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 »
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>
A Few Good Moments But "Shaft" Is Too Slowly Paced, Runs Out of Gas, and Ends Absurdly
"Shaft" starts with promise, opening with the popular tune by Isaac Hayes as the camera explores a business district in New York City. For example, we see a theater playing 'Little Fauss and Big Halsey,' a motorcycle cult classic starring Robert Redford, Michael J. Pollard, and Lauren Hutton, then Shaft wends his way across a busy boulevard with no regard for the fact that it's strictly "DON'T WALK" time, a feat reminiscent of the arcade game, "Frogger." Soon, we are introduced to the police lieutenant who is so understanding and laid back that Shaft's disdainful attitude toward him as just another cog in the honky establishment seems a bit difficult to comprehend. Actually, Shaft tends to mix with white society rather easily, even taking a white chick home with him and screwing her in the shower, then letting her sleep it off while he goes out for a few hours to take care of business. We've already seen him with his regular girl, who is attractive in her form fitting body suit, their love scene having been photographed imaginatively. His discussion with the black hoodlum whose daughter has been kidnapped is also interesting, as are other conversations, and the initial action in his office, where a thug practically dives out a high window, displays some interesting camera and editing techniques. On balance, however, this movie is too slowly paced for an action flick. With the number of times one might wish to stop and replay certain bits of important dialog, it tends to drag a bit, but I disagree with those who think the talk is too dated or not believable. Generally, it's the best thing about this movie, which isn't half bad, at least up until the ending, which is completely ridiculous. Midway through the concluding scenes, I turned to my wife and said, "What is this, 'Mission Impossible?' It's really absurd the way the supposed Black militants who are aiding Shaft seem thoroughly unfamiliar with the proper handling of weapons or what tactics to employ in a dicey situation, and the way they "go up against the mob" is just plain laughable. Here, the gangsters are holding the young black woman as hostage and yet there are just a few dumb palookas guarding her, none of whom seem to be paying sufficient attention. Nobody's on tenterhooks watching out for a rescue attempt, nor does anyone appear to be running the operation from Thug HQ. The primary function of these morons appears to be that they are racists who like to insult black people on general principles. It's a disappointing conclusion to what might have been a much better movie had it been more skillfully written and directed. Richard Roundtree, as Shaft, hands in a credible performance and the police lieutenant is pretty good, too. He's the same guy who played the middle-aged nut-job in "Klute," but in this movie, he's a much more likable character. The way he extends his hand for Shaft to slap is an interesting bit of cinema. They are supposed to be at odds but the guy obviously is one of the black private eye's biggest fans, without coming off as phony, insincere, or patronizing, even though Shaft still treats him with unrelenting disdain.
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