a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

The film's masterful storytelling did its job. The message was clear. No need to overdo.

The film may be flawed, but its message is not.

Coffy is perhaps the epitome of Blaxploitation films. Coffy (Pam Grier) is a nurse who joins the mob as King George's (Robert DoQui) girlfriend as she enacts revenge against drug dealers whose victims she treats, including her sister.King George appears on the scene looking like Dolemite. Whack-a-da music abounds as does Pam Grier. Like one of the character's says, "I just want to get high and watch." A favorite film of drive-in movies. Includes a young Sid Haig and break away clothing cat fight.Guide: F-bomb, sex, ample nudity (Pam Grier, Lisa Farringer, Marilyn Joi, Peaches Jones plus others)

Blaxploitation is so synonymous with the persona of Pam Grier that the subgenere may as well be dubbed as worthless trash when without her. Let's face it: blaxploitation flicks are trash, nudie cuties stirred up with drug violence and gang warfare without enough acumen to make for anything besides low, low, art. For the most part, they consist of a few ticklish one-liners, a myriad of boob flashes, and a h*ll of a lot of gun shots, cocaine snorts, and shag carpets. Today, we're fond of their terribleness. They remind us of a time when films could be sleazy and unapologetic, bulletproof to critics because they catered to audiences looking for skin, slaughter, and post-Motown blackness.But Pam Grier doesn't, and never did, disappear into the background noise of better films. As of this moment, you probably can't remember what Tamara Dobson ("Cleopatra Jones") looked like, how Ron O'Neal ("Superfly") sounded when he was high on movie coke — but I guarantee that, in ten years, Grier will still be hanging around in your psyche, personifying the ever elusive film femme that was strong and scrappy but also feminine and sensitive. As Roger Ebert reminded us in his original review of 1973's "Coffy", Grier essentially reversed the stereotypes strung together by the majority of blaxploitation thrillers. Most gave the man the duty to save the day while the love interest waited around in bed until he finally fixed things up and had time to make some water bedded love. But Grier, or perhaps, writer/director Jack Hill, in an honorably feminist mood, asked a question most left untouched: what would happen if the woman saved the day, and didn't need a man to survive in a cold, hard world of drugs, cash, and hookers?As "Coffy" opens, its titular matron is p-ssed. Kills two drug pushers with a shotgun p-ssed. Is willing to slaughter more criminals p-ssed. Smacking the blood on her lips p-ssed. Why? Her sweet little sister, apparently not as precious as she thought, has destroyed her sacred life with laced heroin, laying sick and immobile in a hospital that would rather get rid of her than help her out. Coffy wanted her young sibling to have dreams, to dance, to let her hair down in a wholesome, Doris Day kind of way. So when those hopes are diminished, she decides to get revenge on the drug mavens who gave her the goods in the first place. After violent confrontations continue on in a vicious cycle, she finally sets her sights on crime lord King George (Robert Duqui), who seems to be behind all the street crud that has sabotaged her life. And when it turns out that her congressman boyfriend (Booker Bradshaw) also has a part in the corruption, she figures she may as well throw caution to the wind and go all out. Grier can do it all: she's a terrific actress, as much of a presence as the mainstream broads that, more than once, stole her thunder, and she's a worthy exhibitionist, proud of her extremely (extremely) curvaceous body and more than happy to flaunt it. But she isn't much like a Russ Meyer girl with busty proportions and not much else — she is so commanding in her sexual prowess that, like Nicki Minaj (I'm going out on a limb here), we find ourselves as much titillated by her presence as we are unsure how to react to it. For Grier (and Coffy), sex is a weapon, and she knows how to use it.But Grier isn't so dependent on her chest that she forgets to act; she really and truly knows what the h*ll she is doing and makes "Coffy"'s lame dialogue suddenly seem like urban Shakespeare. Other actors in the room don't even try to give Hill's lazy writing any sort of life; Grier, though, pretends she's reciting something the Academy would give notice to. She makes Coffy a superbly memorable character, not just for her physical presence but also for her craftiness, her sincere, empathetic hatred for the men that destroyed her sister's life.I won't go into details regarding the productional values of "Coffy"; everything other than Grier, and the funk obsessed soundtrack, instantly leaves the memory with its routine sex, drugs, and revenge plot. It's an average film with a too-good-for-her-material actress as its front-and-center. A shame — most never knew what to do with Grier after the blaxploitation era ended: should she be a villain? A detective? A wise older woman? Thank God Quentin Tarantino swooped down to save her from further career monstrosities through 1997's "Jackie Brown": then and there was she able to prove that she was so much more than an icon of an otherwise trashy 1970s subgenre. She was also a leading lady with class, with major talent. "Coffy" is a showcase for her unique abilities that puts its brazenness aside in favor of a goddess of an actress.

Coffy came as a real disappointment to me, as happening across it, in the DVD shop. It's a more colorful version of Foxy Brown, both films aren't much different from each other, though Foxy more sting and purpose in it's tail. Again our fine looking Grier, representing female independence, and it's never been stronger, is avenging someone close who O.D'd. And again like FB, we see a stable of beauties, including Rolling Thunder's Linda 'tomboy' Haynes, A 70'S actress seen in far and sadly very few films. Coffy, a nurse, is out to infiltrate the drug cartels that take her on that same ride going undercover as a pro. Coffy's one good asset, is King George, his title song and lyrics, 31 minutes into the film as he makes his grand entrance, which too is hilarious, is hilarious. Coffy does have it's moments, one or two surprises, plus a good performance from an old 'Mash' identity, but I was sold short with this one. Could of been better.

The main reason to watch this film is to watch Pam Grier bare all in one of her best outings. Coffy is a mix of blaxploitation and exploitation that revolves around a nurse going undercover as a hooker to avenge her sister's drug addiction and abuse. The acting is sub par and the soundtrack is definitely a time capsule. But the main reason to enjoy this film is for all of Pam Grier's amazing nude scenes. This has to be Pam Grier's best nude film and possibly her best 70's film before falling into supporting roles in the 80's. Pam Grier's breasts are amazing! Easily the greatest pair of breasts put on celluloid. Some of the violence is over the top and there's plenty of gratuitous nude scenes to enjoy. Greir became a go to 70's exploitation queen after this film and for good reason too. Her jugs are the most beautiful and erotic breasts ever put on film. Watch this movie for a great 70's drive in flashback or if you just want to watch Pam Grier unleash her bazookas...trust me. Her breasts are to die for!!!!