In Montréal, Jean-Pierre is fired on the set of a TV commercial where he's an apprentice technician. He's penniless, behind on his rent, with a thin resume and no college units. He has a ... See full summary »
Parents in a small, conservative community don't think that the sex drive is a normal thing for children to experience. So much so, that they label education in that regard as a communist ... See full summary »
John G. Avildsen
A disillusioned aging decent man and once proud WWII veteran is dealing with midlife crisis as well as a tough moral dilemma. If he wants his small near-bankrupt clothing company to survive, he has two days to let go of his shaken morals.
Maddalena and Michele fall in love in Italy in the 1960s, while working at a meat factory in Emilia stormed by the workers' protest, but their love can't be, because he is married and Italy... See full summary »
Bill, a wealthy businessman, confronts his junkie daughter's drug-dealing boyfriend; in the ensuing argument, Bill kills him. Panic-stricken, he wanders the streets and eventually stops at a bar. There he runs into a drunken factory worker named Joe, who hates hippies, blacks, and anyone who is "different", and would like to kill one himself. The two start talking, and Bill reveals his secret to Joe. Complications ensue.Written by
Microphone briefly visible over Joe's head in phone booth. See more »
The niggers, the niggers are gettin' all da money. Why work, tell me, why the fuck work, when you can screw, have babies, an' get paid for it?
See more »
The original UK cinema version was cut by the BBFC to heavily edit the sequence where Frank prepares and injects heroin. The 1986 Stablecane video was 15 rated and featured an edited print which ran around 10 minutes shorter and missed the scene out completely. The 2008 Optimum DVD is 18 rated and features the full uncut version. See more »
Hey, Joe...don't it make you want to go to war...once more?
Norman Wexler, who went on to encapsulate the zeitgeist in SATURDAY NIGHT FEVER and to create deathless, hyper-offensive camp in MANDINGO, was a prince among hot-button-pushers in JOE. When a Madison Avenue type (Dennis Patrick) throttles to death the sneering drug pusher who was the lover of his daughter (Susan Sarandon), he meets an unlikely fan and friend: Joe Curran (Peter Boyle), a racist, hippie-hating hardhat type who's as far from the genteel Mr. Compton as warm root beer is from gravlax and eggs. The movie is as flummoxing, and as weirdly elating, as a deeply abusive boyfriend. One minute it's getting you to giggle along with the no-baloney Joe; a second later, he's a Hitlerian psychopath. At times, we're touched by the friendship and mutual respect that crosses class lines; at other times, we're made to chuckle at Joe and his wife's homely ways, and at still others Compton's brand of magazine-derived good taste comes in for a beating. Like another surprise hit of its year, PATTON, JOE has that non-lecturing, read-it-this-way-or-that quality. Nearly every scene has something for an audience to cheer or boo (and oftentimes, those are the same things). The director, John G. Avildsen, has a few real winners (SAVE THE TIGER, NEIGHBORS) in his undistinguished career; this may be tops among them.
28 of 37 people found this review helpful.
Was this review helpful to you?
| Report this