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Repo Man [DVD] [2003]

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Harry Dean Stanton (Actor), Emilio Estevez (Actor), Alex Cox (Director, Writer) Rated: Suitable for 18 years and over Format: DVD
4.6 out of 5 stars 47 customer reviews
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Product details

  • Actors: Harry Dean Stanton, Emilio Estevez, Tracey Walter, Olivia Barash, Sy Richardson
  • Directors: Alex Cox
  • Writers: Alex Cox
  • Producers: Gerald T. Olson, Jonathan Wacks, Michael Nesmith, Peter McCarthy
  • Format: PAL
  • Language: English
  • Subtitles: English, French, German, Italian, Spanish, Dutch, Swedish, Danish, Norwegian, Finnish, Russian, Portuguese, Greek, Turkish, Arabic, Hebrew
  • Dubbed: French, German, Italian, Spanish
  • Subtitles For The Hearing Impaired: English
  • Audio Description: None
  • Region: Region 2 (This DVD may not be viewable outside Europe. Read more about DVD formats.)
  • Aspect Ratio: 16:9
  • Number of discs: 1
  • Classification: 18
  • Studio: Uca
  • DVD Release Date: 7 July 2003
  • Run Time: 88 minutes
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (47 customer reviews)
  • ASIN: B00008WJ6C
  • Amazon Bestsellers Rank: 9,760 in DVD & Blu-ray (See Top 100 in DVD & Blu-ray)

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Product Description

Product Description

Alex Cox's 1980s cult classic in which a luckless man forced to take a job as a car repossession worker finds that it transforms his life. Otto (Emilio Estevez) is an L.A. punk rocker with an attitude - qualities which cost him dearly when he is fired from his job at a supermarket after a fight with a co-worker. Then his girlfriend dumps him. Wandering the streets in despair, Otto meets Bud (Harry Dean Stanton), a 'repo man' who attempts to educate Otto on the value of his occupation. Otto is unconvinced but, with few other options, he takes Bud's advice and becomes a car repossession worker. Otto suddenly finds himself living a fast-paced life involving hotwiring, car chases and physical threats from irate car owners. Ultimately, he becomes entangled in the chase for a '64 Chevy driven by a mad scientist (Fox Harris) said to contain a lethal cargo.

From Amazon.co.uk

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-honour 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

Top Customer Reviews

5.0 out of 5 starsIt happens sometimes. People just explode. Natural causes.
By Spike Owen TOP 500 REVIEWER on 19 April 2015
Format: DVD
Repo Man has become one of those films where even though it was savaged by many critics of the time (not Ebert, he loved it), was met with very poor box office as well, but now everyone seems to shout that they loved it back then, always have! It is the very definition of a "cult movie", a pic that went underground and found its audience, so much so it burst back above ground and today is still being discovered by an ever intrigued movie loving audience.

Repo Man was one of a kind, a film that refused to be pigeon holed, a true original. Story for what it's worth has Emilio Estevez as L.A. punk Otto Maddox who gets bluffed into a repo man job. Taken under the wing of Bud (Harry Dean Stanton), Otto gets to become a fully fledged repo man, taking on all the perks and dangers that come with the territory. But when a mysterious 1964 Chevy Malibu arrives on the patch, all bets seem to be off because everyone is either after it or being disintegrated by it!

The life of a repo man is always intense.

OK! Where to start? Offbeat, eccentric, punk, funky, funny, smart? Repo Man is all those things, it dares to be bold and challenging, its satirical edges slicing away at film genres and American societies. Director Alex Cox (how wonderful that such an American film is directed by a British guy) fills out this scuzzy part of L.A. with hippies, freaks, punks, aliens, scientist nutters, UFO nutters, effeminate coppers and the repo men themselves, a bunch of grizzled souls hardened by life's travails, but always with a quip, a smile and a gunshot at the ready.

The dialogue fizzes with cheeky derring-do, some lines even today still quotable and used in pubs and clubs across the continents.Read more ›
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5.0 out of 5 starsIf you want a definition of cult-classic, 'Repo Man' is it!!
By Jason Parkes #1 HALL OF FAME on 5 Jun. 2005
Format: DVD
I grew up watching the fantastic BBC-TV programme 'Moviedrome', which was basically director Alex Cox introducing favourite films in his own quirky style including 'Something Wild','Carnival of Souls' & 'Django Kill!' I enjoyed Cox's own films, 'Sid and Nancy','Highway Patrolman' & the classic 'Walker' - but it's 'Repo Man' that remains my favourite work of his thus far...
The only film as odd as this to come out of a major Hollywood-studio was the same year's 'The Adventures of Buckaroo Banzai Across the Eighth Dimension'- which makes an ideal double-bill with this! 'Repo Man' is science-fiction, though science-fiction in a manner not unlike Jean-Luc Godard's 'Alphaville' (1965). As Godard's film used contemporary Paris as a future dystopia, so you get the feeling that Cox did the same to downtown-LA (the locale of its setting is often noted as an infleunce on 'Pulp Fiction', as well as Dennis Hopper's underrated 'Colors' & the charming 'Falling Down').
'Repo Man' offers an 80s-take on dystopia, a post-Reagonomic consumer-hell where dope-smoking baby-boomer parents are hypnotised by the TV, where nihilistic punks steal & where a strange man drives around with a neutron-bomb in the boot of his car, that the FBI are after as part of a wider UFO-conspiracy! Amid all this is Otto, your average punk-loser, who after his girlfriend cheats on him and he gets sacked from his supermarket job (note the way the products are labelled 'beer','london gin' etc- a conceit John Lydon nicked for PIL's 'Album' in 1986)- crossing paths with Bud (Harry Dean Stanton), who is a 'Repo Man'...Read more ›
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3.0 out of 5 starsnot too bad -- but I'm in the wrong demographic
By Stanley Crowe on 25 April 2015
Format: Blu-ray
3 1/2 stars -- It has its charm, but I was never into the 1980's punk scene (too old!) so I'm not the best person to appreciate the use of punk music and symbology as the means for upsetting generic expectations that director Alex North employs here. I like the energy, and the actors seem to be having lots of fun with their roles, and it's always a pleasure to see Harry Dean Stanton, but the whole thing just seemed a bit dated to me now, and if punk meant more to me, I might not feel that way. A few years later, "Back to the Future" blended science-fiction, cars, and satire more effectively, I thought, although visually one has to say that North and his cinematographers give a very distinctive look to this one. The rival repo-men, the Rodriguez brothers, were funny, and I was reminded of the dueling ice-cream businesses in Bill Forsyth's "Comfort and Joy," a movie that did for the darker reaches of Glasgow what "Repo Man" does for the less salubrious parts of Los Angeles, but the scenes with the three punk criminal gang get maybe too silly -- the "society is to blame" death scene of one of the punks is just too obvious to be funny, and the satire aimed through the parents of Otto (Emilio Estevez), who have become addicted to tele-evangelism, seems pretty broad today. I watched it with amused detachment, which perhaps was as much a reflection of its stylistic self-consciousness as of my being the wrong age. At just over 90 minutes, however, it's not too long, and the Criterion presentation and extras have considerable historical and cultural interest. Not too bad, then, but not really my thing . . .
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