Peereddi I was totally surprised at how great this film.You could feel your paranoia rise as the film went on and as you gradually learned the details of the real situation.

Ogosmith Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Sammy-Jo Cervantes There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Roxie The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

hesse-noone This is such a terrible movie--as someone wrote before, it's much worse than Ed Wood ever dreamed of. Obviously, no retakes, no editing except in those cases in which all of sudden we switch back to a scene and stuff has happened, so the whole thing looks choppy. Having written that, I have to say that the clothes were so psychedelic and absolutely mod and very polyester with collars out to there (and anyway, how does Al wear blue underwear without its showing through his white pants) that I would watch it again (with the sound off to mask the horrible dialogue and pathetic performances) just for that. I'm not sure how one could write a spoiler on this film--a spoiler would imply some sort of plot. I swear I think they changed Al's office halfway through the film, but I couldn't pay very close attention because I didn't want to make myself sick--like eating too much artificially buttered popcorn. I loved how the receptionist gives out Al's address to "someone from the CIA", but that little tidbit never goes anywhere. Still love the clothes, though.

Woodyanders Tough private detective Al Connors (the hopelessly wooden Loye Hawkins, who has all the screen presence and charisma of a stale bag of pretzels) is assigned by the CIA to protect the beautiful African princess Ms. Ashanti (the hot, but awful Patricia Fulton, who sports an American accent!) from no-count criminals. Moreover, Connors gets hired by flamboyant ill-tempered mobster Harry De Bauld (the outrageously hammy Steve Gallon, who gives the liveliest performance in the film) to rescue his daughter Wanda (sassy spitfire Cathy Davis) from a bunch of evil white kidnappers led by the nefarious Big Daddy (brawny beefcake hulk Scott Lawrence). Man, does this gloriously ghastly no-budget blaxploitation atrocity give the viewer plenty of stupendously stinky cinematic blunders to relish and enjoy. Groan at Rene Martinez, Jr.'s clueless and fumbling (non)direction. Get down with your funky self as you listen to the groovy sub-"Shaft" theme song and monotonously hard-grindin' soul score. Wince over Gardenia Martinez's hideously dull, talky and uneventful script. Bust a gut at the infrequent and unimpressive poorly choreographed fight scenes. Gaze in total awe at Rafael Remy's horrendously primitive cinematography, which boasts lots of incredibly intense and exciting static medium master shots of people gabbing for what seems like an excruciating eternity. Agonize over the gruelingly slow pace that completely destroys all sense of both tension and momentum. Howl at the uproariously abominable dialogue ("Tell Big Daddy that nobody fools with The Guy from Harlem, you dig?"). Laugh even harder at the equally terrible acting from a lame no-name cast. A positively astounding monument to sheer mind-numbing celluloid crumminess.

gridoon The blaxploitation fad was already in decline in the late 70's, and films like "The Guy From Harlem" were made. "Shaft" or "Black Belt Jones" this is not. It does have a funky score ("that cat is a baaaaad dude"), some beautiful black women and occasionally amusing dialogue. But the production is completely amateurish - there are quite a few cases of fumbled lines that remained in the final cut, probably because the producers couldn't afford second takes. It's billed as an action film, but it's mostly talk: virtually all of the action is fight scenes, and virtually all of the fight scenes are comically bad, playground-level. The fighting in this movie is even worse than the fighting in "T.N.T Jackson" - and that really should tell you something. (*1/2)

dbborroughs Watching this tale of a detective from Harlem, who now works in Florida (hence the title) I was struck by how much better this film would be if there was some hardcore sex in it. The idea may make me seem like an absolute pig but if you watch this movie for more than five minutes you too will be struck by two thoughts: First - when is the sex going to start because this movie looks and feels like a bad 1970's porn film. Second - when is the sex going to start since this movie is so awful that its probably the only thing the film makers could do to make this movie even remotely interesting.This movie is a turkey. Its cheap, badly filmed, badly acted with awful action and a stupid plot (its got something to do with the kidnapping of an African Ambassador's wife or daughter or something). Its on that fine line between so bad its good and so bad its bad and it wobbles back and forth across it minute by minute.If you're a true bad movie lover see it. If you're any other type of movie lover stay away because there is no sex to spice things up.