Since Paul Kersey was running short of actual relatives to avenge, the third installment in the "Death Wish" saga revolves on him returning to New York to visit an old war buddy. He arrives only to find out that Brooklyn entirely changed into a pauperized gangland and that youthful thugs killed his friend and continuously terrorize all the other tenants of a ramshackle apartment building. Kersey strikes a deal with the local police commissioner, conquers the heart of his blond attorney, blows away numerous villains with an impressive Wildey Magnum gun and gradually trains & inspires the petrified New Yorkers to stand up for themselves. Okay, there's no more point in defending the "Death Wish" series after seeing part three. The 1974 original was a masterpiece that revolved on the social drama as much as it did on the retribution and, even though it was pure exploitation, part two still had quite a few redeeming qualities and at least the events were a logically linked to those occurring in the first. Number three frequently feels like a totally separate franchise. Apparently, Kersey isn't an architect anymore, he's ten times more social and talkative than he used to be and suddenly nobody, not even the police, is against vigilante actions anymore? All these changes and several other aspects make it more than obvious that Michael Winner and Charles Bronson reduced their "Death Wish" success to being a purely brainless and exploitative action series, with a death toll that gigantically increases with each episode, armory that becomes more and more explosive and criminals that get nastier, sleazier, meaner and a lot harder to kill. However, the gentlemen didn't seem to realize that the non-stop spitfire of violence actually creates an opposite effect, namely this extremely monotonous and much more boring than the previous two. I once read a brilliant review that referred to "Death Wish 3" as the pure definition of cinematic masturbation. This description couldn't be more spot-on, as the script tiredly moves itself from one repugnant execution sequence to the next. Particularly the final twenty minutes are a complete "orgy" of gunfire, explosions and executions realized through improvised homemade measures. Yi-Haaa! This entry in the series has quite an interesting supportive cast, including Martin Balsam ("Psycho", "12 Angry Men") as the fatigue neighbor who keeps machine guns in his closet, Ed Lauter ("Family Plot", "The Longest Yard") as the slightly unorthodox copper and even Alex Winter (from "Bill and Ted's Excellent Adventure!) in his debut role as one of the thugs.