Comeuppance Reviews Eddie Marino (Forster) is a blue-collar guy who goes to his factory job, then goes to the local dive bar with his friends (Nick, Burke, and Ramon - Williamson, Bright and Carberry, respectively), then comes home to his loving wife (Alda) and son. His simple life is interrupted when a vicious street gang led by the evil Rico (Colon) and Prago (Blakely) invade his home and assault his wife and son. Feeling defenseless against everyone from small-time drug pushers on up, Nick forms a vigilante group because the court system is a corrupt failure and isn't protecting its citizens. Now crime is running wild so everyday citizens must stand up and fight. Eddie is initially resistant to the idea, but after seeing shyster lawyers like Eisenberg (Spinell) pull the rug out from under good-faith lawyers like his own, Mary Fletcher (Lynley), Eddie snaps and is sent to jail for contempt. It's while he's inside that he meets Rake (Strode)...but when he gets out, he decides to join Nick's group after all and it's then that the truth that he initially denied comes out: if you want justice, you have to do it yourself.Why, oh why aren't there more movies like Vigilante? We will never stop pining for them. Just about everything about Vigilante is awesome. From the second you see the font the opening credits are in, you know the movie is going to be good. The cast is amazing: it's one of Fred Williamson's best - he puts a lot of energy into it and gets all the best lines. Plus he's just so cool. There are moments when he breaks through the top of the coolness thermometer. Joe Spinell is perfectly cast as the sleazy lawyer. He has a small but integral role, as does Steve James. Come to think of it, same for Woody Strode. Robert Forster is always worth watching. Jay Chattaway's music is superb and ties it all together.Revenge movies are one of our favorite things to watch, and the gritty NYC locations of the 80's are simply mesmerizing. The post-Death Wish (1974) cycle of The Exterminator (1980), Vigilante, and The Protector (1985), and, to a certain extent, Exterminator 2 (1984) give an excellent picture of the New York City of the day. It's simply fascinating, not to mention addictive to watch - if you know any other movies like these, please write in a comment to suggest them! The Anchor Bay DVD is excellent, with a beautiful widescreen transfer that looks great, and some nice extras. There's not much more to say, really...for a great movie from a never-to-be-duplicated time period, with a top-notch cast that's fast-paced and entertaining from start to finish, with a great message...Vigilante rules! What more could you want? If you haven't already, just buy the DVD today! For more action insanity, drop by: www.comeuppancereviews.com

Coventry Even though the original "Death Wish" dates from 1974 already, the popularity of "vigilante" movies only truly skyrocketed during the late 70's and especially during the early 1980's. This shouldn't come too much as a surprise because the early 80's were a glorious period for all kinds of cheap and gritty exploitation cinema. Vigilantes and neighborhood watches are themes that all too easily lend themselves for gratuitous violence, sleaze, controversy and provocative footage. Some movies nevertheless still attempted to narrate a more intelligent and engaging story, like for example Lewis Teague's "Fighting Back", but most contemporary vigilante flicks are simply an excuse to show as much extreme violence as humanly possible, like parts II and III of the "Death Wish" series, "Tenement: Game of Survival" and "The Exterminator". This particular vigilante movie – with the most basic yet straightforward title imaginable – situates itself somewhat between the two categories. "Vigilante" contains several sequences that depict harsh and exploitative violence, yet surprisingly enough it also attempts to bring a proper story and detailed character drawings. I deliberately use the words "surprisingly enough", because the director – William Lustig – isn't exactly known for subtlety or adequate storytelling. The man became infamous thanks to "Maniac" a few years earlier and that film is now, 30 years later, still one of the most prototypic examples of cruel and disturbing exploitation cinema. Therefore I must admit being impressed with the plot and the atmosphere of despair William Lustig tries to generate. Eddie Marino is an earnest factory worker and lives with his wife and young son in one of New York City's grittiest and gang-infested neighborhoods. His friend and co-worker Nick often insists for Eddie to join the neighborhood vigilante squad, because the Puerto Rican gang is becoming more and more powerful while the police appears less and less in the streets, but he refuses because he truly believes in the country's juridical system. Even when Eddie's wife is found stabbed and his little boy murdered, he still has faith that he US court and the honorable judge will righteously punish the culprit. But the honorable judge is corrupt and the whole system is rotten, as the guilty gang members are acquitted and Eddie himself has to go to jail for 30 days for assaulting the judge. Whilst in jail, the idea of joining Nick's vigilante squad suddenly becomes all the more appealing. This may perhaps disappoint some die-hard exploitation fanatics, but admittedly "Vigilante" is a lot less graphic or sickening than – say – the "Death Wish" sequels for example. The assault on Marino's household is rather nasty and so are a handful of other scenes, but clearly the emphasis of the film remains on Eddie's emotional and mental journey. Lustig does a terrific job in depicting New York's suburbs as menacing ghettos where danger lurks behind every corner and literally nobody can be trusted. He should know, of course, as Lustig himself grew up in The Bronx. Robert Foster is excellent is his lead role as the tormented Eddie Romero, but the most memorable roles can be found in the supportive cast. Fred Williamson, as the founder and commander of the vigilante squad, is deliciously deranged and actually a lot more dangerous and fanatic than most of the gang members. Veteran actor Woody Strode briefly appears as a fatigue but inspiring inmate, Vincent Beck is terrific as the corrupt judge and my absolute favorite supportive character is Joe "Maniac" Spinell's sleazy and loathsome attorney Eisenberg. He shamelessly defends the assailants and knows exactly how to manipulate a court and obtain minimum punishments for heavy criminals.

Scarecrow-88 William Lustig's follow-up to MANIAC concerns a blue-collar worker (Robert Forster) whose wife and child are attacked by a gang of punks (right out of John Carpenter's ASSAULT ON PRECINCT 13), with a crooked judge allowing one of them (the one who knifed the wife) off without time served. Instead, Forster is sentenced to 30 days in prison (Rikers, presented as if Hell behind bars) for trying to strangle the judge (and rightfully so) while his co-workers (led by Fred "The Hammer" Williamson) have formed a vigilante trio after the head honcho behind the drugs trafficking to teenagers on his street. When Forster gets out of prison he wants revenge on those who have wronged him, joining up with Williamson and his men.This movie is essentially Lustig's DEATH WISH; Forster stepping into the Bronson Paul Kersey role. Williamson is one cool customer, though, and the New York locations offer flavor, grit, and color heightening the action scenes and adding potency to the subject matter. While not exactly a nightmarish wasteland as the city Bronson must contend with in DEATH WISH III, New York City sure seems dangerous enough through Lustig's lens. Nothing original and Forster, while getting revenge on the main culprits behind his loss (his son is shot-gun blast with the killer chased by Forster in Lustig's own French Connection street car chase, Forster's wife leaving him because of her trauma), doesn't necessarily get as even on the entire group of the Headhunters as Kersey did in DEATH WISH II. The film features plenty of use of blood squibs as one scene shows the Headhunters gang opening fire (with machine guns) on a patrol car, blowing away two policemen, with Williamson shot-gun blasting a wealthy drug supplier masquerading as an Italian businessman. Woody Strode has a cameo as a prisoner in Rikers who saves Forster from a shower room rape, certain to elicit applause—he leaves more of an impression with a few minutes than many do with two hours. Williamson's charisma alone adds value to this movie, even if it does cover familiar ground. Joe Spinell has another memorable supporting part as an oily attorney who seems to be in cahoots with the judge, both willing to use the courts to get scumbags off if they can afford them.

Der_Schnibbler I imagine when the movie was released, back before Disney opened a store in Times Square, the movie hit pretty hard. Today it just comes off sensationalistic and exploitative but that is to be expected. It's still a great flick, especially for those who like the Bronson DEATHW WISH series or that other vigilante film from the same period that fell into obscurity, THE EXTERMINATOR.The film suffers a bit from the liberal lie syndrome, otherwise known as the transparent, rapidly dying cult of "political correctness." It tries to represent the street trash who go around wreaking havoc as some kind of equal opportunity delinquents: one is black, the other is white, the other is Asian. Yeah, like you see multicultural gangs of roving sociopaths every day. I was wondering why they didn't go all the way: have one native American in full head gear, an Eskimo, a midget...you know, just so we don't inadvertently single anyone out. Much more realistic would have been to have made the gang all black with a few Mexicans, that would've been the real world of early '80s crime-ridden New York City but, as we all know, we are supposed to pretend the so-called "civil rights" movement that ended segregation and brought a black wave of crime on the heads of every white American was a GOOD thing.Aside from this typical silliness, the movie is great. Recommended!