ChicRawIdol A brilliant film that helped define a genre

Merolliv I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

StyleSk8r At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Jonah Abbott There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Wizard-8 Made when the 1970s blaxploitation genre had reached its peak, this independently made production got picked up by a major Hollywood distributor. The distributor may have picked it up because they reasoned that since "Shaft" - about a black private eye - was a hit a few years earlier, lightning might strike twice. But I'm pretty sure that most people who saw the movie were kind of let down. Despite being about a black private eye getting tangled in two complex separate investigations that eventually merge, the movie doesn't play out in a way that you'd probably expect. Until the last 20 or so minutes, there's very little action. The movie for the most part moves somewhat slowly, with little spark. Combined with the somewhat cheap production values, viewers in the mood for action and gloss will probably be let down. But in a strange way, the movie does have some compelling features for patient viewers. It is slow and not very exciting, but at the same time it feels a lot more realistic than many other private eye movies of the time (blaxploitation or not). And Fred Williamson, playing the lead, does give his character some (believable) charisma and makes his character also palatable by showing he's not a superman (though he is believably smart and resourceful.) If you are looking for standard blaxploitation thrills, look elsewhere. But if you are interested in the idea of an offbeat 1970s black private eye movie and are in a patient mood, you might find the movie has its rewards.

Woodyanders Towards the end of his career Jack Arnold, a very efficient director who gave us such classic 50's creature features as "It Came from Outer Space," "The Creature from the Black Lagoon," and "Tarantula," teamed up with former football star turned top 70's blaxploitation film headliner Fred "the Hammer" Williamson for a pair of movies, producing the amiable, if unremarkable Western "The Black Bounty Hunter" and this refreshingly breezy, clever and highly entertaining 70's black action variant on your standard 40's film noir down-at-the-heels private detective yarn.Williamson displays a charming combination of dry, self-deprecating humor and relaxed, easygoing self-confidence as Shep Stone, a cheap, affable, and forever in debt erstwhile Los Angeles cop turned private investigator. Stone's so hard-up for cash that he uses a bar as his business office and just barely makes ends meet doing penny-ante low-paying minor cases that the police don't want to bother with. While pounding the pavement for one of these deceptively simple gigs (Stone's trying to find some guy's runaway teenage daughter who's hiding somewhere in Hollywood), Stone finds himself elbow deep in a complex, dangerous, seemingly bottomless criminal plot which includes a flipped-out Jesus freak religious cult, assorted deadhead hippie dopers, a sordid porno ring, a priceless missing gold-tipped cane that belonged to a legendary silent movie star, a nefarious underground drug smuggling operation, and an ever-growing number of fresh corpses.While lacking the wickedly playful, mischievous ingenuity of Robert Altman's masterful "The Long Goodbye" or the haunting, unremitting pessimism of Arthur Penn's beautifully bleak "Night Moves," "Black Eye" nonetheless still makes the grade as a highly successful hip'n'flip 70's spin on 40's mystery suspense thrillers. Arnold's capable direction keeps the pace moving at a nice, steady clip, punctuated with sporadic exciting mano-a-mano bare knuckle fight scenes and excellent use of various colorfully seedy L.A. locations (the rundown abandoned amusement park at the film's conclusion is especially effective). The script by Mark Haggard and Jim Martin supplies a goodly amount of fairly complicated and often genuinely surprising plot twists. And the expected array of quirky, rough-around-the-edges secondary characters are an interesting oddball bunch, with particularly notable turns by Rosemary Forsyth as an alluring, powerful lesbian model agency owner (Forsyth has the picture's best line, boasting to Stone when she first meets him, "I'm a whole lot of woman"), Teresa Graves of "Get Christie Love" TV show fame as Stone's loyal bisexual girlfriend (the film's casual, nonjudgmental depiction of both Foryth's unconventional femme fatale and Graves' equally atypical gal Friday is one of its strongest assets), and Bret Morrison, who did the voice of radio's "The Shadow" in the 40's, as a smugly sleazy porno filmmaker. All in all, it's a modest, yet surefire winner.

hokeybutt BLACK EYE (2 outta 5 stars) Unimaginatively-filmed '70s action movie looks like it was made for TV... only the occasional cuss word and a subplot about lesbianism tip you off that the movie was actually made to be shown in theatres. Fred Williamson plays a tough guy ex-cop who becomes a tough guy private eye. He stumbles upon a couple of murders and attempted murders linked to a mysterious cane. There are some fistfights, a Bullit-inspired car chase, a fairly original elevator scene and even time for Williamson to confront the rich, lesbian lover of his girlfriend (Teresa Graves). There is also a scene with Williamson bullying a poor old man by tearing up some priceless old autographed photos in his memorabilia shop. Yeah, way to go, tough guy... maybe you can find a cripple to beat up later? Obviously meant to cash in on the success of "Shaft" (this and about six thousand other movies), this movie doesn't have enough edge or enough originality to make much of an impression.

Infofreak Fred Williamson ('Black Caesar', 'Vigilante', 'From Dusk Til Dawn') was one of the coolest and most charismatic blaxploitation stars of the 1970s, but 'Black Eye' is by no means one of his best movies. Williamson himself is pretty good as always, but the pedestrian script and lacklustre direction (by Jack Arnold, who later worked with Williamson on the lame Western comedy 'Boss N*igger') don't do him any favours. Arnold directed 1950s classic 'Creature From The Black Lagoon' and 'The Incredible Shrinking Man', but had been mainly working in TV, and I think it really shows. 'Black Eye' feels like a TV pilot. It's like blaxploitation-lite. Williamson plays an ex-cop investigating the murder of a call girl and the theft of a walking stick she had stolen from a recently deceased Hollywood movie star. The trail leads him to a drug ring, porno movies and a religious cult, which sounds very Dashiell Hammett and interesting, but it isn't. It's very dull and never picks up steam. The supporting cast includes two actors familiar to 70s TV viewers, Richard Anderson ('The Six Million Dollar Man's Oscar Goldman), and the foxy Teresa Graves ('Get Christie Love'). Graves had previously co-starred with Fred Williamson in 'That Man Bolt', which may not be my favourite Williamson vehicle, but it was a damn site more entertaining than this! I say give 'Black Eye' a miss unless you're an obsessive fan of "The Hammer". If you haven't seen it, you really aren't missing much. Newcomers to Williamson are advised to go directly to Larry Cohen's brilliant 'Black Caesar' which features a dynamite Williamson performance, and a super cool score from The Godfather Of Soul James Brown.