El reclamador

Much of REPO MAN seems improvised, but all in all, this is a good, quirky and entertaining flick. Emilio Estevez and Harry Dean Stanton are particularly good as a pair of repo men (car repossesors), though my favorite character is the scene stealing, completely underrated Tracey Walter, playing a kind of street corner philosopher role. It's also a blast seeing remnants of the 1980s California hardcore punk scene, including various musicians in acting roles, as well as seeing some of the less glamorous parts of L.A. captured on film.

"Repo Man" was one of the films that came out in 1984 that, in a way, revolutionized film story telling, as we knew it. We are given a hint about what's coming right on the opening sequence when the Chevy Malibu, driven by the spooky Frank Parnell, is stopped on a highway.

Alex Cox, the innovative director of "Repo Man", made a film that mixes a lot of movie genres with a satisfying result. That's why when it was discovered, it became a huge cult movie. It was one of the films that had midnight screenings for its many fans that flocked to have a great time and who identified themselves with the movie.

The best thing in the film is the interaction between Bud and Otto. Harry Dean Stanton has always play cool parts and this movie is no exception. Emilio Estevez gave, what might be, his best movie performance as the young punk that gets to meet a world he never knew existed. All the players gave their best to Mr. Cox and the result is a film that, in some ways, might baffle at first, but once the viewer gets into it, he will be hooked.

Iggy Pop's music is an excellent partner for the action. Alex Cox is an innovative director, as he proves with "Repo Man".

I put this eighties cult classic right up there with Blazing Saddles (1974) and Dr. Strangelove (1964) as one of the best satires ever to hit the silver screen. No exaggeration: this is one bizarre and one very funny flick. Seeing it again after almost twenty years, I gotta say, it lost nothing.

Emilio Estevez stars as Otto Maddox, a head-strong and slightly naive ex-supermarket stock clerk and sometime punk rocker. He's kicking a can down the street when up pulls Bud, "a repo man," played with a fine degeneracy by Harry Dean Stanton, who asks him if he wants to make ten bucks. (Otto's reply is memorable but not printable here.) When he learns that Bud just wants him to drive a car and not...uh, never mind, he bargains it to twenty-five bucks. When he finds out that Bud repossesses cars for the "Helping Hand Acceptance Corporation," he is sorely offended. But when he realizes how intense the life is (and how bleak his other employment opportunities), he becomes a repo man himself.

Meanwhile there's J. Frank Parnell (Fox Harris wearing a demonic grin and weird black and empty frame glasses) driving a "hot" '64 Chevy Malibu. "You don't want to look in the trunk, Officer," he tells a cop who pulls him over on a desert highway. By the way, the map under the opening credits shows the action of this film beginning somewhere on old Route 66 in New Mexico, suggesting alien mecca Roswell territory perhaps, but most of scenes were clearly shot in LA, and the desert scene just mentioned was also probably shot in California as evidenced by the Joshua Trees in the background.

What director and scriptster Alex Cox does is combine urban ghetto realism with bizarro sci-fi shtick. He adds a fine punk soundtrack including the title song from Iggy Pop with a brief appearance by the Circle Jerks, and wow are they appropriate, but you have be a punker or a 15-year-old to really visualize their moniker. The supporting players, Sy Richardson as Lite, a black cat repo ace, and Tracey Walter as Miller, a demented street philosopher, really stand out. I also liked the black girl repo person with attitude (Vonetta McGee).

The real strength of the movie, aside from probably the best performance of Estevez's career, is in the street scene hijinks, the funny and raunchy dialogue, and all those sight gags. My favorite scene has Otto coming home to find his parents smoking weed on the couch zombie-like in front of the TV listening to a Christian evangelist while he scarfs down "Food" out of a blue and white can from the refrigerator. I mean "Food" is on the label, period. The Ralphs plain wrap (remember them) are all over the sets, in the convenience store, at the supermarket, bottles of plain wrap whiskey and plain wrap "Tasteetos," plain wrap beer and plain wrap cigarettes.

Some other good shtick: the dead rat thrown in the car with the woman that doesn't accomplish its purpose; the money in the presents that Otto throws out the window busted open by the tires of another car for us to see and drool over; the "I left a book of matches" line that diverts Otto's idiot friend pumping gas; the pepper spray; Miller by the ashcan fire contemplating the disappeared from the future and "the lattice of coincidence that lays on top of everything" (trippy, man); and the punk criminal act of "Let's go get sushi and not pay." And Otto's clean pressed white dress shirt and the tie--I love the tie--as Lite tells him, "Doing my job, white boy."

See this for the authentic eighties street scenes and for my UCLA Bruin buddy (by way of Oxford) director Alex Cox who dreamed the whole thing up. Only an Englishman could really see America authentically.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

It's hard to critique a movie that doesn't take itself very seriously. On one hand, it's absurd and squanders an attempt at suspense with its silliness, but on the other hand it's got a fantastic screenplay with some unforgettable one-liners.

A cult classic with plenty of dark humor that couldn't help but remind me of Heathers, and some cheesiness that reminds you it's from the '80s. Clichés are intentional and part of the fun, and the soundtrack fits right at home. It begs to laugh with you and will get your attention like a class clown.

A great party movie, it's fun with lots of creativity and a hint of intelligence.

This was a surprise for me, I really didn't expect 'Repo Man' to hit such a chord with me, and alas it succeeded in making me a fan. I was admittedly a little put off by the film's supposed punk outset but was glad to find that it didn't take itself seriously and often had its tongue planted firmly in the cheek.

What Alex Cox delivers here is a timeless classic that has seemingly influenced a lot of my favourite films to date, and of course was influenced itself by other personal favourites. So not only was it natural for me to love 'Repo Man', but it won me over on its own rights with its wonderfully satirical tone and hilarious yet interesting dystopian science fiction themes.

Although incredibly annoying at first, the film's characters eventually won me over and by the end of the film I had learned to love every one of them. This was thanks to the effective and focused characterisation dealt with by Cox, allowing his characters to grow from being dislikable idiots to harmless jesters. Indeed if it wasn't for the characters, 'Repo Man' wouldn't be as funny as it is and it wouldn't even be as interesting. In key with the writing, the cast also do a great job with the handling of their characters, all turning in solid and memorable performances.

If there is one complaint I have it is that the pacing sometimes goes a little out of balance and leads to the story to getting caught up in trivial scenes that either should have been cut or been made more progressive to the plot. Nevertheless, I absolutely loved this film (especially that brilliant ending!) and recommend it to fans of science fiction comedy or satires. Granted not everyone will enjoy at as much as I did, but it certainly deserves a watch.