Then, it turns out that the cops' way of repenting for what they've done (only subconsciously, mind you), is to create a massive fiction surrounding another murder. It's a mean jab at the other cop films of the time (and later on as well), and it's refreshing at that. Great ending, too.
Aldrich is an extremly underated director,who managed to survive the collaspse of the studio system and turn out key genre works in the late 60s and 70s .
This is one of his toughest genre films and Reynolds puts in a real grade A performance.
Reynolds is on pretty good form here as cop who has to deal with lowlifes and politicians who escape justice while ordinary folks are denied that justice.
When a girl turns up dead on a beach in LA the father(An excellent Ben Johnson) wants justice and Reynolds just wants to move onto another case.
Amid all this Reynolds is in love with call girl Catherine Denuve who has connections to the seedier elements of the high rolling class most notably Eddie Albert.
The script by Steve Shagan is a bleak world of the LA we never see and Aldrich adds to that seedy touch.
Leonard Matlin hates this movie and although it has its flaws i think its a film which gets better with age especially considering some of the dreck Reynolds would later churn out.
as his characters says in the film, "those bastards never die".