Der Sohn des Mandingo

Stella Stevens is off on the Poseidon Adventure, so Slaughter has to find a new girlfriend in this sequel in his battle with the mob. Judith M. Brown's audition was certainly a nice start, but she's no Stella. Of course, Gloria Hendry is working hard to keep him on a leash.

It was a treat to see Ed McMahon and Don Stroud, and Scatman Crothers, along with Brock Peters. They definitely made the sequel more interesting.

Dick Anthony Williams plays a classic pimp with the jive talk and flashy threads who joins Slaughter in a rip off scheme. Unfortunately, Stroud takes him for a ride. Stroud makes a classic mistake, however, and Slaughter is ready for action.

The cool dude just does the job.

This sequel to the original Jim Brown "Slaughter" vehicle is similarly bad ass entertainment, with big Jim showing off plenty of cool as always. The story is pretty entertaining, too, and the supporting cast has to be seen to be appreciated. There's a fair amount of violence to enjoy, and a bit of sex, too - even some full frontal nudity courtesy of the delectable Judith Brown.

Slaughter is now being hunted by mafioso types who want to get back at him for his activities in the first film. Among those types are the smooth Duncan (none other than Ed McMahon) and his racist thug-for-hire Kirk (Don Stroud). Determined police detective Reynolds (Brock Peters) soon ropes Slaughter into stealing important documents from Duncan - to be precise, a list of people who've received payoffs.

"Slaughter's Big Rip-Off" isn't wall to wall action, but it is enjoyable, particularly for seeing Mr. McMahon in a film of this type. He's fun to watch, as is Stroud as the kind of bad guy whom you'll love to hate. There's a bunch of familiar faces in the supporting cast, among them Gloria Hendry as Marcia, Slaughter's gal pal, Dick Anthony Williams as flamboyant pimp Joe Creole (a pimp who's also talented in the art of safecracking), Art Metrano as the sleazy Mario Bertoli, Hoke Howell as one of the Parker brothers who make the foolish mistake of not cooperating with Slaughter, Russ Marin as top cop Crowder, the always lovably genial Scatman Crothers (you wish he was in the film longer) as Cleveland, Pamela Des Barres in a sexy bit part, George Gaynes as the ill-fated Warren, and an uncredited Adam Roarke as Harry.

The pacing is mostly efficient, the action when it happens is always viscerally effective, and there are some good laughs to be had as well. Just check out the amount of vocalizations during a fight scene with Slaughter and two goons, one of whom happens to be Oriental. You hear them even when people aren't moving their lips.

Good if not great entertainment overall, with a very funny wrap-up. It's just a shame that the original James Brown soundtrack got replaced for the DVD; the new score is adequate but hardly inspired.

Seven out of 10.

Somehow, this film burrowed it's way into the soft spot of my heart. Don't ask me how it happened, but I suppose having the film feature Ed "I'll Sponsor Anything" McMahon as a tail-chasing crack hustler had a bit to do with it.

Frankly, I was disappointed with Slaughter's first outing in 1972. Nothing more than a quick throw-together to follow Shaft-mania. How does the sequel get away from this? Big Jim Brown seems stronger as Slaughter here than in the first. Perhaps this is due to the fact that one year later he had something to work from, instead of his simple "Be like Shaft" motivation before.

The most outstanding part about the film is the soundtrack provided by pimp-daddy number one, James Brown. Almost every scene is graced with a touch of funk by the Godfather. An excellent period film, for the music, wardrobe, vehicles, lingo, and hair. I should also point out this film is also an excellent period film to represent a time in motion picture history when Jim Brown and Ed McMahon could actually GROW hair.

Double the chicks, double the blow, triple the body count, and factor in Ed McMahon and James Brown. You'll be in for one hell of a 70s action flick, and one that outshines it's predecessor no less. For my money, Slaughter's Big Rip-Off can play ball with any Blaxploitation film ever made. Even Shaft. Chances are you'll disagree, but Slaughter's Big Rip-Off has it's own distinct feel. Something the original was lacking.

As blaxploitation movies go, this fares o.k, but isn't anything remarkable. Big Jim Brown, if you don't know, is one of this famous black stars of the 70's, who's big set build, makes a viable commodity in these pics. Playing a famous, ever so cool character, in this so called sequel (the original I liked less), he finds himself in quite a pickle, as he becomes a marked man, by some dudes he ripped off, where at the start, his best friend, and a very familiar Police Academy face, buy the farm instead. Slaughter intends to find out who's responsible, and find them, before he becomes a memory. Not many surprises, the main one, being near the end, stretching reality some, but in light of it's faults, SBRO doesn't come off, as not a badly made pic, where Slaughter still has time to make love, especially to one hottie, who bares and gives herself completely to him. Another one, a blonde bombshell, who this pimp soughts out, will stay in your mind, Some nice blood shed too, as well as some good performances, notably, or surprisingly, ex t.v. show host, Mcmahon as a drug baron, and Don Stroud, as a great nasty, of a hitman. Hendry as Slaughter's girl isn't bad either. Brown is so perfect for Slaughter, it's just in the voice, but on the surface, this movie, I felt was more a let down, or limited to be more precise. Metaphorically a let down, like Stroud, letting the air out of that time. Great soundtrack.

This meandering tale of mob revenge is simply not very interesting, even with Ed McMahon in a ripe role as the chief heavy. Jim Brown kicks ass effectively, Gloria Hendry proves again that she can bring life to even the poorest roles, and Brock Peters is decent as The Cop Who Plays By the Book. It's still dull and badly constructed, and even the print shown on cable is now emasculated of its original James Brown score.