Fantastic!

I have absolutely never seen anything like this movie before. You have to see this movie.

One of those movie experiences that is so good it makes you realize you've been grading everything else on a curve.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Simply put, this is well and truly one of the most overrated movies of all time.

The French Connection is one of the best action thrillers ever made. The story is about two under cover agents who are investigating a big drug deal. The target was so intelligent and hard to track down. In order to obtain proper evidence against the target, the two cops follow him though out.One of the best chase sequence in the history of cinema was from this movie. The making of this chase sequence is so popular. Most of the incidents including an accident was real. One of the best action films that you don't ever miss. Highly recommended.#KiduMovie

I had never seen this much lauded movie from 1971 about New York City police detectives intercepting a heroin shipment from France. The first thing that struck me when watching the film was the grimness of 1970s New York City, its highways, streets and subway are excellently captured by the director with its sounds of street horns replacing the need for a soundtrack. The main characters are police officers Jimmy "Popeye" Doyle (Gene Hackman) and his slightly younger partner Buddy Russo (Roy Scheider). Hackman and Scheider both look so young when I consider there later roles in films such as Jaws (Scheider) and the Superman franchise (Hackman). Popeye (not the cartoon character!) is an overtly racist, streetwise cop whilst Russo is the calming influence in the partnership! The drug side is led by Marseilles entrepreneur Charnier (Fernando Rey), the late Spanish Rey is perhaps best known for his work on some of Luis Buñuel films and has a filmography as big as anyone! Tony Lo Bianco who I only watched last week in the cult classic The Honeymoon Killers also has a role. The grime of New York is contrasted with the opulence of Marseilles and a brief scene in Washington DC. A chase sequence featuring a gas guzzling car of the era against an overhead Subway train is memorable for its editing and realism. The film won Best Picture, Director, Screenplay, Actor (Hackman) and editing Oscars. Whilst good I don't actually rate it as good as Dirty Harry starring Clint Eastwood. Again perhaps its is the grime of a cold, winter New York versus the relative sunshine of San Francisco? Also the film ends pretty downbeat with drugs being smuggled into New York via a Lincoln car, Charnier escaping the law and a ruined building scene.

I hope they paid Hackman triple. He's on the move the whole way, whether running, driving, or trailing. This is the iconic film that really put the move in the movies. In 60- odd years of viewing, this may be the most kinetic slice of film I've seen. Anyway, after so many reviews, there's no need to echo consensus points. Instead, just one brief note of historical comparison.All in all, I can't help noticing what a contrast this cop film is with those of the post- war 40's and 50's. Unlike the wholesome cops of that censorship era, Hackman's Popeye Doyle is often a menace to society. He cares only about nailing the drug deal, and if that means running over hapless civilians, so be it. A nasty aspect of this driven behavior is whether it's that same trait that makes him an effective cop. He's certainly not one to punch a time clock. Then too, actor Hackman has that monomaniacal stare down pat that lends so much to his character.I'm glad the screenplay doesn't shrink back from Doyle's final encounter with Mulderig (Hickman). That warehouse episode shows the logical outcome of Doyle's obsession, and one that apparently goes unpunished, thereby reflecting on the Department as a whole. Then too, there's the final disposition of Alain (Rey), which never would have happened during the censorship regime. As we were taught then-- crime never, never pays. Also, cops during those Cold War years were portrayed almost universally as both ethical and professional. And if one strayed, there was some kind of comeuppance—not exactly the way the real world works.So hats off to Friedkin & Co. for bringing a riveting sense of dramatic realism to that traditionally air-brushed genre-- the cop show.