Truck is a bounty hunter who gets a job to track down a guy named Gator. When he and his partner find him, a chase ensues and Gator is killed. This makes Gator's woman, Dorinda, very angry ... See full summary »
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Rudy Ray Moore,
Cleopatra Jones is a United States Special Agent assigned to crack down on drug-trafficking in the U.S. and abroad. After she burns a Turkish poppy field, the notorious drug-lord Mommy is ... See full summary »
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Truck is a bounty hunter who gets a job to track down a guy named Gator. When he and his partner find him, a chase ensues and Gator is killed. This makes Gator's woman, Dorinda, very angry and she puts a hit on Truck. The man who agrees to kill Truck is named Blue. The question is whether Truck can survive with Blue and his gang on his trail. Written by
Josh Pasnak <email@example.com>
Originally developed as a film for actor Robert Mitchum. After Mitchum, James Coburn was attached to star as Truck Turner, but that fell through as well. Having already invested in the script, American International Pictures decided to turn it into an "urban picture" and cast a black actor. Dick Anthony Williams, best know for his work in The Mack (1973) and Slaughter's Big Rip-Off (1973) was initially cast, but was quickly replaced by Isaac Hayes, who wanted to get into acting. It was also felt that Hayes had a bigger name draw than Williams. See more »
When the camera is attached to Yaphet Kotto as he staggers around near the end of the movie the harness/rods attached to his shoulders are visible just at the base of the screen. See more »
Those two bitches that left - they had better learn to sell pussy in Iceland because if I ever see them again I'm gonna cut their fuckin' throats! We are family... and that's what we're gonna stay. Now I got important business out there today. And when I call you, I want you to come out there and shake your asses proper! You hear? Hah? Now get out there and make it look good! And Raquel, take that fuckin' jacket off! Move it!"
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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.
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