Best movie ever!

It's an amazing and heartbreaking story.

One of the best movies of the year! Incredible from the beginning to the end.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

A mob kingpin(Ed McMahon) murders Slaughter's(Jim Brown) associates and he seeks to get even.Duncan(McMahon)puts a hit out on Slaughter, but his friends get shot instead while the gunner flew over his party in a Spearman. Duncan goes to his reliable trigger man(mechanic), Kirk(Don Stroud)to clean up the mess left in the wake of this failed hit. But, Slaughter isn't about to go down without a fight.Plot's simple as that. A revenge actioner where big Jim Brown takes out a mobster's goons as Kirk targets him for extermination. Duncan is in bed with the chief of police(..and other city officials) and Slaughter must secure a list with his name on it for detective Reynolds(Brock Peters).Fans of Jim Brown and blaxploitation should enjoy this, but the plot itself really isn't anything to write home about. Brown, built like a mack truck, makes both black and white women swoon and kicks a lot of ass..a tailor made vehicle designed specifically to make him look cool while defeating those who wish to kill him. Dick Anthony Williams steals the film as a sneering pimp, Joe Creole, who also has a reputation as a safe cracker and is enlisted by Slaughter to lift the list from a safe in Duncan's mansion. Stroud inhibits the usual heavy role of Kirk, a ruthless, cold-blooded henchman who has obviously eliminated a lot of Duncan's competition.The yummy Judith M Brown has a minor role as a former squeeze of Slaughter's who negotiates with him over information regarding those he is after in return for sexual favors(..and, we get to see her fabulous nude body as she disrobes for Slaughter, who didn't need too much coaxing). Gloria Hendry(Live and Let Die) is Slaughter's girlfriend, Marcia, her life soon threatened as Kirk desires the list for his boss. Hoke Howell has a funny cameo as a plane mechanic who, at first, doesn't give out the name of the person who hired the Spearman which flew over gunning down Slaughter's friends. Scatman Crothers stops by as an old friend of Slaughter who leads him to Creole as a favor in regards to finding someone available for opening Duncan's safe.Preposterous sequence where Slaughter somehow survives a car's plunging into the ocean after driving off a cliff, and how he's able to move about freely despite the powerful connections of Duncan is a major logical problem(..you'd think Duncan would have gunmen throughout the city with Slaughter encountering them everywhere he goes, but this is not the case). Plus, the whole opening sequence doesn't properly set the stage for the revenge of the movie(..shouldn't we get to know Slaughter's comrades a bit before they are murdered?). It does deliver the violence, though, as Slaughter lives up to his name, blowing away quite a many of Duncan's men, with blood all over the place. Brown's sheer charisma and presence are of major importance as the plot itself doesn't exactly do him any favors. It's too bad the film doesn't use McMahon more because he is fun to watch as the mafioso with those big shades and ugly suits.

Like the first film in this series (SLAUGHTER, 1972), I think it would be a mistake to just label this a "blaxsploitation film". Sure, Slaughter is a tough, gun-toting, Black man but it's more of an action picture regardless of the color of the leading man or the bad guys--and a very good action picture at that.For the second and final time, Jim Brown plays the title character. The film begins with one of the goofiest scenes I can remember in a film. As Slaughter and his friends are enjoying an outdoor party, along comes a biplane and begins spraying the group with machine gun fire! No, Slaughter isn't so tough that he then shoots down the plane with his .357! But Slaughter is ticked and no one is sure why this hit was happened--however, Slaughter is going to get to the bottom of it! Well, it turns out that the hit was attempted in retribution for the last movie. In it, Slaughter takes on the Mafia and kicks lots of butt down in Mexico. Now, in a horribly bungled and clumsy attempt, the guys in the plane kill and injure quite a few people but miss Slaughter. And, because the job was bungled so badly, the mob boss (Ed MacMahon!!) orders the pilot and gunman killed by his brutal assassin (Don Stroud--in a very typical sort of role for him). Stroud is great--scary and nasty to the core, but Ed MacMahon as the boss?! Wow, that's an interesting twist! Slaughter is now stumped. He figured out who the two guys were in the plane but by the time he got to them, they were dead. So, to help him along in his own private vendetta, Brock Peters (who plays a cop) tells him who the mobsters are who ordered the hit and got Slaughter to agree to help by doing some illegal undercover work. So, Slaughter and his pimp friend break into the mobster's mansion and steal a list of payoffs to key government and police officials. And, naturally, there is a lot of shooting and bloodshed in the process.Stroud isn't about to let Slaughter get away with this and kidnaps Slaughter's girlfriend. Now it's a standoff--Slaughter has the list but if he doesn't give it back, the lady is dead. Being a tough but gallant man, you might just be able to guess much of what happens next.The action is very good in the film and Jim Brown is menacing and tough. The only negative I noticed was that while having MacMahon play this nasty boss, at the end, he simply folded--and way too quickly. When Slaughter catches up to him, MacMahon becomes a wimp and all the previous nastiness disappears--and this is too much of a cliché and inconsistent. Still, despite this minor quibble, it's an engaging film that is NOT for the kids due to all the violence and boobs.

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.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.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.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.

Brown returned to his role from the year before (in "Slaughter") for this rough follow-up film. In the original, he had avenged his parents' slaying by wiping out a huge mob organization in Mexico. Here, he is the one being pursued (retaliated against) by a money launderer portrayed by McMahon. When the first assassination attempt fails, Brown is back in action once more, kicking gangster butt all over the place while trying to protect his new girlfriend Hendry. While the original film was, overall, a better and more coherent movie, this one delivers all the exploitation aspects in far heavier doses, making it more pleasing to fans of the genre. Aside from a fairly dreary opening on horseback and a downright deadly car ride down a city street at night, this movie clips along at a very brisk pace. Every few minutes there appears one or more of the following: drug use, sex, nudity, gunplay, murder or some other action. Brown is his usual reliable, amiable self, helped by his amazing physical presence which goes a long way in glossing over any stiffness in his acting. McMahon is a riot! With tinted glasses and his hair parted down the middle (!), he is shown meting out orders to his gang of thugs and is overheard making passionate love to his fur-clad bimbo. Seeing Johnny Carson's sidekick in a role like this is a perverse thrill. Stroud makes an impression as an intense, racially-bigoted hit-man while Peters adds just a tinge of class as an upright police detective who enlists Brown's aid. Sadly, no mention at all is made of Brown's original sidekicks Don Gordon and Stella Stevens. Suddenly, Brown now has a girlfriend (Hendry) who is likable enough, but lacking in the voluptuousness and personality that Stevens had before. Williams does an outrageous turn as a pimp who can seemingly pick any girl out of a bar and make her an instant member of his harem. The cinematography and overall direction is less polished than the first film, but this one does have a drive and a sense of danger that exceeds the original's feel. The film spends a lot of time in the sewage of organized crime, drugs, prostitution and other vices, but it retains interest through the creativity of its action scenes and the now-startling lack of political correctness. One odd note: A key supporting player in the first film was shown getting shot to death, but pops up here in a different role.