Baretta 2.1

Paul Williams . Another overly-sentimental story. At its core the tale is good, but making Sandy a friend of Tony and giving him a sister in a wheelchair pushes it over the edge into schmaltz. The tragic ending can be seen a mile off, and when it arrives it has no impact whatsoever. Performances are good, however. 5/10

Baretta 1.12

Despite elements that work really well, this is a weak and disappointing episode.

• The resolution is good. Downbeat. The killer gets away scott free, because Tony can’t prove that he did it. Also: Tony doesn’t find the missing girl, because she’s not really missing: she committed suicide. Those scenes are excellent.


• The story doesn’t seem like a good fit for this show, and for most of the runtime it looks and feels like an episode of a private eye show. Aside from that, some parts of it are silly and unconvincing. The central murder, for instance, makes no sense.

4/10

Baretta 1.11

Margot Kidder, Nicholas Colasanto. Story is overly sentimental, but the performances are top notch. Colasanto is chilling as a mobster. 7/10

Baretta 1.7

(George DiCenzo) A revenge story with a Roy Huggins twist. Serious, heartfelt. Great action finale, too. Man, Tony is cool. 8/10