Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Gutsycurene Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

Plustown A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

Bluebell Alcock Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

Prismark10 Cleopatra Jones features Tamara Dobson, whole 6 feet 2 inches of her as a sassy government Special Agent burning down poppy fields in Turkey and going after drug traffickers like Mommy (Shelley Winters.)When her boyfriend's (Bernie Casey) halfway house for recovering drug addicts is under threat from crooked cops, Cleopatra suspects Mommy is behind it all and decides to kick ass with her kung fu moves and driving her fast Corvette Stingray.Tamara Dobson is certainly statuesque and glamorous as a blaxploitation female version of James Bond but Dobson lacks the screen sensuality and charisma of Pam Grier. However Shelley Winters more than compensates with a scenery chewing performance as the lesbian Mommy appearing with several different types of wigs and in one point clad in leather.The plot is rather so-so but Warner Brothers certainly put some money in this movie as it benefits from better production values and has good pacing.

mu_min It deserves to be seen because it features the incredible Antonio Fargas, as a mob little boss, with cool clothes and hilarious jive talking. In my opinion Antonio is a great actor, each time i saw him i was stunned by his rhythmic talking and the way he moves. It deserves to be seen because it features Shelley Winters as Mommy, a lesbian red-head old mob chieftain whose angriness and sadism are really funny to see (in my European DVD, there is no scene in which she receives a feet massage!). Plot, kung-fuish fight scenes are not fantastic, Tamara Dobson who plays the leading role is a nice-looking tall woman who does not play very well and does not do really sexy stuff (she does not match with Pam Grier), but i nevertheless had a good moment seeing this movie, and i hope you will too. Cleopatra drives an awesome car, the car chase scene is good, and she wears a majestic afro haircut, and like Pam Grier in Foxy Brown she changes clothes before each scene, it's like a fashion review, it is cool.

counterrevolutionary I suppose that as a conservative, I should give this movie points for avoiding the normal anti-establishment "blaxploitation" theme (you can't get much more establishment than being a federal agent during the Nixon Administration) and showing blacks working within the system to effect change.But I can't.The only thing that makes John Shaft the cultural icon that he is, is the fact that he was meant to frighten middle-class white people. Without the whole "black man standing up to whitey's system" aspect, *Shaft* is just another dime-a-dozen, derivative private-eye flick (and the sex scenes, effective in the 70s as a play on the "oversexed black man" stereotype, seem pretty sleazy now).And *Cleopatra Jones* is just another dime-a-dozen, derivative supercop flick. Here, the "black thing" is merely a gimmick. It could have been made with an all-white cast with very few changes.Even considered purely as an action movie, it fails. Even the cool car chase has some editing problems, and Tamara Dobson, though a stunningly beautiful woman, simply doesn't have the moves for the fight scenes.About the only really enjoyable scenes are those involving Doodlebug (Antonio "Huggy Bear" Fargas) and his henchmen.

enojon While it is pitiful black exploitation as we view with 20/20 hindsight, this film marked another of H*wood's strenuous efforts to embrace black actors and actresses on the silver screen. In today's view the glam outfits look ridiculous, but then if you walked the streets in the 70's, the outfits and characters might easily be a collage of reality. Big afros and "to the max" jackets are all hallmarks of the 1970's American style--especially, the Black neighborhood.The metaphorical message means much when taken in its contextual setting. Blacks were fighting for their neighborhoods against the onslaught of "urban renewal" and infestation of drug dealers and pimps, which compared to the 80's now seem a 'walk in the park'. It could be classed as some morality play--where combatants take on the role of the nemesis in reality and the heroine becomes the overcoming and empowered victims in reality.It's "fly".