TrueJoshNight Truly Dreadful Film

Plustown A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

Siflutter It's easily one of the freshest, sharpest and most enjoyable films of this year.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Woodyanders Tough and determined ex-con Tyrone Tackett (a strong and commanding performance by Bernie Casey) infiltrates a sordid Los Angeles criminal underworld so he can exact revenge on the folks who killed his brother. Writer/director George Armitage relates the gripping story at a swift pace, maintains a hard-hitting gritty tone throughout, further spruces things up with inspired touches of dark humor, and presents a vivid depiction of a seamy milieu replete with choice seedy locations and a delightfully degenerate rogues' gallery of colorful lowlife characters. Moreover, Armitage makes a potent and provocative point on how revenge can strip a man of his humanity and reduce him to the level of a scary and savage monster. The fine acting from an on the money cast keeps this movie humming: the ever-foxy Pam Grier as brash porn starlet Gozelda, Lisa Moore as saucy motel proprietor Laural Garfoot, Bhetty Waldron as shifty prostitute Irvelle Way, Sam Laws as amiable used car salesman Sherwood Epps, Candy All as the bitter Rochelle, Don Diamond as slimy mobster Nano Zito, and Ed Cambridge as the irascible Theatis Oliver. Popping up in nifty bits are Marilyn Joi, John Daniels, and Paul Gleason (as a corrupt cop). The abundant tasty gratuitous female nudity provides lots of extra sizzle. H.B. Barnum's funky-chilling score hits the groovy jazzy spot. The sharp cinematography by Andrew Davis rates as another plus. Well worth a watch.

snicewanger I first saw this movie at a Blaxploitation Film Festival in 1992. Bhetty Whaldron and Roger Mosley {The Mack was also shown} were among the guest stars. Mosley admitted in the post film commentary the everybody knew that it was a black version of Get Carter. It came under fire at the time of it's release for it's racial stereotypes, but it was a big hit at the drive ins and neighborhood theaters across the country. Bernie Casey was better know at the time for his NFL career but would come to be regarded as a handsome and talented leading man and of course the incredibly beautiful Pam Grier was on her way to becoming a cult movie legend.This is a real guilty pleasure film and is a real time capsule piece to see how black men and women were coming to be regarded in 1970's cinema.

Uriah43 "Tyrone Tackett" (Bernie Casey") is a hit man for the mob in Oakland who flies back to his old hometown of Los Angeles to investigate the mysterious death of his brother. Once he arrives he gets very little cooperation from those who knew his brother and this causes him to dig deeper. Eventually clues turn up which indicate a possible Los Angeles mob connection to the pornographic film industry with friction coming from the local mob boss who doesn't like outsiders snooping around on his turf. Now, from what I understand there are a number of people who consider this to be a blaxploitation version of the movie, "Get Carter" which was filmed a year earlier. Having never seen that particular film I can't really comment one way or the other. What I can say, however, is that I found this movie to be enjoyable due in large part to the way this film kept me guessing as to what would happen next. Likewise, I thought Bernie Casey put on a pretty good performance. On the other hand, there were a number of good characters who I thought should have been given more screen time and I was rather disappointed that one of the ladies: "Gozelda" (Pam Grier), "Laurel Garfoot" (Lisa Moore) or "Rochelle Tackett" (Candy All) weren't given a more graceful exit. There were also some sex scenes and nudity which lacked any real passion or sensuality. It was just there. Even so, the film overall wasn't too bad and I rate it as slightly above average.

Chris Comley I'm not sure "remake" is the word - I've seen remakes of films which are *radically* different (e.g. McTiernan's ghastly attempt to improve on Jewison's Rollerball) and remakes which take the same basic concept but explore it in different ways (e.g. McTiernan's excellent reinterpretation of Jewison's The Thomas Crowne Affair) but this looks like the original script just fell through a computer program which replaced the dialogue with "hip blaxploitation" type dialogue, simplified a couple of the finer points of the plot for the hard of thinking, and then ran it out with little attempt at finesse. This is scene for scene, plot for plot, location for location, the same as Get Carter, right down to the final chase on big mining equipment near the beach, with a single exception - the last ten seconds of the film - and the change here makes no sense (here's where the spoiler hits, folks, stop reading now if you don't want to know)In the original, the hit-man shoots Carter on the beach. Here, the shooter unaccountably decides to leave our hero alive on hearing that the gang boss is dead. This leaves the watcher thinking "hey, our hero got away with it". But he didn't, how can he? He, like Carter, has left a trail of bodies across the county with no attempt to hide evidence or conceal his involvement. However much the plot justifies him doing this, he's still going down for murder. The hit-man's bullet is the cleanest exit.On a lesser note, the sound track I found strange, music typical to the age and style of the film, but uncannily reminiscent of Steve Austin's "running faster than the bad guy's car" theme from Six Million Dollar Man. Esp in the scene where our hero is running away from the bad guys' car.I'm also baffled by the shooting scenes - the "stage blood" is the worst I've ever seen, so bad I have to wonder if it's intended to be some sort of "stylised" representation. Marvelous stuff though - doesn't turn the water in the jacuzzi cloudy-pink even after the gunman turns the pumps on. Basically, I just can't see the point. If you want to watch a crisp, tight thriller with this plot, watch Get Carter (i mean the 1971 version with Michael Caine) and be happy.