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Repo Man is completely unclassifiable. Comic, unlit, biting, thrilling, confusing, action, adventure, it’s all there. Emilio Estevez plays Otto, a “white suburban punk” living in LA’s sprawl, with a nowhere job that he loses in the film’s second scene. When his hippie parents admit they sent his college fund to a TV preacher (We’re sending Bibles to El Salvador!), Otto meets Bud (Harry Dean Stanton), a cocaine-driven Repo Man who needs an extra driver. Otto joins the firm and soon learns the Repo Code; Bud’s version (You leer, a Repo Man gets himself INTO tense situations), and the other regulars at Helping Hand Auto fragment their philosophies too. Light finds Bud’s idea boring but is willing to handle shoot-outs when he’s not reading parodies of Scientology (Diuretix), Miller seems completely neuron-fried (The more you drive, the less shimmering you are), and Oly is along to gain a four-pack. (Did you witness the four experienced Repo Men are named after beers? ) Let’s go accumulate a drink, kid!
Multiple situation strands at first seem unrelated, but bind together closer and tighter as the film moves along. Otto and the other Repo Men are on the lookout for a 1964 Chevy Malibu, with a $25,000 bounty. So are some creepy FBI agents, who stalk and kidnap Otto. And so are Helping Hand’s arch-rivals, who careen into the site whenever things are getting plain. The car’s driven by a nuclear physicist in from Los Alamos, who warned a CHP officer not to peep in the trunk (with deadly results) . Otto’s punk friends regain the car while breaking into a pharmaceutical factory, but they’re too listless to hold it. (These three are some of the dumbest criminals ever shown in film, including Kevin Kline’s Otto in _A Fish Called Wanda_) Otto finds adore, after a fashion, but since this is Reaganesque LA, even his girlfriend has her maintain motives. (”Otto! What about our relationship? ” Otto’s respond is a intellectual answer to Cary Grant’s last line in Gone with the Wind.)
The film abounds with hilarious throw-away lines, signs, and labels. Several scenes select state in food stores, and all the food is generically labeled. Multiple viewings are required to pick up them all; be positive to read all the signs in the windows. Even the TV preacher shows up on several television sets. Repo Man takes its structure from Miller’s bizarre rant about the cosmic latticework of interconnectedness, because everything is interconnected, and Miller turns out to be fair about all of it by the slay. “And flying saucers are… You got it. Time Machines.”
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Top it off with a TERRIFIC sound track by Iggy Pop, Murky Flag, The Circle Jerks, and a host of others from the punk scene and this is one of the best movies ever made.
Every decade, there seems to be a movie that defines the angst of the culture and the subculture, the collective feeling that something is irascible with the establishment. To call this zeitgeist is misleading; these films don’t consider the spirit of the times as remarkable as they somehow tap into the opposite - they manage to effect an all-around sense of unease about the place of the world. In the 1960s, it was The Graduate and the bombshell spy at the waste. For the 1990s, Fight Club identified many things nefarious both with pop culture and those acting in rebellion against it. For the Reagan-saturated 1980s, the distinction falls squarely on Alex Cox’s debut film Repo Man. In one of his first roles, Emilio Estevez plays Otto, a street punk who loses his job and college savings in the same day due to misunderstandings and television preachers. At the demolish of his rope financially and mentally, he agrees to beget a fast 20 bucks by helping experienced repo man Bud (Harry Dean Stanton) . Realizing the potential to design a qualified living, and an “intense” life in his unique job, Otto signs up with the crew and becomes a repo man. On the device, he meets an fresh woman (Olivia Barash) whom he hastily falls in lust with. When word comes down the wire that there’s an expansive commission out on a 1964 Chevy Malibu, Otto and all the other repo men state out to view for the car with the substantial salvage. What they accept in the trunk is so new, it will change everything - EVERYTHING.
What makes Repo Man so unusual is the positive satirization not only of regular, and in this case conservative Reagean-esque, culture, from the “John Wayne was [gay]” speech to Bud’s trashing of Russia, but the send-ups of punk culture (Let’s go do some crimes! Yeah, let’s derive sushi and not pay!) Otto is the everyman in every sense of the word, as he - like us - realizes that no matter what culture he tries to be a fraction of, he never fits in, and those strains of culture are so rife with stupidity and hypocrisy that he no longer wants to belong. Like The Graduate and Fight Club, Repo Man also refuses to supply a stock respond, instead making the audience put a question to instead of spoonfeeding them. Plus, it’s roll-on-the-floor droll, with some of the best oneliners since Atrocious Monotonous 2 or Terminator 2. Alex Cox made Repo Man while peaceful in film school, and he basically admits it’s small more than a trumped-up student film. The lack of budget is positive at times, but the killer screenplay and direction more than beget up for that tiny fault. As usual, the movie looks advantageous on Anchor Bay’s DVD; the sound and video are as positive as you can ask for, with a remixed 5.1 audio track to boot. There’s a spacious commentary track with Alex Cox, some castmembers (sadly, no Harry Dean or Emilio), and some crew; it’s a lot like a Kevin Smith commentary, with everyone sitting in one room, having a tall time talking about a expansive film. There are no other extras to dispute of, unless you capture the collector’s tin (which does not sight like the normal Repo Man hide - it looks like a California license plate, with Repo Man on it) . The collector’s tin has the soundtrack on CD and a booklet about the movie with a cramped silly in it. Unless you are a major fan or must have the best of the best of the best edition, there’s no need to engage the more expensive version, but if you want it, you’d better glean it snappily, because at 30,000 copies, it’ll be gone before you know it.
I would definitely check this movie out if you can, and would recommend buying it to anyone who asked.
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