THE OG 'SHAFT' TRILOGY! 017.- SHAFT (1971, CRITERION 4K UHD)
Early enough at the start of the peak of the blaxploitation era to influence it, Gordon Parks' "Shaft" at first appearance looks like a typical action/message genre picture. A proud and overconfident black NYPD private eye who easily moves within downtown white NYPD elite circles as well as the uptown streets of Harlem, John Shaft (Richard Roundtree) can appear like a ruthless mofo to friend/foe alike while being gentle and caring to any female lucky enough to bed him. When Harlem mob boss Bumpy Jones (Moses Gunn) tries to push Shaft to work for him, Shaft pushes back on Bumpy's men as hard as NYPD Lt. Vic Androzzi (Charles Cioffi) leans on Shaft to share with him Bumpy's activities. A war between black militants, the police and mob families (black and Italian) is at stake due to the kidnapping of Bumpy's daughter, and Shaft tiptoes through a minefield to get the factions involved to help him find her. Even if it means confiding/assisting an armed militant black movement that wants Shaft's help, which he's wary to offer due to a personal set of ethics that keep him above tit-for-tat personal arrangements.
Isaac Hayes' ridiculously catchy theme song (which even the Academy Award was hip enough to reward with a 1972 Best Original Song Oscar) and score already put "Shaft" into the blaxploitation hall of fame. What separates it from even its own sequels or similar detective movies is the willingness to let the pace slow down (there's very little action/shootout violence for a 100 min. narrative) to let us see Shaft think his way through situations. There are times when cooperating with Androzzi would make things easier, or extorting more money from Bumpy to fund the black militant group could result in a bigger payday. But Shaft always chooses the method that'll help him get by without ever giving an inch to foe or ally, which in this black detective's world is a sign of weakness he's not willing to equivocate. That's how cool of a mofo John Shaft is. We want to see him come on top, and are willing to be patient and wait to see him figure things out. 5 LOVERS DISPLEASED WITH SHAFT'S POST-COITIOUS 'SHITTY' MANNERS (out of five).
018.- SHAFT'S BIG SCORE! (1972, CRITERION BLU-RAY) 019.- SHAFT IN AFRICA (1973, WARNER ARCHIVE BLU-RAY)
I'm lumping together both sequels because they share similar flaws that prevent them from breathing their prequel's lightning-in-a-bottle, rarified air of perfection.
Not having Isaac Hayes back to do the music hurts them both, although 1972's "Shaft's Big Score!" still sounds similar (title song boasting about Shaft's manly attributes, music score by Gordon Parks himself) and looks nearly identical to its predecessor (Urs Ferrer's cinematography). "Score!" also has the same screenwriter (original novel writer Ernest Tidyman), director (the aforementioned Parks), location (early 70's New York City) and even a couple of returning characters (Moses Gunn's Bumby and Drew Bundini Brown's Willy) for continuity's sake. Richard Roundtree is still the same cool mofo private dick, but this time it's personal for Shaft as the death of an old friend (and brother to a lady friend John happened to be plowing when he getst the call :-P) triggers a search for missing money ($250K) and a turf war among criminals. Alas, there's no subtext or hint of imperfection in this version of Shaft compared to its predecessor letting us see him use his brain to avoid conflicts. The final confrontation between Shaft and a helicopter with thugs armed to the teeth is pure brawn with no tension because we know John will come out on top. Not a fall from grace, just a disappointing sequel not living up to its full potential. 3 PLUSH COFFINS (out of five).
For 1973's "Shaft In Africa," new behind-the-scenes players (director John Guillermin, composer Johnny Pate, screenwriter Stirling Silliphant, cinematographer Marcel Grignon, etc.) and a studio-mandated change in style (Shaft is to be more of a James Bond-type hero) and locations (Africa, Paris, Spain and NYC for a blink-and-you-miss-it second) yield a more traditional (aka white) narrative. Shaft is convinced to go undercover as a lowly African worker in the dark continent to break a human trafficking ring, whose European structure leads to some explosive action shootouts in France and some "Roots"-type boat shipping antics (including going to bed with pretty white ladies taken by Shaft's... personality :-D). Richard Roundtree is still cool (his performance is consistent throughout the trilogy), but the shark is clearly jumped over by taking Shaft out of his element and into 007 spy territory. It's still a fun flick, but now feels similar to copycat blaxploitation competitors except for the studio polish/resources to make its action scenes stand out. 2.75 SHAFT NYC APARTMENTS LOOKING NOTHING LIKE THE PREQUELS (out of five).
So lucky that I wasn't spoiled about the singular narrative hook in this Jamaa Fanaka-helmed blaxploitation picture that elevates it above its LARGE group of peers. Any dumb PRICK could have easily spoiled it for me, and it wouldn't have been LONG before I read about it just by browsing through reviews (here at FTM or around the net). I'm not in the habit of ERECTing barries between me and the Junesploitation! BULGE of flicks at my disposal to watch, but there are too many wannabe JOHNSONs out there trying to expand their viewing horizons by being DICKS about what they write. No spoilers here, just watch "Welcome Home, Brother Charles" and marvel at the STRANGLEHOLD it has over your movie-loving senses. Now if you SQUEEZE me, I have to rewatch "Sleepaway Camp" for the 13th time this week. 3.5 FEATURE-LENGTH FLASHBACKS (out of five).
BONUS: 30 DAYS OF PINK PANTHER & FRIENDS, DAY 4! 021.- THE INSPECTOR: THE GREAT DE GAULLE STONE CONNECTION (12/21/64, KINO LORBER BLU-RAY)
Three days after the Pink Panther short "Pink Phink" debuted, "The Inspector" cartoon was also released theatrically. A too-obvious pun on the then-president of France and the silly plot of the cartoon (which mirrors the live-action series), The Inspector (voiced by "One Day At A Time's" Pat Harrington Jr.) and sidekick Sgt. Deux-Deux have to retrieve a valuable diamond from the greedy paws of a three-headed jewel thief. While the Pink Panther shorts followed a more conventional cartoon playbook, "The Inspector" often dipped into surrealism. The three-headed thief's car grows bat wings and flies away... or drives out of a hotel room... for no apparent reason other than it was a gag. The Commissioner (Paul Frees) looks a little too close to Herbert Lom for my tastes, but this first of 34 "Inspector" cartoons has the classic trademarks of a Friz Freleng production. 4 PORTABLE PEEPHOLES (out of five).
Curtis Mayfield's "Pusherman" is played twice in its entirety in this movie. Once performed by Mayfield and his band in a night club, and secondly during the amazing photo montage. That song is so great this is a feature, not a bug.
Blaxsploitation is just one of the many genres that Junesploitation really opened my eyes to. Its one that i dig deep diving into. And yet i hadnt seen this classic. Solid performance by Roundtree as the too cool Shaft with great setting. However the pace was a bit slowish for me and it felt like mostly a walking/taking movie. Great soundtrack within.
I've seen "Shaft" 3-4 times before (once in 35mm at a packed theater), and it gets better with repeat viewings. Unlike its sequels and most blaxploitation from that era (ERA!),"Shaft" tells its story through narrative and observation of the lead going back and forth between worlds (uptown vs. downtown, white vs. black, black militant vs. by-the-book cops, etc.). It is slower and talkier than most movies of its ilk, and that's why it's a classic: it has something to say, and doesn't feel the need to beat women, explode cars or throw racist language just because that's what's expected oof blaxploitation tropes. 🙃🙂
The Brother from Another Planet (1984, dir. John Sayles)
An alien with special powers crash lands in Harlem, but being mute and looking like a black man, he's at first treated like a homeless bum.
It's not the most subtle piece of social commentary, but the alien character offers an outsider's perspective on the best and worst of humanity, and him being mute makes all the other characters talk more and open up to the stranger just to fill the silences. Joe Morton gives a pretty great performance without saying a word, and I was plesantly surprised to spot Steve James and Bill Cobbs in small roles. Director Sayles and David Strathairn give weird and fun full-body performances as two aliens looking for the main character. The sparse score is great at creating an otherworldly atmosphere.
This movie is 100% not a cheat! Of course im not super impartial as its one of my favorite movies from the 2000s! And the more i dig into blaxploitation, the more it impresses me. It weaves in stuff from so many films effortlessly and hilariously. Also it is endlessly rewatchable (my highest rating). Heck, just seeing your review makes me wanna rewatch this week!
"But i understood what he was sayin...Why Black Dynamite....Why?"
Blaxploitation day is one of my favorite days every June. Isaac Hayes plays Mack Truck Turner, a badass mofo who brings in nasty cats trying to jump bail, with the help of his street smarts, his loyal buddy, and his giant-ass gun. Eventually he gets on the bad side of the city's criminal elite, headed by the evilest pimp in town, Yaphet Kotto. Then the hunt is on. Highlights include a fabulous pimp funeral, a poolside pimp summit, a brutal hospital shootout, and Hayes' funky main theme, which slaps despite borrowing heavily from his own famous Shaft theme from a couple of years prior.
This was less blaxploitationy than the title suggests, but it was still a pretty entertaining watch. Pam Grier and Margaret Markov are a prostitute and a revolutionary, respectively, who escape prison chained together and get involved in guerrilla warfare.
There’s plenty of violence and nudity, and it’s worth seeing just for the staggeringly colorful outfits that Sid Haig wears as a cowboy/pimp/crime boss our leading ladies cross paths with. Also, the story is credited to Jonathan Demme, though I don’t know how much input he had other than “what if The Defiant Ones, but topless?” It’s certainly no Defiant Ones, but it’s also no Fled. Take from that what you will.
As cheesy as is the premise and execution, Grier and Milland have incredible chemistry and deserve props for giving it their all. It’s got a crazy long and groovy dirt bike chase that is worth the price of admission. After the movie I did a little research and realized that the chase scenes were filmed in a place that I used to go off roading in my 20s.
Just extraordinary. I knew literally nothing about this film going into it, and had no idea it was going to be this much fun. A must see. Now, I need to go watch the movie Eddie Murphy made about this.
VELVET SMOOTH (1976) A female vigilante cleans up the crime-ridden streets while seeking revenge for her brother’s murder. Actress Johnnie Hill is an imposing figure with a lot of cool fight moves, but she also manages an easygoing sense of chill in the dialogue scenes. I do like how many blaxploitation movies cover a bunch of genres at once, switching from action and thriller to broad comedy and back again. So, yeah, give this one a look, especially if you like ‘em old school.
30 days of fan films, day 4: STAR TREK RENEGADES (2015) When Starfleet command is compromised, a ragtag bunch of fugitives is recruited off-the-books to investigate. Now they’re on the run from both evil aliens and their fellow Federation ships. This one is semi-canonical, with Walter Koenig, Robert Picardo, and Tim Russ acting in it. Russ also directed! There are a bunch of other familiar actors and an overall slick look, giving this additional credibility. The world of Trek fan films is weirdly ugly, with a lot of unfulfilled Kickstarters and lawsuits from Paramount. That makes it something of a miracle that this one not only crossed the finish line, but that it came out pretty decent.
BLACK MAMA, WHITE MAMA (1973, Eddie Romero—Filipinosploiation, WIPsploitation)
Possible alternative working titles: THE HOOKER AND THE REVOLUTIONARY or THERE WILL BE BOOBS!
Also answers the question, “What would Pam Grier look like as a nun?” Not strictly a Blaxploitation film, more of a Women in Prison flick meets road movie. Pam and blonde bombshell Margaret Markov escape from captivity, chained together ala THE DEFIANT ONES or (for the more Junesploitation minded) Al Adamson’s DYNAMITE BROTHERS. Pam’s a hooker with no heart of gold, Margaret’s a political revolutionary from the privileged side of the tracks. As you might guess, sparks fly, Pam delivering the line, “Some jive-ass revolution don’t mean sh!t to me!” before the obligatory WIP cat fight. The duo are pursued by bounty hunter/psychedelic cowboy Sid Haig, replete with pseudo-Nudie Suit and inconsistent Southern accent. Sid’s best line; “No cop will give you the sweat off his balls!” As you may infer, dear reader, this isn’t entirely played straight, as with many of these Filipino-produced WIP joints. I appreciated the tongue-in-cheek tone, plus the bursting blood packets and the villainous presence of Filipino-flick regular Vic Diaz. PLUS: Plenty of eye candy for all you preverts out there—the obligatory WIP shower scene occurs only 4 ½ minutes in!
Additional thought: Hey, Patrick, how about a Sid Haig day for Junesploitation! 2027?
Absolutely bonkers blast. Un-categorizable mash-up, with some ladies driving around in three wheelers with amazing costumes. Shout out to TC himself (Roger Mosley) for bringing a wild performance. And there are musical numbers!
Is God Is (2026, dir. Aleshea Harris) Not sure it totally counts as Blaxploition but has real Junesploitation revenge vibes in the story of two sisters out to kill their father. What a total scorcher, one of the best of the year. I have seen so many good 2026 movies in the last week.
Ron O'Neal a retired boxer turned drifter who teams up with hustler Adolph Caesar to earn money from Underground fights and hustling pool while a gangster played by Bill Cobb making their lives harder. The movie plays like a hangout film, each adventure capped off by Caesar giving some wisdom or some jokes. Oneal is his usual tough guy self and its fun to see Bill Cobb not playing a nice guy for once but Caesar steals the show..
This is like Roar, if Roar actually worked as a movie, had a script, was really funny, and had a wide variety of animals, instead of Oups all lions. Ebert gave it 3 stars and compared it to a Jacques Tati movie. The lead, N!xau, is as delightful as the movie itself.
Isaac Hayes plays Truck Turner, a rough-around-the-edges skip tracer who tracks down a bail-jumping pimp named Gator, then gets caught up in some revenge aftermath bullshit. The movie starts a little slow, but picks up steam along the way. I was having a good time by the end.
Some stuff I enjoyed: - Someone shoots a carton of milk out of Truck's hands/arms twice. If you're milk, stay away from Truck! - The pimp funeral. - The movie's full of great lines, but one of my favorites was this exchange: "You should've brought me some flowers." "I brought beer." - Yaphet Kotto and Scatman Crothers. - There's a character named Joe Dante!
One thing I love, love, love about this month is I will actually watch films that have been on my watch list for AGES. This was one of them. Not sure it totally fits in blacksploitation (I read there's a recut thats way more in the genre and is bad). But if anyone is looking for something to watch on the 19th...
Forget the logo that starts this. Sure, Troma distributed this, but it’s alien to their usual dreck, and it has an actual Screen Actors Guild cast, a gorgeous, smoky, neo-noir aesthetic, a contemporary R&B soundtrack and a mostly Black cast and crew.
Directed, written, produced and starring James Bond III, Def by Temptation is the story of Joel (Bond) and his best friend K (Kadeem Hardison), who will face the temptations — right there in the title! — of the flesh. Joel is a wholesome, clean-cut minister-in-training from North Carolina who is having a crisis of faith. Seeking clarity, he heads to the big, bad streets of New York City to visit his childhood best friend, K, who has become an actor.
K’s favorite place to chill is a local bar where a mysterious, stunningly beautiful woman known only as the Temptress (Cynthia Bond) hangs out. The problem? She’s a literal, soul-sucking succubus. She picks up womanizers, unfaithful husbands and anyone succumbing to the sins of the flesh, takes them home and violently obliterates them. When Joel arrives in town, his pure, virginal, holy aura becomes the ultimate prize for her. What follows is a wild, supernatural clash featuring possessed fortune tellers, holy water cocktails, killer television sets and Bill Nunn as a cop who specializes in supernatural cases. Oh, and Samuel L. Jackson shows up in flashbacks as Joel’s minister father, plus R&B royalty Melba Moore shows up as the doomed Madam Sonya, along with cameos from jazz saxophonist Najee and singer Freddie Jackson.
Def by Temptation operates on its own wavelength. It’s a horror movie, but it’s deeply rooted in the traditions of Black religious melodrama. It treats the power of faith and the threat of damnation with absolute seriousness, even when the special effects get wonderfully absurd. So you get stuff like K being violently sucked into his own television set, followed by an explosion of blood and guts from the screen; demon bartenders driving limousines and a climactic bedroom showdown involving a crucifix and some delightfully gooey practical effects.
Cynthia Bond is absolutely hypnotic as the Temptress. She balances an elegant, icy allure with moments of pure, feral malice. The chemistry between James Bond III and Kadeem Hardison feels incredibly genuine, giving the movie an emotional anchor before the supernatural craziness takes over. And the house it was shot in? It was owned by producer Hanna Moss and her husband, Laurence Fishburne.
Made for just $5 million over four weeks, Def by Temptation is a time capsule of a very specific era of independent filmmaking. It’s got style, a killer soundtrack, a great cast before they hit the stratosphere, and enough weird horror imagery to keep me happy. Why did I take so long to watch
This day is one of my favorites of the month, and there's so many films in my watchlist I have a hard time tracking down / finding a decent digital copy of (I'm looking at you, The Big Score and Gordon's War! I might end up importing both DVDs in anticipation of next year). I wish some boutique label would release a really extensive box set, beside just the classics, similar to All the Haunts Be Ours. Imagine!
I ended up watching Bucktown (Arthur Marks, 1975). Fred Williamson plays Duke, who's coming home to bury his late brother and eventually decides to reopen his nightclub, before finding himself having to face the racist, corrupt local cops. He calls on his old friend Roy and his own pals (including a very stylish Carl Weathers) to teach them a lesson... which I guess murdering them all qualifies as? From that point, the movie both subverts expectations and drags out a little bit. Pam Grier unfortunately doesn't have much to do beside worried girlfriend / damsel in distress, and the sociopolitical commentary is rather thin, but the score is good, the outfits top notch, Thalmus Rasulala (Roy) is very charismatic, and the final showdown is satisfyingly raw and gritty. ♫ Things are gettin' better in Bucktown ♫
Though it is still early in June, it seems like a prominent theme for my viewing choices is clearing my Junesploitation watchlist as much as possible. This has been on the list since the early part of this decade.
Across 110th Street is on the more serious side of the blaxploitation spectrum. The film starts with a robbery of gangsters in Harlem that goes terribly wrong. With both the cops and the black and white mafias after them, the net quickly closes in on the thieves. With the exception of Anthony Franciosa’s hammy performance, there is a lot of grittiness in the acting. The location shooting around dilapidated 1970s New York City adds to the gritty tone. Although not a perfect film, there is so much that is done well in Across 110th Street to make it one of the best films in the blaxploitation canon.
Truck Turner (1974) Bounty Hunter Isaac Hayes runs afoul of some murderous pimps and plagiarizes his own hit song "Shaft" in this blacksploitation classic. The supporting cast is crazy good and perfect for Junesploitation: Nichelle (Star Trek) Nichols, Dick (Bucket of Blood) Miller, Charlie (Halloween) Cyphers, Yaphet (Alien) Koto, Scatman (The Shining) Crothers, Stan (Monster Squad) Shaw, Stymie (Little Rascals) Beard, and Don Macgowen, who played the Gillman in The Creature Walks Among Us, Craigus in Creation of the Humanoids, and the "Gum Chewer" in Blazing Saddles. It's still a little disconcerting to hear Lt. Uhura speak with such a potty mouth. One of the hitmen Koto hires is named Joe Dante!
THE OG 'SHAFT' TRILOGY!
ReplyDelete017.- SHAFT (1971, CRITERION 4K UHD)
Early enough at the start of the peak of the blaxploitation era to influence it, Gordon Parks' "Shaft" at first appearance looks like a typical action/message genre picture. A proud and overconfident black NYPD private eye who easily moves within downtown white NYPD elite circles as well as the uptown streets of Harlem, John Shaft (Richard Roundtree) can appear like a ruthless mofo to friend/foe alike while being gentle and caring to any female lucky enough to bed him. When Harlem mob boss Bumpy Jones (Moses Gunn) tries to push Shaft to work for him, Shaft pushes back on Bumpy's men as hard as NYPD Lt. Vic Androzzi (Charles Cioffi) leans on Shaft to share with him Bumpy's activities. A war between black militants, the police and mob families (black and Italian) is at stake due to the kidnapping of Bumpy's daughter, and Shaft tiptoes through a minefield to get the factions involved to help him find her. Even if it means confiding/assisting an armed militant black movement that wants Shaft's help, which he's wary to offer due to a personal set of ethics that keep him above tit-for-tat personal arrangements.
Isaac Hayes' ridiculously catchy theme song (which even the Academy Award was hip enough to reward with a 1972 Best Original Song Oscar) and score already put "Shaft" into the blaxploitation hall of fame. What separates it from even its own sequels or similar detective movies is the willingness to let the pace slow down (there's very little action/shootout violence for a 100 min. narrative) to let us see Shaft think his way through situations. There are times when cooperating with Androzzi would make things easier, or extorting more money from Bumpy to fund the black militant group could result in a bigger payday. But Shaft always chooses the method that'll help him get by without ever giving an inch to foe or ally, which in this black detective's world is a sign of weakness he's not willing to equivocate. That's how cool of a mofo John Shaft is. We want to see him come on top, and are willing to be patient and wait to see him figure things out. 5 LOVERS DISPLEASED WITH SHAFT'S POST-COITIOUS 'SHITTY' MANNERS (out of five).
018.- SHAFT'S BIG SCORE! (1972, CRITERION BLU-RAY)
ReplyDelete019.- SHAFT IN AFRICA (1973, WARNER ARCHIVE BLU-RAY)
I'm lumping together both sequels because they share similar flaws that prevent them from breathing their prequel's lightning-in-a-bottle, rarified air of perfection.
Not having Isaac Hayes back to do the music hurts them both, although 1972's "Shaft's Big Score!" still sounds similar (title song boasting about Shaft's manly attributes, music score by Gordon Parks himself) and looks nearly identical to its predecessor (Urs Ferrer's cinematography). "Score!" also has the same screenwriter (original novel writer Ernest Tidyman), director (the aforementioned Parks), location (early 70's New York City) and even a couple of returning characters (Moses Gunn's Bumby and Drew Bundini Brown's Willy) for continuity's sake. Richard Roundtree is still the same cool mofo private dick, but this time it's personal for Shaft as the death of an old friend (and brother to a lady friend John happened to be plowing when he getst the call :-P) triggers a search for missing money ($250K) and a turf war among criminals. Alas, there's no subtext or hint of imperfection in this version of Shaft compared to its predecessor letting us see him use his brain to avoid conflicts. The final confrontation between Shaft and a helicopter with thugs armed to the teeth is pure brawn with no tension because we know John will come out on top. Not a fall from grace, just a disappointing sequel not living up to its full potential. 3 PLUSH COFFINS (out of five).
For 1973's "Shaft In Africa," new behind-the-scenes players (director John Guillermin, composer Johnny Pate, screenwriter Stirling Silliphant, cinematographer Marcel Grignon, etc.) and a studio-mandated change in style (Shaft is to be more of a James Bond-type hero) and locations (Africa, Paris, Spain and NYC for a blink-and-you-miss-it second) yield a more traditional (aka white) narrative. Shaft is convinced to go undercover as a lowly African worker in the dark continent to break a human trafficking ring, whose European structure leads to some explosive action shootouts in France and some "Roots"-type boat shipping antics (including going to bed with pretty white ladies taken by Shaft's... personality :-D). Richard Roundtree is still cool (his performance is consistent throughout the trilogy), but the shark is clearly jumped over by taking Shaft out of his element and into 007 spy territory. It's still a fun flick, but now feels similar to copycat blaxploitation competitors except for the studio polish/resources to make its action scenes stand out. 2.75 SHAFT NYC APARTMENTS LOOKING NOTHING LIKE THE PREQUELS (out of five).
020.- WELCOME HOME, BROTHER CHARLES (1975, PLEX)
ReplyDeleteSo lucky that I wasn't spoiled about the singular narrative hook in this Jamaa Fanaka-helmed blaxploitation picture that elevates it above its LARGE group of peers. Any dumb PRICK could have easily spoiled it for me, and it wouldn't have been LONG before I read about it just by browsing through reviews (here at FTM or around the net). I'm not in the habit of ERECTing barries between me and the Junesploitation! BULGE of flicks at my disposal to watch, but there are too many wannabe JOHNSONs out there trying to expand their viewing horizons by being DICKS about what they write. No spoilers here, just watch "Welcome Home, Brother Charles" and marvel at the STRANGLEHOLD it has over your movie-loving senses. Now if you SQUEEZE me, I have to rewatch "Sleepaway Camp" for the 13th time this week. 3.5 FEATURE-LENGTH FLASHBACKS (out of five).
This was a HARD watch!
Delete😳🤣
DeleteBONUS: 30 DAYS OF PINK PANTHER & FRIENDS, DAY 4!
ReplyDelete021.- THE INSPECTOR: THE GREAT DE GAULLE STONE CONNECTION (12/21/64, KINO LORBER BLU-RAY)
Three days after the Pink Panther short "Pink Phink" debuted, "The Inspector" cartoon was also released theatrically. A too-obvious pun on the then-president of France and the silly plot of the cartoon (which mirrors the live-action series), The Inspector (voiced by "One Day At A Time's" Pat Harrington Jr.) and sidekick Sgt. Deux-Deux have to retrieve a valuable diamond from the greedy paws of a three-headed jewel thief. While the Pink Panther shorts followed a more conventional cartoon playbook, "The Inspector" often dipped into surrealism. The three-headed thief's car grows bat wings and flies away... or drives out of a hotel room... for no apparent reason other than it was a gag. The Commissioner (Paul Frees) looks a little too close to Herbert Lom for my tastes, but this first of 34 "Inspector" cartoons has the classic trademarks of a Friz Freleng production. 4 PORTABLE PEEPHOLES (out of five).
Super Fly (1972, dir. Gordon Parks Jr.)
ReplyDeleteCurtis Mayfield's "Pusherman" is played twice in its entirety in this movie. Once performed by Mayfield and his band in a night club, and secondly during the amazing photo montage. That song is so great this is a feature, not a bug.
One could argue that Mayfield's soundtrack is more worthwhile than the movie it's featured in.
DeleteShaft (1971)
ReplyDeleteBlaxsploitation is just one of the many genres that Junesploitation really opened my eyes to. Its one that i dig deep diving into. And yet i hadnt seen this classic. Solid performance by Roundtree as the too cool Shaft with great setting. However the pace was a bit slowish for me and it felt like mostly a walking/taking movie. Great soundtrack within.
I've seen "Shaft" 3-4 times before (once in 35mm at a packed theater), and it gets better with repeat viewings. Unlike its sequels and most blaxploitation from that era (ERA!),"Shaft" tells its story through narrative and observation of the lead going back and forth between worlds (uptown vs. downtown, white vs. black, black militant vs. by-the-book cops, etc.). It is slower and talkier than most movies of its ilk, and that's why it's a classic: it has something to say, and doesn't feel the need to beat women, explode cars or throw racist language just because that's what's expected oof blaxploitation tropes. 🙃🙂
DeleteThe Brother from Another Planet (1984, dir. John Sayles)
ReplyDeleteAn alien with special powers crash lands in Harlem, but being mute and looking like a black man, he's at first treated like a homeless bum.
It's not the most subtle piece of social commentary, but the alien character offers an outsider's perspective on the best and worst of humanity, and him being mute makes all the other characters talk more and open up to the stranger just to fill the silences. Joe Morton gives a pretty great performance without saying a word, and I was plesantly surprised to spot Steve James and Bill Cobbs in small roles. Director Sayles and David Strathairn give weird and fun full-body performances as two aliens looking for the main character. The sparse score is great at creating an otherworldly atmosphere.
The Harder They Come (1972):
ReplyDeleteCredited as the "first Jamaican feature film." Jimmy Cliff stars as a reggae singer questing for fame. Low-budget effort with lots of verisimilitude.
Black Dynamite (2009) Scott Sanders
ReplyDeleteIt's a cheat I know :)
Nixon's abilities as a martial artist and his nunchucks expertise are often overlooked thanks to Watergate.
Pat Nixon didn't call her hubby 'Tricky Dick' for no reason. 😉😵
DeleteAgain with the dick references, J.M.??? 😄
DeleteWhat can l say? I'm GUSHING creativity, it's PROTRUDING out of my brain in an EXCITING display of bANAL causality. 💪☺️
DeleteThis movie is 100% not a cheat! Of course im not super impartial as its one of my favorite movies from the 2000s! And the more i dig into blaxploitation, the more it impresses me. It weaves in stuff from so many films effortlessly and hilariously. Also it is endlessly rewatchable (my highest rating). Heck, just seeing your review makes me wanna rewatch this week!
Delete"But i understood what he was sayin...Why Black Dynamite....Why?"
This comment has been removed by the author.
ReplyDeleteTruck Turner (1974)
ReplyDeleteBlaxploitation day is one of my favorite days every June. Isaac Hayes plays Mack Truck Turner, a badass mofo who brings in nasty cats trying to jump bail, with the help of his street smarts, his loyal buddy, and his giant-ass gun. Eventually he gets on the bad side of the city's criminal elite, headed by the evilest pimp in town, Yaphet Kotto. Then the hunt is on. Highlights include a fabulous pimp funeral, a poolside pimp summit, a brutal hospital shootout, and Hayes' funky main theme, which slaps despite borrowing heavily from his own famous Shaft theme from a couple of years prior.
Any thoughts on Nichelle Nichols as Dorinda?
DeleteFerocious!
DeleteBlack Mama White Mama
ReplyDeleteThis was less blaxploitationy than the title suggests, but it was still a pretty entertaining watch. Pam Grier and Margaret Markov are a prostitute and a revolutionary, respectively, who escape prison chained together and get involved in guerrilla warfare.
There’s plenty of violence and nudity, and it’s worth seeing just for the staggeringly colorful outfits that Sid Haig wears as a cowboy/pimp/crime boss our leading ladies cross paths with. Also, the story is credited to Jonathan Demme, though I don’t know how much input he had other than “what if The Defiant Ones, but topless?” It’s certainly no Defiant Ones, but it’s also no Fled. Take from that what you will.
THE THING WITH TWO HEADS (1972) dir. Lee Frost
ReplyDeleteAs cheesy as is the premise and execution, Grier and Milland have incredible chemistry and deserve props for giving it their all. It’s got a crazy long and groovy dirt bike chase that is worth the price of admission. After the movie I did a little research and realized that the chase scenes were filmed in a place that I used to go off roading in my 20s.
Dolemite (1975)
ReplyDeleteJust extraordinary. I knew literally nothing about this film going into it, and had no idea it was going to be this much fun. A must see. Now, I need to go watch the movie Eddie Murphy made about this.
The Eddie Murphy movie is incredible and needs a physical release!
DeleteMookie: Its worth checking out Human Tornado for another Rudy Ray outing!
DeleteAnd i too need to see the Eddie Murphy flick! Thanks to you and Patrick for the reminder of its existence!!!
VELVET SMOOTH (1976)
ReplyDeleteA female vigilante cleans up the crime-ridden streets while seeking revenge for her brother’s murder. Actress Johnnie Hill is an imposing figure with a lot of cool fight moves, but she also manages an easygoing sense of chill in the dialogue scenes. I do like how many blaxploitation movies cover a bunch of genres at once, switching from action and thriller to broad comedy and back again. So, yeah, give this one a look, especially if you like ‘em old school.
30 days of fan films, day 4: STAR TREK RENEGADES (2015)
When Starfleet command is compromised, a ragtag bunch of fugitives is recruited off-the-books to investigate. Now they’re on the run from both evil aliens and their fellow Federation ships. This one is semi-canonical, with Walter Koenig, Robert Picardo, and Tim Russ acting in it. Russ also directed! There are a bunch of other familiar actors and an overall slick look, giving this additional credibility. The world of Trek fan films is weirdly ugly, with a lot of unfulfilled Kickstarters and lawsuits from Paramount. That makes it something of a miracle that this one not only crossed the finish line, but that it came out pretty decent.
BLACK MAMA, WHITE MAMA (1973, Eddie Romero—Filipinosploiation, WIPsploitation)
ReplyDeletePossible alternative working titles: THE HOOKER AND THE REVOLUTIONARY or THERE WILL BE BOOBS!
Also answers the question, “What would Pam Grier look like as a nun?” Not strictly a Blaxploitation film, more of a Women in Prison flick meets road movie. Pam and blonde bombshell Margaret Markov escape from captivity, chained together ala THE DEFIANT ONES or (for the more Junesploitation minded) Al Adamson’s DYNAMITE BROTHERS. Pam’s a hooker with no heart of gold, Margaret’s a political revolutionary from the privileged side of the tracks. As you might guess, sparks fly, Pam delivering the line, “Some jive-ass revolution don’t mean sh!t to me!” before the obligatory WIP cat fight. The duo are pursued by bounty hunter/psychedelic cowboy Sid Haig, replete with pseudo-Nudie Suit and inconsistent Southern accent. Sid’s best line; “No cop will give you the sweat off his balls!” As you may infer, dear reader, this isn’t entirely played straight, as with many of these Filipino-produced WIP joints. I appreciated the tongue-in-cheek tone, plus the bursting blood packets and the villainous presence of Filipino-flick regular Vic Diaz. PLUS: Plenty of eye candy for all you preverts out there—the obligatory WIP shower scene occurs only 4 ½ minutes in!
Additional thought: Hey, Patrick, how about a Sid Haig day for Junesploitation! 2027?
Sid Haig day is an inspired idea, I concur.
DeleteIndeed, Sid Haig would be a great category. So much exploitation goodness in his filmography.
DeleteDarktown Strutters (1975)
ReplyDeleteAbsolutely bonkers blast. Un-categorizable mash-up, with some ladies driving around in three wheelers with amazing costumes. Shout out to TC himself (Roger Mosley) for bringing a wild performance. And there are musical numbers!
Is God Is (2026, dir. Aleshea Harris)
ReplyDeleteNot sure it totally counts as Blaxploition but has real Junesploitation revenge vibes in the story of two sisters out to kill their father. What a total scorcher, one of the best of the year. I have seen so many good 2026 movies in the last week.
The Hitter(1979 Dir Christopher Leitch)
ReplyDeleteRon O'Neal a retired boxer turned drifter who teams up with hustler Adolph Caesar to earn money from Underground fights and hustling pool while a gangster played by Bill Cobb making their lives harder. The movie plays like a hangout film, each adventure capped off by Caesar giving some wisdom or some jokes. Oneal is his usual tough guy self and its fun to see Bill Cobb not playing a nice guy for once but Caesar steals the show..
Foxy Brown (1974)
ReplyDeletePam Grier rules, as always. Surprise Sid Haig is always a good time, even if brief.
The Gods Must Be Crazy II (1989)
ReplyDeleteThis is like Roar, if Roar actually worked as a movie, had a script, was really funny, and had a wide variety of animals, instead of Oups all lions. Ebert gave it 3 stars and compared it to a Jacques Tati movie. The lead, N!xau, is as delightful as the movie itself.
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ReplyDeleteTruck Turner (1974)
ReplyDeleteIsaac Hayes plays Truck Turner, a rough-around-the-edges skip tracer who tracks down a bail-jumping pimp named Gator, then gets caught up in some revenge aftermath bullshit. The movie starts a little slow, but picks up steam along the way. I was having a good time by the end.
Some stuff I enjoyed:
- Someone shoots a carton of milk out of Truck's hands/arms twice. If you're milk, stay away from Truck!
- The pimp funeral.
- The movie's full of great lines, but one of my favorites was this exchange: "You should've brought me some flowers." "I brought beer."
- Yaphet Kotto and Scatman Crothers.
- There's a character named Joe Dante!
Ganja & Hess (1973)
ReplyDeleteOne thing I love, love, love about this month is I will actually watch films that have been on my watch list for AGES. This was one of them. Not sure it totally fits in blacksploitation (I read there's a recut thats way more in the genre and is bad). But if anyone is looking for something to watch on the 19th...
Dreamy, emotive, excellent film.
Love this movie.
DeleteBlack Caesar (1973, dir. Larry Cohen)
ReplyDeleteIt's so obvious Larry Cohen didn't have permits to shoot on the streets of New York and I love him for it.
Def by Temptation (1990)
ReplyDeleteForget the logo that starts this. Sure, Troma distributed this, but it’s alien to their usual dreck, and it has an actual Screen Actors Guild cast, a gorgeous, smoky, neo-noir aesthetic, a contemporary R&B soundtrack and a mostly Black cast and crew.
Directed, written, produced and starring James Bond III, Def by Temptation is the story of Joel (Bond) and his best friend K (Kadeem Hardison), who will face the temptations — right there in the title! — of the flesh. Joel is a wholesome, clean-cut minister-in-training from North Carolina who is having a crisis of faith. Seeking clarity, he heads to the big, bad streets of New York City to visit his childhood best friend, K, who has become an actor.
K’s favorite place to chill is a local bar where a mysterious, stunningly beautiful woman known only as the Temptress (Cynthia Bond) hangs out. The problem? She’s a literal, soul-sucking succubus. She picks up womanizers, unfaithful husbands and anyone succumbing to the sins of the flesh, takes them home and violently obliterates them. When Joel arrives in town, his pure, virginal, holy aura becomes the ultimate prize for her. What follows is a wild, supernatural clash featuring possessed fortune tellers, holy water cocktails, killer television sets and Bill Nunn as a cop who specializes in supernatural cases. Oh, and Samuel L. Jackson shows up in flashbacks as Joel’s minister father, plus R&B royalty Melba Moore shows up as the doomed Madam Sonya, along with cameos from jazz saxophonist Najee and singer Freddie Jackson.
Def by Temptation operates on its own wavelength. It’s a horror movie, but it’s deeply rooted in the traditions of Black religious melodrama. It treats the power of faith and the threat of damnation with absolute seriousness, even when the special effects get wonderfully absurd. So you get stuff like K being violently sucked into his own television set, followed by an explosion of blood and guts from the screen; demon bartenders driving limousines and a climactic bedroom showdown involving a crucifix and some delightfully gooey practical effects.
Cynthia Bond is absolutely hypnotic as the Temptress. She balances an elegant, icy allure with moments of pure, feral malice. The chemistry between James Bond III and Kadeem Hardison feels incredibly genuine, giving the movie an emotional anchor before the supernatural craziness takes over. And the house it was shot in? It was owned by producer Hanna Moss and her husband, Laurence Fishburne.
Made for just $5 million over four weeks, Def by Temptation is a time capsule of a very specific era of independent filmmaking. It’s got style, a killer soundtrack, a great cast before they hit the stratosphere, and enough weird horror imagery to keep me happy. Why did I take so long to watch
Where can l find this? You make it sound amazing. 🤩🤗
Deletehttps://tubitv.com/movies/655392/def-by-temptation
DeleteThis day is one of my favorites of the month, and there's so many films in my watchlist I have a hard time tracking down / finding a decent digital copy of (I'm looking at you, The Big Score and Gordon's War! I might end up importing both DVDs in anticipation of next year). I wish some boutique label would release a really extensive box set, beside just the classics, similar to All the Haunts Be Ours. Imagine!
ReplyDeleteI ended up watching Bucktown (Arthur Marks, 1975). Fred Williamson plays Duke, who's coming home to bury his late brother and eventually decides to reopen his nightclub, before finding himself having to face the racist, corrupt local cops. He calls on his old friend Roy and his own pals (including a very stylish Carl Weathers) to teach them a lesson... which I guess murdering them all qualifies as? From that point, the movie both subverts expectations and drags out a little bit. Pam Grier unfortunately doesn't have much to do beside worried girlfriend / damsel in distress, and the sociopolitical commentary is rather thin, but the score is good, the outfits top notch, Thalmus Rasulala (Roy) is very charismatic, and the final showdown is satisfyingly raw and gritty. ♫ Things are gettin' better in Bucktown ♫
ACROSS 110th STREET (1972, dir. Barry Shear)
ReplyDeleteThough it is still early in June, it seems like a prominent theme for my viewing choices is clearing my Junesploitation watchlist as much as possible. This has been on the list since the early part of this decade.
Across 110th Street is on the more serious side of the blaxploitation spectrum. The film starts with a robbery of gangsters in Harlem that goes terribly wrong. With both the cops and the black and white mafias after them, the net quickly closes in on the thieves. With the exception of Anthony Franciosa’s hammy performance, there is a lot of grittiness in the acting. The location shooting around dilapidated 1970s New York City adds to the gritty tone. Although not a perfect film, there is so much that is done well in Across 110th Street to make it one of the best films in the blaxploitation canon.
Truck Turner (1974)
ReplyDeleteBounty Hunter Isaac Hayes runs afoul of some murderous pimps and plagiarizes his own hit song "Shaft" in this blacksploitation classic. The supporting cast is crazy good and perfect for Junesploitation: Nichelle (Star Trek) Nichols, Dick (Bucket of Blood) Miller, Charlie (Halloween) Cyphers, Yaphet (Alien) Koto, Scatman (The Shining) Crothers, Stan (Monster Squad) Shaw, Stymie (Little Rascals) Beard, and Don Macgowen, who played the Gillman in The Creature Walks Among Us, Craigus in Creation of the Humanoids, and the "Gum Chewer" in Blazing Saddles. It's still a little disconcerting to hear Lt. Uhura speak with such a potty mouth. One of the hitmen Koto hires is named Joe Dante!