Truck Turner

Carrying around a 44 Magnum that was probably bought at the same place Dirty Harry Callahan bought his, Isaac Hayes essays the role of Truck Turner, former pro-football player turned skip tracer. Hayes is not too squeamish about what he has to do to bring back a given quarry and along with partner Alan Weeks, being a skip tracer he's not bound by the rules that Clint Eastwood has to live by as a cop.

My best recollection of Isaac Hayes is as the jail house friend of James Garner in The Rockford Files. Gandolf Fitch was a man of few words and a very short fuse and next to him, Truck Turner is positively garrulous.

The first part of the film is almost lighthearted in nature as we see Hayes and Weeks go about their jobs and we Hayes's relationship with girlfriend Anazette Chase. She's a nice woman, but an incurable shoplifter that Hayes constantly has to bail out and pay the fines or the merchandise for. The end of the first half though concludes with a car chase to rival Bullitt in which Weeks is wounded and their skip trace, a pimp played by Paul Harris is killed.

After this the film changes mood so abruptly it's like watching a second film. Harris's woman and partner Nichelle Nichols wants Hayes dead and will pay anything for it and brings in a whole bunch of business competitors led by Yaphett Kotto to do the job. The second half of the film is a serious of gunfights, climaxed by a blazing shootout in a hospital.

For those who remember Nichelle Nichols as the nice Lieutenant Uhura forever with that earpiece and trying to open channels on the starship Enterprise, you won't recognize the murderous fury that's in this character played by the same woman. She steals the film from Hayes in every scene she's in. I would not want her on my case.

Truck Turner is a good action film with an astonishing portrayal from Nichelle Nichols. Star Trek fans might want to check this one out.

Skip tracer Isaac Hayes tracks down Paul Harris. In the ensuing chase, Harris is killed. His woman, Nichelle Nichols, who runs a stable of prostitutes, offers half her take to whoever kills Hayes.

It's a decent if unexceptional blaxploitation flick, with its strength being performers like Yaphet Kotto -- he was going through a divorce at the time and needed the cash -- and Scatman Crothers, as well as Hayes doing the film score. To someone who doesn't know, it may sound like typical chik-a-boom music that infested every cop show and movie in the era, but there's a flair and drive to it that lifts it out of the ordinary.

The once-almighty American International Pictures had every bit of success going in the 70s with movies like BLACK CAESAR, BLACULA, COFFY, and many others, that turned the blaxploitation genre into a phenomenon. TRUCK TURNER continues the timeless tradition with style. With Isaac Hayes in his only notable role of a bounty hunter, you can expect this to be the meanest, most wildest, most violent "blaction" flick on celluloid. Aiming the gun close to the camera looked fascinating. The combination of action and exploitation is not just smooth as velvet, but also rough as guts. Apparently, critics wanted to dismiss this film from all the graphic violence it displays, and while that still remains the case, it gave the genre a step forward and was much needed to satisfy its fans. Hayes' music score is pure all the way, and runs along with the plentiful, but simple straightforward action sequences. I felt the piano score was tiringly repetitive for a film that offered more punch. It wouldn't be a blaxploiter without some groove, humor, and soul poured in, and there's a lot here. TRUCK TURNER is one of the finer movies from an era that's been vanished a good long time, but do check out BLACK CAESAR, SUPER FLY, and BLACK BELT JONES for the very best. Great fun for all "blaxplo" fanatics!

Truck Turner is an ex-football star, built like a Mack truck. Fortunately his name IS Mac (though why they released it as BLACK BULLET in Australia is beyond me) which makes for a sensible nickname. There is practically nothing else remotely sensible thereon in, when Mac goes head-to-head with a bunch of no-good…well, macks (pimps).

It is a typically paradoxical blaxpolitation film. It serves as both a reminder why the genre were so enjoyable - brazen heroes and villains, loads of sexy chicks for each, a top soul soundtrack - and why it had to die eventually - the burden of uninspired cashing in, here there and everywhere.

BLACK BULLET is as b-grade as they come, and it's surprisingly nasty in places. With a similar cast and crew to the far-superior BLACK BELT JONES (a blaxploitation gem), you expect tongue in cheek, but by the time you've heard the world `bitch' a thousand times, it starts to lose its comic gleam.

But at the end of the day it's all in good fun. It's just a shame the modern gangstas didn't get the joke.

Blaxploitation films are so frequently ridiculed and parodied (much of it with reason) these days, that it's easy to forget that some of them were actually pretty good. Shaft (1971) paved the way for the sub-genre with its strutting bad-ass lead who's a sex-machine to all the chicks, and Isaac Hayes' Oscar-winning score (for what he will forever be best remembered for). Hayes himself steps into the lead role here as ex- American football star and bail bondsman Mac 'Truck' Turner, who according to Yaphet Kotto's bad-guy pimp Blue, is "like a bulldog with eyes up his ass!", and displays some surprisingly charismatic qualities that makes it quite a shame he didn't appear in more.

Greasy lawyer Fogarty (the great Dick Miller) employs bounty-hunters 'Truck' Turner and his partner Jerry (Alan Weeks - with the best grin in cinema) to track down a low-down pusher and pimp named Gator (Paul Harris). After an extended chase scene, Turner and Jerry manage to kill Gator, much to the dismay of Gator's lady Dorinda (Nichelle Nichols - Uhura!). Dorinda rounds up the big pimps and offers her valuable collection of whores in exchange for Turner's head, a deal in which Blue accepts. Wanting to settle down with his girlfriend Annie (Annazette Chase), Turner finds his life turned upside when Blue employs a gang of hired killers.

Beginning almost as a buddy-comedy, the witty script and some genuine chemistry serve up some amusing early scenes, showing off Hayes' natural screen presence. But this turns into pure police procedural blaxploitation as the main plot kicks in, with jive-talk, pimps in some of the most delightfully ludicrous dress I've ever seen, car-chases, slow-motion shoot-outs, cocaine, hookers, and of course a tragically neglected soundtrack from Hayes himself. The action scenes are surprisingly good, and Corman protégé Jonathan Kaplan (director of fellow Grindhouse Project feature Night Call Nurses (1972) - review #443) makes sure he includes as much slow-motion men falling off rooftops and gushing fake blood as possible. Bloody good fun, and probably better than Shaft.

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