Product Description

Punker otto tries to repossess a chevy malibu with something alien and atomic in the trunk. Studio: Uni Dist Corp. (mca) Release Date: 01/24/2006 Starring: Emilio Estevez Fox Harris Run time: 92 minutes Rating: R

Product Details

• Amazon Sales Rank: #6462 in DVD
• Brand: Universal Studios
• Released on: 2006-01-24
• Rating: R (Restricted)
• Aspect ratio: 1.33:1
• Formats: Color, DVD, Special Edition, Widescreen, NTSC
• Original language: English
• Subtitled in: English, Spanish, French
• Number of discs: 1
• Running time: 93 minutes

Amazon.com essential video
A volatile, toxic potion of satire and nihilism, road movie and science fiction, violence and comedy, the unclassifiable sensibility of Alex Cox's Repo Man is the model and inspiration for a potent strain of post-punk American comedy that includes not only Quentin Tarantino (Pulp Fiction), but also early Coen brothers (Raising Arizona, in particular), Men in Black, and even (in a weird way) The X-Files. Otto, a baby-face punk played by Emilio Estevez, becomes an apprentice to Bud (Harry Dean Stanton), a coke-snorting, veteran repo-man-of-honor prowling the streets of a Los Angeles wasteland populated by hoods, wackos, burnouts, conspiracy theorists, and aliens of every stripe. It may seem chaotic at first glance, but there's a "latticework of coincidence" (as Tracey Walter puts it) underlying everything. Repo Man is a key American movie of the 1980s--just as Taxi Driver, Nashville, and Chinatown are key American movies of the '70s. With a scorching soundtrack that features Iggy Pop, Fear, Black Flag, Circle Jerks, and Suicidal Tendencies. --Jim Emerson

Customer Reviews

18 years later, still my favorite movie
Repo Man is completely unclassifiable. Funny, dark, 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 see, a Repo Man gets himself INTO tense situations), and the other regulars at Helping Hand Auto share their philosophies too. Light finds Bud's view tedious 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 intelligent you are), and Oly is along to make a four-pack. (Did you notice the four experienced Repo Men are named after beers?) Let's go get a drink, kid!

Multiple plot 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 plot whenever things are getting dull. The car's driven by a nuclear physicist in from Los Alamos, who warned a CHP officer not to look in the trunk (with deadly results). Otto's punk friends find the car while breaking into a pharmaceutical factory, but they're too stupid to keep 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 love, after a fashion, but since this is Reaganesque LA, even his girlfriend has her own motives. ("Otto! What about our relationship?" Otto's reply is a brilliant retort to Cary Grant's last line in Gone with the Wind.)

The film abounds with hilarious throw-away lines, signs, and labels. Several scenes take place in food stores, and all the food is generically labeled. Multiple viewings are required to catch them all; be sure 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 right about all of it by the end. "And flying saucers are... You got it. Time Machines."

Top it off with a TERRIFIC sound track by Iggy Pop, Black Flag, The Circle Jerks, and a host of others from the punk scene and this is one of the best movies ever made.

A Proud One Among Many
Every decade, there seems to be a movie that defines the angst of the culture and the subculture, the collective feeling that something is wrong with the establishment. To call this zeitgeist is misleading; these films don't reflect the spirit of the times as much as they somehow tap into the opposite - they manage to create an all-around sense of unease about the state of the world. In the 1960s, it was The Graduate and the bombshell look at the end. For the 1990s, Fight Club identified many things wrong 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 end of his rope financially and mentally, he agrees to make a quick 20 bucks by helping experienced repo man Bud (Harry Dean Stanton). Realizing the potential to make a good living, and an "intense" life in his new job, Otto signs up with the crew and becomes a repo man. On the way, he meets an unusual woman (Olivia Barash) whom he rapidly falls in lust with. When word comes down the wire that there's an enormous commission out on a 1964 Chevy Malibu, Otto and all the other repo men set out to look for the car with the huge score. What they find in the trunk is so unusual, it will change everything - EVERYTHING.

What makes Repo Man so unique is the obvious 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 get 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 part 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 answer, instead making the audience question instead of spoonfeeding them. Plus, it's roll-on-the-floor funny, with some of the best oneliners since Evil Dead 2 or Terminator 2. Alex Cox made Repo Man while still in film school, and he basically admits it's little more than a trumped-up student film. The lack of budget is obvious at times, but the killer screenplay and direction more than make up for that slight fault. As usual, the movie looks excellent on Anchor Bay's DVD; the sound and video are as clear as you can ask for, with a remixed 5.1 audio track to boot. There's a great 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 great time talking about a great film. There are no other extras to speak of, unless you buy the collector's tin (which does not look like the normal Repo Man cover - 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 little comic 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 buy the more expensive version, but if you want it, you'd better get it quick, 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.

"I don't want no commies in my car. No Christians either."
Alex Cox sends up the Reagan era in a black comedy about car reposession. With a stellar soundtrack and lots of quotables, Cox is the precursor to the Coens and Tarantino. Cox sends up everything but the kitchen sink-suburban life, televangelism, nuclear fear, UFO conspiracies, commercialism, self help cults, and more I'm sure I missed here. Straight up lo-budget classic if you have a taste for irony and absurdity.