I like the storyline of this show,it attract me so much

The film may be flawed, but its message is not.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Worth seeing just to witness how winsome it is.

Rugged bounty hunter Boss (the always cool Fred Williamson, who also wrote the smart script) and his easygoing partner Amos (a very funny and amiable portrayal by D'Urville Martin) pursue notorious outlaw Jed Clayton (the legendary Big Bill Smith in peak curvy form) into the small town of San Miguel. Boss decides to become sheriff after he finds out that the town doesn't have one.Director Jack Arnold keeps the immensely entertaining story moving at a brisk pace, milks plenty of laughs from the blithely cheeky sense of humor, maintains an affable lighthearted tone throughout, and stages the exciting shoot outs and thrilling rough'n'tumble fisticuffs with skill and gusto. Moreover, this film deserves extra praise for tackling the issue of racism head on; it's a total treat to see two bold black guys put a bunch of hateful white bigots in their place. Williamson and Martin display a natural and engaging chemistry in the lead roles, with sound support from R.G. Armstrong as the slimy Mayor Griffin, Barbara Leigh as kindly school teacher Miss Pruitt, Carmen Hayward as the sweet Clara Mae, and Ben Zeller as a friendly blacksmith. Leon Moore's funky-throbbing score hits the right-on groovy spot. Robert Caramico's crisp widescreen cinematography provides a pleasing bright look. A really on the money movie.

I am amazed at how positive some of the reviews are for this barely mediocre Baxploitation Western--especially considering it seems like a ripoff of "Blazing Saddles" (made in 1974). The plot involves two Black bounty hunters with attitude who arrive in town and take over the job of sheriff and deputy. Unlike "Blazing Saddles", this film isn't all comedy but a sort of hybrid action-comedy picture. However, the comedy isn't all that funny (D'Urville Martin can't carry this off by himself) and the action isn't as good as most of the star's (Fred Williamson) other films. Another major problem is that while having an anachronistic sheriff in the Mel Brooks film worked, here it just feels like "Black Caesar" stuck on the range--a very odd and unconvincing switch to say the least. It's more like wish fulfillment than anything you might have really seen in the West.So let's say that you ignore how ridiculous the story is. In this case, is the film worth seeing? Well, yes and no. It certainly isn't brilliantly made nor does it make the case that there should have been more Black Westerns and some of the plot is pretty silly. On the other hand the film is rather fun to watch if you are looking to see a bunch of angry racist Whites get theirs--but this just isn't enough of a payoff to recommend the film. Overall, undemanding and silly. Not really so much bad,...just not very good.FYI--When you try to use the title of the film in the review, it is prohibited by IMDb. I am not upset by this, but not mentioning the title of a film in the review can be a tad difficult!

Fred Williamson was one of the greatest of the 1970s blaxploitation stars, but as cool as he is, he can't make this one anything more than very average. Williamson and frequent co-star D'urville Martin ('Dolemite') play bounty hunters on the trail of no-good varmint William Smith ('Invasion Of The Bee Girls', 'The Ultimate Warrior', 'Maniac Cop') who bully the mayor of a small town (Peckinpah regular R.G. Armstrong) into letting them become sheriff and deputy. They make sport of the uptight white townsfolk, grab as much cash as they can, and wait for an opportunity to get their man. 'Boss N*gger' can't decide whether it wants to be a serious western or a spoof of the genre, and the comedy is broad, recycles much of the Cleavon Little schtick from Mel Brooks' 'Blazing Saddles', and is basically just not that funny. But when it takes the material seriously it shows promise, and seeing Fred Williamson battle b-grade legend William Smith is worth the rental. Williamson scripted as well as starred, and would have been better advised not to. It's the lame script that really lets this one down. The cast is good, and the direction, by 1950s monster movie favourite Jack Arnold, is strong enough. Williamson's charisma keeps this afloat, but to be honest, it's nothing special.

This is a good, solid B movie; not a great western, but a satisfying "blaxploitation" flick mostly because the humor is well done. Not only do the actors bring out the best in the material, but the material (by Williamson himself, who would soon make the jump to directing but on this film hired veteran pro Arnold) is not bad itself.Boss Ni**er includes a blaring title track that includes the immortal lines "he's a boss niiiiiiiggggaa" in what sounds like a white dude's best impression of Marvin Gaye. Its story concerns the Boss and his sidekick, played to perfection by Durville Martin of Dolemite fame ("I love those fat women" says his character, never knowing the trouble he could get into.....), as ex-slaves who "decided to hunt white folks for a change" and went out West to become bounty hunters. The plot follows the Yojimbo mold, even including a hastily assembled opportunity for Williamson to be captured and beaten near to death by the villains, only to recuperate and return for the final bloodbath.Like so many of Williamson and Martin's films, the appeal of the film comes from their charisma and the humorous ways they interact with the other, more straight, characters of the film. Thus, even though the plot and structure are predictable, many individual scenes are very funny and entertaining. Unfortunately, the action is not very well done. There is a PG rating, and it's pretty violent considering this, but it keeps the film from rising into the realm of, say "Il Grande Silencio" or "Fistful of Dollars", to which it is very similar; Williamson and Co. seem to have gone instead for comedy.The film is a success at reaching its modest goals, a good time for the audience letting off some tensions with a historically based race battle.Also contains one of the greatest exit lines ever: "There's nothing worse for a black man that to drag around a white b*tch".