Massacre

Slaughter (1972)

** (out of 4)

Ex Green Beret Slaughter (Jim Brown) seeks vengeance against the Mob who killed his father and soon teams up with some Feds to track down the gang and take them out one by one including the head guy (Rip Torn). This AIP blaxploitation flick has a lot going for it but I found the direction to be all over the place and there were a few too many slow spots to be a complete winner, which is a shame because there's a terrific cast on display here. The screenplay is your typical revenge tale but I think the film could have benefited from a small re-write because what we have here isn't all that interesting because the script really lets us down in terms of the bad guys. We have a couple different bad guys but neither of them are very interesting and I think the film would have benefited by touching them up a tad bit more especially since you have an actor like Torn eating up the scenery and turning in a fine performance. Brown, not the greatest actor out there, but he still manages to be quite cool in the role and he's got some funny comic timing as well. The sequence where he crashes into a party and the servant asks if he has an invitation and Brown slowly pulls out his gun and says "yep" is certainly one of the highlights of the film. We also get Cameron Mitchell in a couple brief scenes and it's always fun seeing him. Even though all the guys do a good job it's the beautiful Stella Stevens who steals the film. It's not her acting that steals the movie but her chest, which is constantly coming out of no matter what type of outfit she's wearing.

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!...

...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.

There are only three reasons to see this and they are Stella Stevens three nude scenes, two in bed with Jim Brown, and one in the shower. Other than Stella, there is little to recommend. All you get is plenty of meaningless action, car chases, and other nonsense. Cameron Mitchell is totally wasted, and Rip Torn unfortunately is forgettable as a Mafia boss. The revenge plot seems forced, and the government's involvement has something to do with computers, but is murky at best. One plus is the Todd AO photography, which produces several intriguing wide angle shots. "Slaughter" is nothing more than a weak mafia film, with Stella Stevens being the only attraction. - MERK

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.