New York City police detective John Shaft (nephew of the original 1970s detective) goes on a personal mission to make sure the son of a real estate tycoon is brought to justice after a racially-motivated murder.
Samuel L. Jackson,
Based on the movies of the same name, John Shaft is a two-fisted black private eye along the lines of Mike Hammer and Phillip Marlowe. Each week presents a different case and a different ... See full summary »
Goldie returns from five years at the state pen and winds up king of the pimping game. Trouble comes in the form of two corrupt white cops and a crime lord who wants him to return to the ... See full summary »
Tommy Gibbs is a tough kid, raised in the ghetto, who aspires to be a kingpin criminal. As a young boy, his leg is broken by a bad cop on the take, during a payoff gone bad. Nursing his ... See full summary »
John Shaft is the ultimate in suave black detectives. He first finds himself up against Bumpy, the leader of the Black crime mob, then against Black nationals, and finally working with both against the White Mafia who are trying to blackmail Bumpy by kidnapping his daughter. Written by
John Vogel <email@example.com>
I can. Because this is not only the greatest black-exploitation film ever, but also one of the best films of the 70's era. Richard Roundtree brings out Ernest Tidyman's John Shaft like no one else can (not even Samuel L. Jackson in the new shaft can compete) as the ultimate bad-a** who must investigate a kidnapping. One of the most memorable films ever made, especially by the Oscar winning song (and nominated score) by Isaac Hayes, which made his breakthrough as his funk thing grew. A+
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