A down and out young punk gets a job working with a seasoned repo man, but what awaits him in his new career is a series of outlandish adventures revolving around aliens, the CIA, and a most wanted '64 Chevy.
Harry Dean Stanton Emilio Estevez Tracey Walter Olivia Barash Sy Richardson Susan Barnes Fox Harris Tom Finnegan Del Zamora Eddie Velez Zander Schloss Jennifer Balgobin Dick Rude Miguel Sandoval Vonetta McGee Richard Foronjy Bruce White Sue Kiel Helen Martin Angelique Pettyjohn Con Covert Biff Yeager Ed Pansullo Jon St. Elwood David Chung Cynthia Szigeti Jonathon Hugger Dale Reynolds Dolores DeLuce Show All…
Repo Man - Il recuperatore, Repo Man - A Onda Punk, I lampsi pou skotonei, El reclamador, La mort en prime, Segítő kezek, Handlarz, O Clandestino, Zaplenjivač, Zorlu Yaris, Paizontas me ton kindyno, Конфискатор
Ordinary fuckin' people.
Repo Man is a strange little slice of brilliance in cult cinema. Some would be quick to write it off as bad or just plain ridiculous. But films like Repo Man are the ones that I relate to the best. Those strange dreamlike nocturnal trips into odd lands are always intriguing and interesting but their unorthodox nature unfortunately does not give them a proper home in mainstream cinema.
But that's a good thing. Repo Man will reward those who dare to venture into is realm and gives people a great experience to accompany the amazing Criterion release. Simultaneously viewing the film and quickly leafing through its booklet and soaking up the artwork really absorbs you into its…
98
"There's fuckin' room to move as a fry cook, man."
Cosmic corporates, sci-fi nihilism, and a shining death-beam in the trunk. Evacuate one system just to enter another. Unpaid sushi.
"You ever feel like your mind is eroding?"
If there was ever a punk rock science fiction movie, this is it. Repo Man is without a doubt the shoddiest film I've ever seen from the Criterion Collection, but somehow its poor workmanship seems to add to the film's unique anti-establishment aesthetic. It's a very different kind of "so bad it's good". It's definitely a bad movie—there are countless continuity errors, some as glaring as cutting from day to night and back again, and scenes pop in and out without any attempt at transitioning—but this low quality feels right at home in the film's universe. It's a movie which seems like it was created by the same social delinquents it features;…
A nihilistic, cynical but entertaining piece that could only exist during Reagan/Cold War era America. Rooted by a great central performance by Harry Dean, it is born of the politics of its' time yet not at all a political film. Killer soundtrack for any era. Best God damn car in the yard.
"do you think it's too late for us to get romantically involved?"
KISS ME DEADLY with a mohawk and a malibu (if we're going to be reductive about it). a world in which people brag about their lobotomies. thank god alex cox never sold out, because as enduringly relevant as this is (aided, surprisingly, by the kitsch of its time), it's one of the rare films that could be retroactively invalidated.
will explore further upon Criterion Collection release in April.
"look at those assholes, ordinary fucking people. i hate 'em."
1926-2017.
if cinema dies with abbas kiarostami, america dies with harry dean stanton.
I mean, what more is there to say about Alex Cox' much beloved cult classic? The movie is the perfect marriage of science-fiction elements and punk-rock mentality. Nicolas Winding Refn is a fan and so are the people over at Criterion.
Repo Man stars the late, great Harry Dean Stanton and Emilio Estevez and it has all the car-trunk-death-rays you could ever need. The movie's satirical moments elevate it above other B-movie fare. It also has the greatest soundtrack of any movie, EVER, with songs by Circle Jerks, Black Flag, Suicidal Tendencies, Fear and The Plugz.
Plus, it's just a lot of fun, you know..
When you get the Criterion Collection Blu-ray, I want you watch the Iggy Pop interview and try not to stare at Iggy's chest. Good luck.
Repo Man is everything I wanted and more from a cult film; Biting and pitch-perfect social commentary, a witty and amazingly quotable script, and actors all at the top of their game, which is wrapped up in the trappings of a 50s paranoia Alien picture.
Sure, It's completely bonkers, but you can't help but feel utter euphoria as the final frames of this insane piece of cinema flash before your eyes, leaving you in a state of bewilderment and confused chaos.
It also has Harry Dean Stanton saying the F-Word constantly. If that doesn't sell it, I don't know what will.
I wish this was real. I wish reality was exactly like this film with all the UFO stuff. I want it lit and photographed by Robby Müller. I want a dope punk soundtrack playing all the time. I want to eat meat out of a can labeled only as "food". I want a glowing Chevy Malibu. I want to work with Harry Dean Stanton, he looks like an old sock and really knows how to wear hats. I also hear that "Harry Dean Stanton only uses REAL baseball bats". He's the shit.
76/100
[Originally written on my blog.]
Iggy Pop's title tune sets the tone for a movie that truly just does not give a fuck. Returns inevitably diminish a bit by the end as a result, but its unique brand of punk drollery still cracks me up, and many of its ideas, like the generic labels, seem way ahead of their time. (I'm drawing a blank on any recent indie films that put significant thought into their art direction.) Startling to watch Estevez in this now, as he really seems largely unformed; as I noted on Twitter, it's kind of a shame that he went on to have a notable acting career, as this performance would probably be legendary had it been a one-off. "What about our relationship?" "Fuck that."
The main feature of the Tyneside's American punk night couldn't be anything else. Screened on 35mm, introduced with a title card telling us that James Ferman had rated this an 18 and seen with an audience clued-in enough to laugh uproariously at the Circle Jerks cameo, it is, simply, the ultimate punk feature. Watched after Richard Kern and Charles Atlas's scrappier, low-budget, street-level films, it became apparent that Alex Cox needed this to be a real picture. Working with a limited budget but bags of ambition, he had the cinephile nous to hire Wim Wenders's regular cinematographer Robby Müller to capture LA's most fucked-up districts in all their sun-baked, boarded-up, neon-lit glory.
Repo Man feels like a parody of things…
delightfully weird and charismatic. That one dude from Breakfast Club is rly good at being a dick and aliens are coooool
Fuck ok I actually really loved this movie
The sheer comedy of the Repo Man's Code carries this film a long way. it plays with the idea of the lone man in a dangerous world living by his own compass by presenting it in such a perfectly absurd light that you wonder "if I understood the general lifestyle of the Old West, would I find cowboys this silly?". Because the world in which the repo man exists is familiar enough that the trials and dangers they claim to struggle against, and the need for the repo man's existence seems really silly when push comes to shove. And it really works.
There were a few points where perhaps Emilio's character didn't have to be a complete shit bag, moments…
Goin’ for a little spin.
Legendary. The sky opened when the man Müller’s name graced the screen. Harry Dean. Absolute bangeroonie
"I bet Quentin Tarantino fucking loves this movie"
-Me, the entire time I was watching this movie.
🚙 🛸 🍺
Do not waste your time trying to follow the plot - just sit back and enjoy
Emilio Estevez as a young punk hunk.
BEER.
Is this a look into Coach Bombay's past?
I like to think so.
What a fascinating, endlessly surprising ride of a movie. Not necessarily in the sense that it is filled with shocking twists, but rather the tone, and vibes of the movie continuously shocked me. As soon as I heard the premise I was excited to watch it, but I still didn’t know quite what to expect.
Both Emilio Estevez and Harry Dean Stanton are incredible as always. It’s funny, but not as laugh out loud funny as I had hoped. However, it’s so unique, whacky, and fun, that I always felt myself smiling. It occasionally has the vibe of something like Escape From New York, but it feels quite a bit more grounded.
It’s an awesome score, a ferociously awesome b-plot about a car driving around with some kind of nuclear/alien shit in the trunk, and it’s ultimately just a wild experience, emphasized by it’s equally trippy, and fantastical ending.
FUCK THIS, LET'S DO SOME CRIMES
This movie was insane. I've got no idea how I've never heard of this before I happened on it the other day. A super young Emilio Estevez plays this suburban punk kid and the movie has this 80s punk aesthetic to it, from the soundtrack to the grungy look. It's got so many great quotes. The story just goes wild and takes off in so many different directions it's almost hard to keep track. It's so funny scene to scene and never really has a lull. Then that last twenty minutes hits and it's even more eclectic and crazy than the rest of the film. The script is so damn good and it pays off so many little things one after another. Great film. Watch this.
Saw this one in 1984 when it was released at The Little Theatre in Rochester NY. So awesome then, it still holds a special place in my heart!
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