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

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Kinley This movie feels like it was made purely to piss off people who want good shows

Michael_Elliott Slaughter's Big Rip-Off (1973) * 1/2 (out of 4) Violent sequel sees a mob boss (Ed McMahon) taking a hit out on Slaughter (Jim Brown) who of course has to seek vengeance when a couple of his friends are killed instead. This sequel to the 1972 hit comes as a major letdown because we've got a pretty good cast here but sadly they're given very little to do and this film runs out of gas before we even hit the thirty-minute mark. Not only do we have Brown and McMahon but we also have a brief appearance by Scatman Crothers and Don Stroud as well as Brock Peters who most will remember from TO KILL A MOCKINGBIRD. The biggest problem with this film is that the entire set up is just boring and never really gets us interested in what's going on. As soon as the movie starts we witness this hit and we have no reason why it's happening or who the people are that are getting killed. We're thrown right into this story but it's so slim that you can't help but feel you're just watching this movie because the first one made money and the studio is trying to milk some more cash. I know that just about every blaxploitation flick used this revenge storyline but they still could have came up with something better here. What we do get are a few fun performances with Brown once again delivering the good lines and kicking enough heads in for some slight entertainment. It was very funny seeing McMahon playing the womanizing gangster and Peters turns in a good performance as a cop helping Slaughter. Veteran director Gordon, whose credits go as far back as campy stuff like ZOMBIES ON Broadway, handles the material fairly well but he's just not given enough to save the movie.

Scarecrow-88 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.

taneishqua Of the two Slaughter movies, this is the better and even though its hardly a Schindlers list in complexity it is bloody funny. All the men are the goodies or the baddies and the women are all just Hos and emotionally needy, eg Slaughters Girl. It is also bloody funny and The Pro has got to be the funniest movie pimp of all time, you just can't get enough of those hats, purple suits, gold chains and jive patois forever. The best bit is where he has the Harem around him going "DO YOU BITCHES UNNASTAN". Everything about him is larger than life and it is reminescent of Morris Day in Purple Rain. Jim Brown also proves hes a private dick for all the chicks and again he kicks whitey ass in every direction. The car scene is very unrealistic that they survive it unscathed, but hey this is the movies. Definitely the finest blax flick and it surpasses Shaft (1971). Even the first movie is pretty good.

John Seal This meandering tale of mob revenge is simply not very interesting, even with Ed McMahon in a ripe role as the chief heavy. Jim Brown kicks ass effectively, Gloria Hendry proves again that she can bring life to even the poorest roles, and Brock Peters is decent as The Cop Who Plays By the Book. It's still dull and badly constructed, and even the print shown on cable is now emasculated of its original James Brown score.