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Repo Man
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Repo Man
CRITICS OF "Repo Man"
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CinePassion
Resource

November 11, 2010

Half-shaggy, half-annihilating vision of a junk culture
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New York Times

May 20, 2003

It's very entertaining, and though it's rude in an R-rated way, it has the good taste never to promise more than it can deliver.
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Variety
Resource

June 04, 2007

Repo Man has the type of unerring energy that leaves audiences breathless and entertained.
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Mania.com
Resource

March 04, 2014

It's kind of a road movie and kind of a science fiction movie and kind of a look at those unsung heroes who repossess cars amid the haze of serious drug use.
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Time Out
Resource

June 24, 2006

There are endless things to enjoy, from Robby Müller's crisp camerawork to a superb set of performances, from witty movie parodies to a tremendous punk soundtrack.
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Movie Metropolis
Resource

May 22, 2013

It was 1984 and Americans were on course to re-elect a s****y, sadistic, semi-sentient president. In a f****** landslide.
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Projected Figures
Resource

June 01, 2016

a western [but] also a punk road movie, a conspiratorial cold-war chase caper, a paranoid apocalypse sci-fi, a postmodern mixed "plate of shrimp", a hilarious Eighties satire and a wry lowlife rejoinder to Reagan's upwardly mobile American dream.
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Creative Loafing
Resource

May 05, 2013

A playful mood informs Repo Man, yet Cox also takes time to comment on the seamy side of LA, the crushing realities of living in a comformist society, and the problems inherent in a decade that so baldly worships Reagan, L. Ron Hubbard and TV evangelists.
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Chicago Sun-Times
Resource

October 23, 2004

Repo Man comes out of left field, has no big stars, didn't cost much, takes chances, dares to be unconventional, is funny, and works. There is a lesson here.
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Film Racket
Resource

April 12, 2013

A 1984 underground touchstone [that's] a creepy visitation from a fracturing society.
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Cinema Crazed
Resource

June 05, 2014

It's a one of a kind anomaly with Emilio Estevez at his best.
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Chicago Reader
Resource

June 04, 2007

Cox's style is a step beyond camp into a comedy of pure disgust; much of the film is churlishly unpleasant, but there's a core of genuine anger that gives the project an emotional validation lacking in the flabby American comedies of the early 80s.
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