AllMovie

This sick yet slick entry in the Italian crime film cycle of the 1970's is an archetypal example of the form, mixing sleaze and action in a manner that is compelling and unnerving all at once. The script moves along at a snappy pace, punctuating its storyline with bursts of brutal, sometimes perverse violence, and Umberto Lenzi's direction gives the mayhem a crisp, clean visual style that one wouldn't necessarily expect from such a tale. However, the real secret weapons of Milano Odia: La Polizia Non Puo Sparare are the lead performances by Tomas Milian and Henry Silva. Milian gives an unforgettable performance, using his intensity and emotional range to create a villain who can shift from pitiful to terrifying in the blink of an eye. He makes it look effortless and that aspect of his performance makes the characterization all the more effective. Silva is given less screen time but effectively utilizes his stark visage and world-weary quality to make his scenes count. When he does get to strut his stuff in the third act, he makes an undeniable (and very 'macho') impression. The high quality of these performances, combined with the confident scripting and direction, make Milano Odia: La Polizia Non Puo Sparare a memorable venture into Italian crime filmmaking. The end result may be too grim and chilly around the edges for some viewers but anyone with an interest in this subgenre should check it out.