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,
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John Shaft is persuaded by threats of physical force, the promise of money, and the lure of a pretty tutor, to assume the identity of a native-speaking itinerant worker in Africa. His job is to help break a racket that is smuggling immigrants into Europe then exploiting them. But the villains have heard that he is on his way. Written by
Jeremy Perkins <firstname.lastname@example.org>
At the end of the movie, as Shaft is driven off in the police car, the camera pans to the police chief. In the background, you can see Amafi (who was just drowned) climbing out of the fountain. See more »
Shaft assumes more of the Bond mantle in this film by going undercover to find out who is running the slave trade out of Africa into Europe. However, it really is too much of a stereotype to Shaft and takes away some of what makes him special.
Shaft, Richard Roundtree again, of course, belongs uptown across 110th street. That's his turf, and putting him in a robe with a stick is just too much.
This film just went too far, past where the imagination can stretch, in letting Shaft win. Yes, it was letting Shaft win, as he couldn't possibly have dodged all the attempts made on his life and still have energy to magically bed Vonetta McGee, and Yugoslavian Neda Arneric.
Having said that, there were some very good moments in the film, and it is still worth the time to see Roundtree in action.
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