| Repo Man (Collector's Edition) | 
 enlarge | Actors: Jennifer Balgobin, Olivia Barash, Susan Barnes, Emilio Estevez, Tom Finnegan
Studio: Universal Studios
Category: DVD
List Price: $19.98
Buy New: $5.02
You Save: $14.96 (75%)
New (48) Used (14) from $4.99
Avg. Customer Rating:  126 reviews
Sales Rank: 8988
Format: Color, Dvd-video, Special Edition, Widescreen, Ntsc
Languages: English (Original Language), English (Subtitled), Spanish (Subtitled), French (Subtitled)
Rating: R (Restricted)
Number Of Items: 1
Running Time: 92
Aspect Ratio: 1.33:1
Shipping Weight (lbs): 0.2
Dimensions (in): 7.1 x 5.4 x 0.6
MPN: MCAD28510D
ISBN: 141707051X
UPC: 025192851025
EAN: 9781417070510
ASIN: B000BR9S96
Theatrical Release Date: March 2, 1984
Release Date: January 24, 2006
Availability: Usually ships in 1-2 business days
Condition: ******BRAND NEW****** ** Over 1.5 million orders shipped worldwide and more than 500 000 items in stock, BUY FROM A TRUSTED SOURCE, ESTABLISHED SINCE 1998 - INETVIDEO ~~~
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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
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
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| Customer Reviews: Read 121 more reviews...
 Boring, gave me a major headache October 11, 2008
0 out of 2 found this review helpful
This has got to be one of the dumbest, most deliriously boring flicks ever made. Heck, watching it gave me a massive headache. I'm known for liking really cheesy movies, but this one is just plain stinky.
 Repo Man: Alex Cox's Quest For The Holy Grail. September 23, 2008
3 out of 3 found this review helpful
Directed by, Alex Cox (Walker; Straight to Hell; Death and the Compass; Three Businessmen)), Repo Man is a 1980s cult classic starring Emilio Estevez and Harry Dean Stanton. Set in mid-80s Los Angeles, the darkly humorous, offbeat film tells the story of Otto Maddox (Estevez), a loser and recently-unemployed supermarket clerk who unexpectedly finds employment with "repo man" Bud (Stanton), after discovering that his girlfriend is having sex with his best friend and his parents have donated his college savings to a televangelist. Much of the surreal film involves a crazy road-trip quest through cosmic unconsciousness in search for a 1964 Chevrolet Malibu from New Mexico, which contains a Top Secret mystery in its trunk. Cox portrays the repo men as modern-day knights in a quest for The Holy Grail. After discovering "the life of a repo man is always intense," Otto loses interest in his former punk rock lifestyle. Harry Dean Stanton carries the film to its entertaining heights. Repo Man features a killer soundtrack including songs by Iggy Pop, Black Flag, Suicidal Tendencies, and The Circle Jerks. Repo Man offers an excellent jumping off point into the rare genius of Alex Cox.
G. Merritt
Classic September 4, 2008
1 out of 1 found this review helpful
I loved this movie when it first came out, back in my own post-punk college days. I recently watched it again, after not having seen it for many years, and I'm pleased that it has actually aged quite well. It's still really, really funny. The soundtrack is still excellent. The social commentary still works. The performances are still hysterical. The special effects are still bad. Seriously, it's a classic.
The One That Got Away July 18, 2008
2 out of 2 found this review helpful
I titled this review, "The One That Got Away" because this movie as it is now being presented is not the exact same movie I fashioned my temporarilly pointless life after in the 80's. I remember a scene (which is now missing) where Otto was in the market holding a can which read "MEAT". He asked a store clerk (female), "what kind of meat is this?" and she replies, "what difference does it make?", classic! But gone.
In the special features section they have a bunch of deleted scenes...why were they deleted in the first place? Reviewing these deleted scenes out of context only peeved me further. I can't give the movie a bad rating because I love it so much, it's one of my favorites. I'm only upset at the choices (cuts) made on this DVD. I will buy the original on VHS and see if that will do the trick. Until then enjoy!
A movie destined to be a Cult icon: The dark side of Pop culture. May 5, 2008
8 out of 11 found this review helpful
Whitout a trace of a doubt, this movie is the very synonym of what a cult film is meant to be, in every single possible aspect that can be analysed on the mad lab of filmic culture, a larger than life experience about the most true and substancial feelings, atmospheres and aesthetics, fibers and existential layers required for a cinematic work to be considered a cult icon. "Repo Man" is the flag, the standard of the underground, B-style, drive-in cult films of all times. If there's an encyclopedia of cult films, this stunning on-the-edge work of art, spawned from the rotten entrails of the mid 80's pop culture, car repossessions, radioactive alien conspiracies and government chases, punk rock mayhem, and cynical goofy revisions of american society values of an infamous decisive decade, must be on the cover with golden frames written with large gothic imprints. To describe this passionate and iluminated milestone of the B-movies country is just as hard as it is breathtaking, the experience provided can't possibly be told in simple words. Not because we are facing an astonishing description of life on the streets combined with notorious wicked-fun and bizarre fiction, but because our very world is absorbed by the truth implied in this 94 minutes hilarious evaluation of the human struggle to overcome the economic and moral concepts of poverty, in a society dominated by TV ideals, learnings, and stereotypes of happiness and golds in life.
Alex Cox's directional debut must be the most entertaining synthesis of cheap science fiction, suburban punk rock culture, and teenage dissapointment ever portrayed on film. The targets chosen for this awesome satiric tale of humurous profanity, conspiracy and post-modern deception, are the generic food and consumers products industry, UFO and pseudo-religion cults, the automobile worship and the human angst from the very bottom of the social scale, all combined in the most wicked, amusing and lovable critics to mid 80's monopoly of materialism.
This affectionate sci-fi comedy-parody leads us to the life of suburban slacker Otto (Emilio Estevez's fresh, warm but cyinic agressive charm, stealing every scene), a misfit punk rocker who've just lost his job and girlfriend, and meets Bud (Harry Dean Stanton, in a superb laid-back but intense performance) just to end up being envolved in the underground car repossession bussiness. When a reward of $20.000 comes along for a 1964 Chevy Malibu, a car obviously over-priced and driven by a lobotomy freak scientist who keeps a very glowing and deadly secret in the trunk, Otto jumps into one of the most bizarre and unbeliavable adventures a simple kid can get: a surreal, in-tune, modern-noir atmospheric tale of chases, incongruous but intelligent gags fulled of the most memorable dialogues of the pre-Tarantino era, and a truly beatnik-cool style that was the very landmark for other styles to come for the genre.
In a straight competition with these authentic and solid graphic circumstances, the music score must be heard to be believed: The travesty of distant Spaghetti western stereotypes combined with ferocious punk rock soundtracks by the classic bands "Fear", "The Plugz", "Suicidal Tendencies", and the main theme performed by our dear lunatic Iggy Pop, are the surface, the perfect adjunct for the movie, creating a world that trascends the screen, breaking into our nerves and consciousness for the ride of our lives. Fasten your seat-belts for this off-screw travel to the other side.
This milestone in grindhouse filmaking is a must see for every movie fan of the cult-film genre, and i dare to admit that it's almost impossible to apreciate the genre itself without admiring this outstanding piece of art. Every minute of this film reflects a phase of what we know, love or consider "B" in the cinema industry, in such a quality, rhythm and balance of diverse recognizable elements, that the very reason why we love to seat in front of a screen to spend our precious beloved time, is fully justified.
In conclusion, an entire chapter in the philosophy book of coolness, one of the ten commandments in the history of B-movie culture, and a classic film of epic proportions. The only way to vindicate your honor for the shame of not knowing this film, is to get it...25 years ago! MANDATORY viewing, required to enter the realms of Valhala!
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