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.
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.
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?"
"Who didn't see that coming? I mean, did anyone see where that came from?" 😅😂
DeleteThis 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!
DeleteTHE 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.
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.