Film

Three the Hard Way

A 1974 blaxploitation action film where Jim Brown, Fred Williamson, and Jim Kelly—three legitimate action stars—team up to stop white supremacists from poisoning Black water supplies. It's pulpy, propulsive, and genuinely stylish; a product of its moment that swings for the fences and mostly connects. For anyone curious about Black action cinema's golden age.

TMDb rating3.1

Should you watch it?

Watch it if you love blaxploitation-era action where the pulp plot is played straight and the pleasure lies in big, blunt set pieces and a trio of stars who carry every scene with swagger.

Skip it if you want tight, grounded storytelling; the plot leans on coincidence and villainy drawn in broad strokes, and the 1970s rough edges show in its pacing and production.

What it asks of you: About ninety-seven minutes, moving briskly with little patience for quiet interludes, so you give it your attention in short bursts of violence and banter rather than slow build.

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Shaft1971

The blueprint for everything that follows: Isaac Hayes' theme alone justifies two hours, and the film itself is lean, cool, and genuinely clever. John Shaft is a detective you actually want to follow.

But The pacing is languid by modern standards, and some plot threads dissolve rather than resolve. If you need constant forward momentum, you'll feel the drag.

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Foxy Brown1974

Pam Grier at her most commanding and furious. A woman taking systemic revenge is the entire engine, and she drives it with style, humor, and genuine menace. One of the decade's best action performances.

But The sexual violence is unsparing and presented without irony. It's narratively important but undeniably difficult, and the film doesn't look away from it.

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The Mack1973

Max Julien owns every frame as a pimp building an empire; it's a character study wrapped in crime thriller momentum. The dialogue crackles, the clothes are immaculate, and it takes its protagonist seriously without endorsing him.

But It's deeply misogynistic by design—that's the story—which some viewers will find unwatchable no matter how well-crafted the film is around it.

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The wildcard

Something you would not have found on your own.

Welcome Home Brother Charles1975

Both are early-70s revenge fantasies where systemic injustice is answered with direct action; *Soul Vengeance* just adds the supernatural element that *Three the Hard Way* implied.

A blaxploitation horror film where a man gains psychic revenge powers after being framed and imprisoned. It's genuinely weird—part thriller, part supernatural nightmare—and operates in a register no mainstream action film would touch.

But The budget shows, the logic is strange even for the genre, and it prioritizes mood and weirdness over coherence. This is intentionally marginal cinema.

Welcome Home Brother Charles poster
More like this (8)

Hit!1973

Billy Dee Williams leads a methodical revenge thriller with real stakes and a willingness to let consequences actually land. It's smarter than its premise and genuinely tense in ways that feel earned.

But The pacing is deliberate and front-loaded; it builds slowly and some will find the middle section slack before the payoff arrives.

Hit! poster

Coffy1973

Pam Grier's earlier (and meaner) revenge film has her playing a nurse turned vigilante with a sawed-off shotgun. It's got style, humor, and real anger driving every scene. Grier makes you believe the journey.

But The plot mechanics are slight and rely on some truly stupid decisions from the hero. If you need airtight logic, you'll spend the runtime frustrated.

Coffy poster

Black Mama, White Mama1973

A women-in-prison breakout film that's actually fun and weirdly feminist. Pam Grier and Margaret Markov have genuine chemistry, and the action sequences are inventive and playful rather than mean-spirited.

But It's deliberately trashy and lightweight. If you're looking for substance or character depth, this is a surface-level good time and nothing more.

Black Mama, White Mama poster

Super Fly1972

Curtis Mayfield's score is a masterpiece, and Ron O'Neal's cocaine dealer is smart, trapped, and sympathetic without being redeemed. It's about the seduction of power and the impossibility of escape, wrapped in cool.

But The narrative is fairly familiar once you've seen the first act, and the film knows it doesn't have many surprises left to deliver. Some find it more style than substance.

Super Fly poster

The Last Dragon1985

A rock-and-roll martial arts musical that shouldn't work but does, with real action sequences, infectious energy, and Vanity being absolutely mesmerizing. It's earnest, propulsive, and visually distinctive in a way that stays with you.

But The plot is paper-thin and relies on you enjoying the aesthetic and not asking questions. The music can feel dated in ways that break immersion for some viewers.

The Last Dragon poster

Hell Up In Harlem1973

The sequel to Black Caesar; Fred Williamson returns and the film leans into increasingly bonkers setpieces. It's pure cinema adrenaline without apology, which is exactly the point. Dumb fun with style.

But It is genuinely dumb, with plot logic that evaporates under any scrutiny. Also quite violent and occasionally sadistic in ways that feel gratuitous even by the genre's standards.

Hell Up In Harlem poster

The Godfather1972

Both films are obsessed with male loyalty networks and how power consolidates through trusted allies; *The Godfather* builds an empire, *Three the Hard Way* defends a community. Same structure, inverted stakes.

Yes, really. It's the most elegant corruption narrative ever filmed—a man building power through loyalty and ruthlessness, the cost of the enterprise never obscured. It asks why we're fascinated by dominion.

But It's three and a half hours, mostly quiet, and asks for patience. The mythology can feel heavy-handed. If you want action, not meditation on action, this frustrates more than satisfies.

The Godfather poster

Wavelength1983

Both center on a poison designed to eliminate a specific population; *Wavelength* internalizes the threat into one room and makes it philosophical. Where *Three the Hard Way* is action, this is paranoia.

Robert Machoian's experimental sci-fi thriller traps a woman in an apartment with a mysterious stranger. It's claustrophobic, paranoid, and builds dread through restraint and implication. Genuinely unsettling in ways big-budget action never is.

But It's slow, dialogue-heavy, and deliberately obscure about its own plot. There's no catharsis, just escalating unease. This is the opposite of popcorn cinema.

Wavelength poster

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