★ 7 / 10
It's Not bad but nowhere as sharp plot
Blu B
It's Not bad but nowhere as sharp plot wise and execution wise as the first. It's much more grounded and feels much more like a Shaft movie than the third one.…
It's Not bad but nowhere as sharp plot wise and execution wise as the first. It's much more grounded and feels much more like a Shaft movie than the third one. Although that is more entertaining overall, this one is better by a bit. Though there both about the same overall if that makes sense. This half decent all around. Roundtree is solid here as shaft but probably the weakest performance of the trilogy. I think a big issue is half the time he's not even the main focus. The biggest problem is for everything leading up to the final 20 minutes or so, it's very hard to follow because it feels like we bounce around a lot in this crime story to uncover who killed our friend with a bomb. It's just very convuluted and hard to follow but I do get...."enough" I feel. the dialouge is alright but it's a noticeable step down. this also has strange moments where it just feels very dry at times where the soundtrack is underused. Great score when used as always but needed to used way more. That's the best thing about these movies overall is the funk tracks are always consistent in quality but in this case not in use. As said before it feels much more gritty and fitting of a Shaft crime flick. I just wish it would stay focused on Shaft the whole way and not bounce around between the gambling thugs. Those scenes are boring and it's just hard to follow whose talking to who to double cross who to kill who. The ending chase scene isn't bad though and easily the highlight. where the first had very little action but knew when to make it count, this overcorrects and has a really long chase that feels like at times like the star very inspired by Bullitt. The helicopter chase part though does drag but it's not bad mainly because there is no dialouge, easiest part of the movie to follow, and it is entertaining. Good stuntwork also. Just needed to be trimmed down to under 10 minutes. Anyone who is abig fan of the director, blaxploitation, the franchise or any actors here may get a kick out of this. But most are best served just seeing the first.
★ 10 / 10
Shaft returns in neo-noir style! Director Gordon Parks
Matthew D
Shaft returns in neo-noir style! Director Gordon Parks' American blaxploitation action-crime thriller Shaft's Big Score! (1972) is fantastic! Parks' direction…
Shaft returns in neo-noir style!
Director Gordon Parks' American blaxploitation action-crime thriller Shaft's Big Score! (1972) is fantastic! Parks' direction features hazy smoke, dingey New York city streets, ornate sets, and shadowy darkness for his phenomenal Shaft sequel. It's as funny, violent, exciting, intriguing, and smart as Shaft. Parks makes fights, shootouts, and conversations all riveting. He is one of black cinema's most stylish directors ever. It's easy to see why Shaft had such a stranglehold on culture in the 1970's and further influences on pop culture and films later.
Writer Ernest Tidyman's script is hilarious with biting jokes and one liners. His every line of dialogue feels fun, important, and memorable. The story about an insurance racket based on Harlem and Queens locals betting on horse-races, while gambling with their life insurance policies as collateral is fascinating. I love Tidyman's intricate crime drama narrative and compelling mystery that private detective John Shaft must solve as mobsters gun for his life. No wonder Tidyman was the right guy to write The French Connection as Shaft's Big Score! feels very similar. Judith Lamb casts captivating black actors and gorgeous black actresses in Shaft's Big Score! for a fun ensemble.
Richard Roundtree is awesome once more as the handsome, clever, strong, calm, innovative, and cool private detective John Shaft. Roundtree effortlessly charms and flirts with black actresses for believable, passionate love making. His fierce interrogations and negotiations with witnesses and informants is fun to watch with his imposing massive stature and hardened attitude. Richard Roundtree is an entertaining black hero and compelling action star. I liked his emotions over losing a close friend as the premise of the movie as he vows to avenge him in his own way.
Moses Gunn is gripping as the Harlem mob lord Bumpy Jonas. He always feels intelligent, collected, underhanded, and prepared for anything. His line delivery is delicious with an understated malice to his every playful word. He really is like a black godfather in the Shaft universe. Drew Bundini Brown is hilarious as Bumpy's henchman Willy with his exaggerated line delivery and hot temper. He makes for a fun foil for each guy that visits Bumpy.
Joseph Mascolo is fascinating as Italian mafia boss Gus Mascola. His clarinet playing is magnificent and his easy manner is as calm and deadly coldhearted as Moses Gunn's Bumpy Jonas. Joe Santos is quick to anger as Mascola's unruly toadie Andy Pascal. His vicious nature is a great foil to Mascolo's chilling personality.
Kathy Imrie is sexy and sympathetic as the lovely black femme fatale Rita. She is quite breathtaking. I felt bad as she was hit by Kelly and had fun with her sultry romantic chemistry with Roundtree's Shaft. Rosalind Miles is quite cute and empathetic as Arna Asby. Her sister to the victim is frightened and a kinder love interest for Shaft to start the movie off with her. I liked Kitty Jones' enticing cabaret dancer cameo. Marilyn Hamlin is very voluptuous and pretty as Gus' charming girlfriend.
Wally Taylor is a riot as the selfish, greedy, and abusive con artist and racketeer Johnny Kelly, who is only out for himself. Julius Harris is entertaining as the vaguely threatening and perceptive Police Captain Bollin. Dan Hannafin is great as the frustratingly racist cop Cooper. Robert Kya-Hill sounds nice as Shaft's old friend and worried client Cal Asby. Evelyn Davis' swearing Old Lady is a scream.
Cinematographer Urs Furrer's smooth panning shots and careful framing look excellent. The vivid colors and smoky backdrops from Furrer and art director Emanuel Gerard look fabulous. Set decorator Robert Drumheller puts Essence magazine props everywhere, fancy golden antiques in the Italian mafia den, and slick black art and furniture in Bumpy's pad. The tacky 70's style furniture is so funny to see now.
Composer Gordon Parks creates a killer funky fusion of jazz rock, soul singing, and funk rock for Shaft's Big Score!'s film score. Too bad Isaac Hayes could not return, but director and composer Gordon Parks brings such a playful and exciting vibe. He really delivers funk, soul, jazz, and even classical clarinet music. Costume designer Joseph G. Aulisi delivers outrageous, colorful fur coats, black and brown leather jackets, and sharp suits for Shaft and the locals. Martin Bell's makeup gives Shaft his signature Afro and mustache, Gus Mascola a Wayne Newton or Elvis inspired haircut.
Overall, Shaft's Big Score! is 104 minutes of Shaft beating guys up, tricking cops, romancing ladies, and outsmarting crooks in Queens and Harlem.
★ 6 / 10
While not as revolutionary as the original this
Liam D
While not as revolutionary as the original this is still a cool and decent Blaxploitation action film
While not as revolutionary as the original this is still a cool and decent Blaxploitation action film
58%
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4K please ?