Very very predictable, including the post credit scene !!!

Load of rubbish!!

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

The movie is made so realistic it has a lot of that WoW feeling at the right moments and never tooo over the top. the suspense is done so well and the emotion is felt. Very well put together with the music and all.

Director Jack Hill's Foxy Brown was originally intended as a sequel to his cult classic Coffy (1973), which also starred voluptuous black babe Pam Grier in serious revenge mode. Which film you prefer will depend entirely on what you expect most from the blaxploitation genre—gritty violence or shameless fun—with Foxy Brown leaning towards the lighter side of things, while Coffy is a much rougher affair. Since I like my blaxploitation films to have a more raw, exploitative edge, I rate Coffy higher than Foxy, but that's not to say I didn't have a good time with this funky follow-up.The film opens as Foxy (Grier) is about to start a new life with her supposedly dead undercover cop boyfriend Dalton (Terry Carter), who has just undergone face-change surgery to complete his new identity as Michael Anderson. Unfortunately, Foxy's drug-pusher brother Link (Antonio Fargas) realises the truth about Dalton/Michael and sells him out to the mobsters, who proceed to gun him down. More than a little upset, Foxy goes undercover as an escort girl to seek revenge. What follows is shameless trash, complete with a kitschy lesbian bar brawl, a redneck rapist, an evil honky mobster bitch (Kathryn Loder), a bit-part for Hill regular Sid Haig, and a fair amount of nudity from its beautiful buxom star.6.5 out of 10, rounded up to 7 for the airplane propeller death scene.

A voluptuous black woman (Pam Grier) takes a job as a high-class prostitute in order to get revenge on the mobsters who murdered her boyfriend.I love Jack Hill. I love his work with "Spider Baby" and "Blood Bath", and I love his attempts at making Sid Haig and Pam Grier stars. He may have succeeded more on Grier than Haig, but they have both done very well for themselves.This film tends to fall under the title of blaxploitation, which may be strange coming from a white director. Personally, while I do not see a problem with a white man directing a "black" film, I do see a problem with this movie being called a black film. It is neither black nor white (or any other color). It is a story of corruption and revenge and has actors of different colors telling a very universal crime story.

Originally intended as a sequel to the Blaxploitation hit "Coffy," it was re-tooled at AIP Studios insistence into a separate entity while retaining many aspects of the prior film. Grier plays a sassy, sexy woman (of fuzzy occupation) who is eagerly awaiting the return to society of her intelligence agent boyfriend Carter, whose face has been redesigned following his turning over of information regarding a major crime ring. Before they can bask in their reunion for very long, however, her brother Fargas, who deals in drugs and is in debt to a drug czar, messes things up for them in a major way. From then on, it is Grier against darn near everyone as she struggles to bring down the operation, led by the intense Loder and her shifty lover Brown. Grier is memorable in this fairly highly regarded entry in the genre. She shows off a lot of funkalicious 70's clothing and kicks butt in the many action sequences (one notable, and hilarious, one taking place in a lesbian bar!) Her take-no-prisoners attitude is fun to behold, yet she retains her femininity. Fargas delivers an interesting performance, as well, though his character is lacking in appealing characteristics. Brown isn't given a great deal to do, but is fine and has a memorable comeuppance. He doesn't show any skin here, though he would pose semi-nude for Oui magazine shortly after filming this. Carter is attractive and likable in his brief role. As the queen bee of the crime syndicate, Loder gives an entertainingly demented performance. The writer-director Hill wrote the role for her and then had trouble convincing the head honchos to let her play it. Looking sort of like a fleshier Carolyn Jones, she brings a hysterical nervous neuroses and overemphasis to her scenes. Other cast members include Holcombe, the Country Time lemonade guy, in a big departure as an unethical judge caught with his pants down (!), Brown as a practically captive call girl, Stroud (Don's wife) as Fargas' drug-addled girlfriend and cult-favorite Haig (who pops up only for the final 15 minutes of the film) as a helicopter pilot. Among the memorable vignettes are Grier's confrontation with her brother when she finds out he fingered Carter, the sequence with Holcombe in which he's humiliated publicly, the aforementioned bar fight scene (with the lesbians being enacted by real life stuntwomen), Grier's horrifying captivity by two skeevy men in a desolate cabin and Grier's final confrontation with Loder. Like so many of the other films in this genre, it's breathtakingly incorrect and at times guerrilla-like. It's one of those things a person either likes or doesn't. Sadly, Loder would be dead within a few years of this film from diabetes complications. Grier would later be given a magnificent comeback in "Jackie Brown," whose title was partially inspired by this film's through director Quentin Tarantino.

Foxy Brown (1974) *** (out of 4) Enjoyable, over the top blaxploitation classic about Foxy Brown (Pam Grier), a woman who seeks revenge on the evil white people who killed her fiancé. This is an incredibly silly, racist and over the top film but I really enjoyed it. The performances are beyond bad but Grier still has a style that's able to carry the film and her nude scenes aren't too bad. The violence is so crazy that you can't help but laugh. The stereotypes also get major laughs especially one politically incorrect scene where Foxy enters a lesbian bar and fights some "manly" women.