Dirty Harry (1971)

Jones calls it a masterpiece of action filmmaking and Eastwood’s best outing as Dirty Harry. He praises Don Siegel’s tough, crisp direction and Eastwood’s hard-boiled screen persona.

The critic regards the film as landmark cinema and an enduringly cool, influential achievement. He singles out Eastwood’s virtuoso performance and Siegel’s assured orchestration of the action.

The page is a review of the 1971 film, but the available text does not reveal the critic’s overall verdict. Its description highlights the screenplay’s Kurosawa influence and its provocative antagonists.

The page is inaccessible, so the critic’s verdict cannot be verified. Its headline identifies a review of the film, but no praise or complaint is available to summarize.

Ebert’s verdict is negative. He objects to the film’s vigilante politics and its portrayal of justice.

The critic finds the film shallow and its glorification of brutality phony, despite competent action filmmaking. They single out its plot holes and Eastwood’s inert performance as major weaknesses.

Kael argues that the film is deeply immoral propaganda for vigilante police power. She acknowledges its expert suspense craft, but criticizes its simplistic politics and relish for violence.

Brew calls the film a cracking, still-relevant classic and considers this a strong but not compelling upgrade. He particularly praises the included Eastwood documentary and the performances of Clint Eastwood and Andrew Robinson.

Munro presents the film as a defining, nihilistic thriller that questions the meaning of justice and American ideals. He singles out Bruce Surtees’s stark, shadowy cinematography and the film’s recurring religious imagery.