This unforgettable movie is not to be missed – though full of superb jokes, it has a weird integrity, something melancholy and serious, at its core that stays with you. Behind it all is the wry, angry, uncomfortably political intelligence of Cox – who hung out with real repo men. But what we most remember is the central figure, the ageing, cynical ‘repo man’ Bud (Harry Dean Stanton) who becomes Otto’s mentor, puts him in a suit, and introduces him to the ‘Repo Code’ of his crew of legally sanctioned car thieves: it’s a great performance – just before Stanton made Paris, Texas with Wim Wenders (and with Repo Man’s magnificent cinematographer, Robby Müller, who has a cool European eye for the vacant lots and oddities of America). Cox knows his exploitation cinema, and pays his dues with a surreal aliens-and-CIA running subplot, alongside another with a half-baked Mohican-and-leathers stick-up gang whose crimes are hilariously incompetent (e.g, mid-robbery, ‘You say our names, we’re going to have to kill all these people, Archie!’ or ‘Let’s go do some crimes’ – ‘Yeah. Dreams can come true if you put your heart and soul into achieving them. Law’s Fall and More of the Most Unforgettable Oscars Moments of All Time. Friends are family of choice who love you unconditionally. Will Smith’s Slap, Best Picture Mix-Up, J. Seeking parental approval can be crippling, and challenging authority can be healthy at times. It’s an absurdist, foul-mouthed, savagely satirical black comedy, a grungy but elegant, utterly clued-up assault on Ronald Reagan’s America – wonderfully acted by a dream-team of indie actors, surrounding a droll, alienated young L.A. Puberty can be messy, uncomfortable, and awkward. The film – which has attitude in spades, and knows exactly what it’s doing, is almost impossible to describe.
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