Massacre

...because I've been able to watch this film and other great blaxploitation classics.The plot is pretty basic for this genre(the tough black hero avenges the death of his loved one and kick some "whitey" butt in the process).Although the film seems dated,the action pieces more than make up for it.Jim Brown shows a limited range as an actor,but Rip Torn is great as the slimy mobster & Stella Stevens is hot as always as the girlfriend.

SLAUGHTER features Jim Brown at the top of his game as the title character. If you liked him in THE DIRTY DOZEN, then you'll love him here!

Slaughter is out for revenge against the mob types who've killed his father. This leads to his being recruited by the government to help take down a South American crime lord. Rip Torn plays Slaughter's nemesis, Hoffo, and Stella Stevens has never been hotter, as Hoffo's lover. Of course, it's not long before her eyes, as well as the rest of her, wander in Slaughter's direction. This all culminates in explosive action, car chases, and Ms. Stevens showing off just how much God has blessed her.

Hallelujah!

Watch this one immediately!...

...so goes Billy Preston's song. MGM had SHAFT (1971) with Richard Roundtree, AIP had SLAUGHTER with Jim Brown. After his parents are blown up by the Mafia, Vietnam Vet Brown's gonna kick some greasy Italian ass (Rip Torn), and along the way he gets a sidekick (Steve McQueen's mate Don Gordon), sleeps with Stella Stevens and generally causes havoc down in Mexico. It's not very good, but there are some decent action scenes and it's a hell of a lot better than some of the Blaxploitation garbage.

Jim Brown is one cool dude, even when he's making a typical 70s blaxploitation flick.

Here, he is an ex-Green Beret home from 'nam going after the mob thugs that killed his father.

First, he has to get by their secret weapon, Stella Stevens, girlfriend of #2, Rip Torn, a racist that is just seething at the thought of Stevens between the sheets with Brown. And, boy, do they steam up those sheets! That must have been a shock to 70s audiences.

Now, the thugs are not too bright as they try to run Brown down with a Mustang. Don't they know that this former fullback is one of the all time greats in NFL history? Their efforts to catch him in the casino meets with equal disaster as he runs right through them.

Of course, you know Slaughter wins in the end because there is a sequel.

One interesting aspect for the younger folks is the IBM punch card that figures prominently in the film. They probably have never seen one.

Somehow, in even the most sleazy, tacky and sordid surroundings, Brown was able to retain a level of dignity and appeal in his movies. This film revels in the various hallmarks of the Blaxpoitation genre, but Brown comes out of it unscathed. He plays a former Green Beret whose parents are killed by the Mob (his father was heavily involved with them.) When he tries to exact revenge, he winds up recruited by Treasury Department official Mitchell to work together in bringing down several mobsters in Mexico. Here, he is aided by Gordon and, to a lesser degree Clark. Alfe is the primary fat cat with Torn as his second in command. Things get complicated and very ugly when Alfe sends Torn's ex-hooker girlfriend (Stevens) to soften up (or harden?) Brown. Brown, though very low-key through most of the film, presents such an amiable presence despite the tawdriness of the material that he makes this film worth watching. His "shoot first, ask questions later" character is somewhat ill-defined, but he gives the film some honor. Gordon does an admirable job as his short, adoring sidekick who wishes he had even a tenth of Brown's magnetism and ability. Torn gives a brooding, slimy, but interesting performance as a racist, vicious thug. Stevens gets a showy dress (and undress!) rehearsal for her memorable role as an ex-prostitute in "The Poseidon Adventure" (filmed just after this.) Her look in this film is precisely the same, though she has some far more adult scenes in this one. Brown's sex scenes with Stevens had to have been quite the eye-openers in 1972 as they still are even today! It's clear that the two had chemistry together and clearly enjoyed their relationship as actors. Alfe (who, oddly, has not one other screen credit to his name) is distinctive and memorable (if, at times, unintentionally funny.) With a Mr. Roarke hairdo and with a voice that may not be the actor's own, he nonetheless does a decent job of presenting a man with power and influence. Mitchell hardly appears and Clark's role is an almost total throwaway (though she has one memorably hilarious exit from an apartment doorway!) This film is not for everyone as it is decidedly politically incorrect with plenty of the "N" word flying around. However, it is filled with interesting lead actors who give their all to their roles and help it to rise above cheaper variations on the genre. A few of the bit players are bad, but they aren't around long in most cases. Only some of the interior shots in hotel rooms or offices betray a lack of budget (with rotten sound and lighting.) There is definite overuse of a fish-eye lens which becomes distracting and is a by-product of the era. Much of the film, though, comes off as pretty slick with a terrific title song, some well-handled action scenes and enough spark in the dialogue to hold one's interest. It's the type of flick where the men refer to each other as "baby" and even "sweetheart" all in the name of that inimitable 1970's funk. It was followed by an even more lurid, but entertaining, sequel.