646f9e108c Vigilante Slaughter comes under attack from Duncan, a local money launderer whose hit-man traps Slaughter in a car at a cliff, but Slaughter escapes, arms himself, and goes after Duncan's hideout.
9 out of 10 film-goers agree: if you put Jim Brown on screen, whatever film he happens to be in will immediately improve noticeably for as long as he remains on screen. There's just something about the guy's presence and charisma, even in a non-action setting, that makes you want to see what he is going to say or do next. So a film with Jim Brown up front and center for the entire duration is going to be fun to watch even if the surroundings are second rate. That is certainly the case here.<br/><br/>This was a pure blaxploitation flick that doesn't pretend to be anything else, so the audience for it is going to be fairly self-selecting - a title like "Slaughter's Big Rip-Off" is not going to pull in the Merchant Ivory crowd or fans of British comedy. The filmmakers knew the kind of film they wanted to make, and they made it: a film about guns, drugs, sex, soul power, cussing, funk guitar and muscle cars...and mostly about Jim Brown and how cool he is. (For a contemporary version of this, think of Matt Damon in "The Bourne Identity", which is all about how cool Matt Damon is.) I was a little bothered by the fact that the Slaughter's supposed soul mates, who went been through hell with him and for him in the 1st "Slaughter" (Don Gordon and Stella Stevens) were nowhere to be seen in this one. Nor was any mention made of their characters...even though the events in this film are directly related to the events from the first film. That detracted a bit from the overall image of Slaughter as a man who inspired loyalty because he gave it. But we all know about the perils of the casting call and agent negotiations (although it's hard to imagine why Don Gordon was too busy to reappear with the highest profile celebrity he'd ever been associated with). So if you don't think about it too hard, it's OK.<br/><br/>One really odd note to the seamless blend of guns, goons, and funk is the appearance of Ed McMahon right in the middle of things as a Boss type. I don't who was mad at him, or how he got talked into it, but he is the goofiest looking twerp you can imagine here. The eras fashions were not kind to him, and he was foolish to appear on screen in anything other than a sack suit or a Hawaiian shirt. Imagine a pale, pudgy lounge lizard in aviator spectacles, leisure suit and long hair parted straight down the middle in a page-boy bob run amok, and you still can't even come close to the horror of his appearance in this film. When Brown finally shoots him, I was praying that he would also call in an air strike to obliterate McMahon's wardrobe, so that it would never sully innocent eye-balls again.<br/><br/>Anyway, "Slaughter's Big Rip-Off" might have been OK, or even good, with another actor in the role, but Jim Brown makes it a great period piece. If you enjoy blaxploitation movies, this one belongs in your collection.
(SPOILERS ALERT) After knocking off a number of top mobsters from the L.A Syndicate down Mexico way Slaughter-no first name necessary-played by Big Bad Jim Brown, the baddest dude on the planet, becomes a marked man with the mob having a contract put out on his life. As we all would expect Slaughter is no one to mess with and the mob finds that out the hard way. By being blown away by him by the time the movie is finally over.<br/><br/>In between we have Slaughter have some action with the ladies who ends up either dead or beaten into a pulp, by the mob, for associating with him. There's also Slaughter's two top adversaries in the film mob boss Duncan played by a buffoonish looking Ed McMahon and his top hit-man Kirk played by real life hero, who lost the sight of one eye breaking up a mugging in NYC, Don Stroud. To make things even worse for Stroud or Kirk is that he ends up beaten into raw hamburger meat by a gun-less Slaughter and then shot to pieces by him when he obviously had broken his fists banging them against the helpless man skull. That's without Kirk, who looked either drunk or on sleeping pills, never even bothering to throw a punch back in return in trying to defend himself!<br/><br/>Slaughter of course has no trouble slaughtering anyone who gets in his way and on top of that the local police don't even bother arresting and questioning him for all the slaughtering he's done in the movie that must have push the body count higher then the body count of 1992 L.A riots! With his job now done after wiping out the entire Southern Califronia Crime Synadicate Slaughter who had unearth a list of all the politicians and police higher ups working for the syndicate is then allowed to leave town on an all expenses paid vacation, courtesy of the LAPD, to Paris France to continue his slaughtering exploits there!<br/><br/>P.S I was bracing myself for a sequel to the movie "Slaughter's Big Rip-Off", which incidentally was a rip-off of the original "Slaughter", to follow in it's blood splattered and bone crushing footsteps. But happily enough for the people living in the "City of Lights" they as well as we were speared the third expected "Slaughter",or slaughter-house, film that if released would probably have been called "Slaughter in Paris".