one town to the next, making his living with his fists in street fights for pay; and he's very good at it, obviously has been for quite awhile. Chaney lives his life simply, getting along without any complications or sophisticated necessities. He meets up with Speed, a small-time promoter, who can get him into some decent fights. Strother Martin, "Poe" in the story is a friend of Speed's and becomes the medical man (He has 2 years of med school). Chaney has some fights, wins some money, and then is prepared to drift somewhere else again. He is a very cool character and the fight scenes are pretty well done. Having Coburn & Martin as backup characters surely helps the drama in this very well done and expertly directed piece.

FilmCriticLalitRao 'Boxing pictures' is one of the most popular genres in American cinema. This genre aims to depict class and the tensions arising as a result of the boxer's desire for individual glory and the wider socio-economic forces that shape the fighter's identity. Hard Times has achieved a unique position in the realm of this genre for its effective use of a popular sport to depict tough times in American history and their impact on ordinary people. For his début film, director Walter Hill chose to delineate hardships faced by ordinary people in Louisiana during the Great depression. It was during such depressing times that men were instantly hooked to boxing which provided necessary thrills aimed at entertaining a public which had means to pay for bare knuckle fights. Although it can be said that actor Charles Bronson carried the film on his shoulders, there are some good performances by James Coburn too. Watching their team succeed, one is led to believe that a man has to use his hands as effectively as his mind. One thing which can bother some viewers especially the weaker gender as there are some absolutely negligible roles for women.

Scott LeBrun In this excellent period piece, a clean shaven Charles Bronson has one of his best ever big screen roles as Chaney, a hard luck loner in Depression era America. He arrives in New Orleans by train and discovers that he can make money using his fists, by becoming a bare knuckled street fighter. He hooks up with a slick gambler named Speed (James Coburn), who arranges his bouts. Things go well for them for a while until Speeds' irresponsible way with money begins causing problems. Speeds' mobster associates lean on him to repay his debts, and a prominent, well dressed gambler named Gandil (Michael McGuire) agrees to foot the bill IF Chaney will take on Street (Nick Dimitri), a fighter from Chicago.This marked the directing debut for a young Walter Hill, who'd achieved some success in Hollywood as a screenwriter, writing or co-writing things such as "Hickey & Boggs", "The Getaway", and "The MacKintosh Man". Here Hill brings his talent for creating striking male milieus to the forefront, telling a story of struggling to survive during a bleak chapter in American history. With the assistance of a solid crew of professionals including editor Roger Spottiswoode, art director Trevor Williams, and director of photography Philip H. Lathrop, he captures on screen an incredible evocation of the N.O. of the 1930s. The music by Barry De Vorzon is wonderful. The fights are well choreographed and always feel very convincing; still, this isn't as violent as some reviews may lead you to believe.The acting is solid all the way down the line, with an assortment of familiar faces to back up the stars. Bronson was still a fine physical specimen in his 50s and delivers a typically low key performance; Coburn is great fun as the outgoing handler. Bronson once again acts opposite his real life spouse Jill Ireland, who plays a feisty love interest. Strother Martin is a delight as always as Coburns' cheery associate. Also appearing are Margaret Blye as Coburns' perky fiancée, Felice Orlandi and Bruce Glover as mobsters, Edward Walsh as the sleazy Pettibon, Robert Tessier as smiling fighter Jim Henry, Frank McRae as a heavy, and, in his film debut, an uncredited Brion James.This is compelling all the way and well worth a viewing for fans of action and drama, with a kick ass final fight between Chaney and Street that works even without music to accompany it. Recommended.Eight out of 10.

Simon Harris Walter Hill has a way of stripping action movies down to the bare minimum, both in terms of dialogue and story. There is hardly a story here at all. Broke drifter rides the rails into depression era New Orleans, and starts winning his way through the local bare knuckle boxing community. Simple. In Hill's hands, it's a masterpiece, and a large part of that is down to Bronson who was such an all encompassing screen presence. Bronson was 54 when this was filmed, but physically he looked about thirty, and he carried the fight scenes off with a certain style that even stands up today. His fight with Jim Henry (Tessier)is equally as good as the final battle with Street, and there are a several other good set piece fights as well as these two. Coburn deserves a mention as his wheeler dealer opportunistic fixer, and he steals a few of the non fight scenes, but Strother Martin as the opium addicted cut man, Poe, is equally deserving of praise "You are not, Mr Chaney, what Speed unfortunately refers to as a bleeder". Bronson moves through the film with a reserved laconic nonchalance in the non action scenes, but comes to life when he starts throwing punches. There's some funny and quotable dialogue, a scene where some less than sporting southern redneck gentlemen are given their come-uppance at Chaney's hands, and a no frills ending that makes you wish there was a Streetfighter II. But that would have spoiled things. Watching this is a great way to spend an evening, and this could be Charles Bronson's finest hour.