6.0/10
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I, the Jury (1982)

A PI investigates the murder of his one-armed friend, a PI working on a case. Clues lead to a sex clinic. Bodies pile up.

Director:

Richard T. Heffron

Writers:

Mickey Spillane (novel), Larry Cohen (screenplay)
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Cast

Cast overview, first billed only:
Armand Assante ... Mike Hammer
Barbara Carrera ... Dr. Charlotte Bennett
Laurene Landon ... Velda
Alan King ... Charles Kalecki
Geoffrey Lewis ... Joe Butler
Paul Sorvino ... Detective Pat Chambers
Judson Scott ... Charles Kendricks
Barry Snider Barry Snider ... Romero
Julia Barr Julia Barr ... Norma Childs
Jessica James Jessica James ... Hilda Kendricks
Frederic Downs ... Jack Williams
Mary Margaret Amato ... Myrna Williams
F.J. O'Neil F.J. O'Neil ... Goodwin
William G. Schilling ... Lundee (as William Schilling)
Robert Sevra Robert Sevra ... Breslin
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Storyline

An old friend of a private detective is murdered. The detective, Mike Hammer, will make every effort to find out the killer. At each step he does, there is someone taking advantage of his progress. Written by Luis Carvacho <lcarvach@lascar.puc.cl>

Plot Summary | Add Synopsis

Taglines:

He was only a private eye - but he wanted to be the judge and jury as well. [Video] See more »


Certificate:

R | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

22 April 1982 (West Germany) See more »

Also Known As:

I, the Jury See more »

Filming Locations:

New York City, New York, USA See more »

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Box Office

Gross USA:

$1,515,578

Cumulative Worldwide Gross:

$1,515,578
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Sound Mix:

Mono

Color:

Color (Movielab)| Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

During pre-production, according to the May 6, 1981, edition of "Variety", screenwriter Larry Cohen--who was then the film's director--conducted three weeks of rehearsals and scouted and selected locations. This was prior to his being replaced as director after a week into principal photography. See more »

Goofs

When Hammer shoots the truck driver from behind and the truck starts swirling over the road, you can see the 'dead' driver turning the steering wheel vigorously. See more »

Quotes

[last lines]
Dr. Charlotte Bennett: How could you?
Mike Hammer: It was easy.
See more »

Alternate Versions

The UK cinema version was cut by the BBFC and the 1986 video was cut further (totalling 4 minutes in total) with edits to a scene of Kendricks tracing a knife across a woman's body, and heavy cuts to a scene at an orgy where he terrorizes and tortures 2 female twins with a razor. See more »

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User Reviews

 
"It was easy".
19 June 2010 | by lost-in-limboSee all my reviews

Oh the 70s was a great time for crime features… although "I, the Jury" was made in the early eighties it had me thinking it was from the 70s like some sort leftovers that found itself in the wrong decade. And hey that's not a bad thing at all. Originally it looked like it was cult-filmmaker Larry Cohen's project, as he penned the screenplay and was to direct to only be replaced by Richard T. Heffron (Futureworld). This is another adaptation of novelist's Mickey Spillane's Mike Hammer character. Private detective Mike Hammer looks into the case to seek revenge when he learns of the killing of his one-armed ex-army buddy. What he digs up about his mate's death, is something quite big.

"I, the Jury" is a tough as nails, lean and steamy pulp crime / film noir feature that's sexually charged (an opened orgy sequence) and brutally violent (a ghastly slit throat) amongst a rather seedy backdrop. Filling in the role as the iconic Mike Hammer is a fittingly hardboiled, but wry Armand Assante. Surrounding him is a bunch of attractive, but formidable ladies in the shape of Barbara Carrera and Laurene Landon. Also you got the likes of Paul Sorvino, Alan King, Geoffrey Lewis and Barry Snider pitching in with good performances. Cohen's story remains exhaustively captivating; by always being on the move in what is a complicated web of conspiracies and leads. The dialogues are bold. Sometimes contrived in its actions, but it does open up a can of worms. Heffron's steadfast direction is economically staged with moments of thrilling engagements and brooding passages that he's not afraid to bare flesh, but at times it felt like I was watching a long-winded TV episode. Bill Conti composes a titillatingly smoking blues score, which installs a whirlwind of emotion.


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