Repo Man

This unforgettable movie is not to be missed – though full of superb jokes, it has a weird integrity, something melancholy and serious, at its core that stays with you. Read full review

Cox's weird and wonderful first feature defies description, with a plot and characters at once grounded in the seedy reality of Reagan's America and effortlessly enhanced by flights of pure, imaginative fantasy. What distinguishes the movie is its offbeat, semi-satirical sense of humour, seamlessly woven into its wacky thriller plot. But 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. Read full review

Pressed, it’s hard to think of five American studio pictures as original as Repo Man. The utter weirdness of Alex Cox’s remarkable debut—a document of L.A.’s hardcore punk scene that’s also an ode to its car culture, a critique of the American middle class, and a kind-of sci-fi comedy about a radioactive Chevy Malibu—would seem to preclude its existence. Read full review

Arriving in the middle of the Reagan 1980s, Repo Man remains one of the few examples of revolt within the system, and it’s no surprise to learn that Cox is fond of John Carpenter’s 1988 cult classic They Live, which also weds genre mayhem to cutting political satire. Read full review

Unlike Cox’s sneering Sid and Nancy, it’s defined more by a tone of affectionate disaffection than antipathy, celebrating a friendlier species of anarchy. Read full review

The real thing. It's a sneakily rude, truly zany farce that treats its lunatic characters with a solemnity that perfectly matches the way in which they see themselves. Read full review

Repo Man has the type of unerring energy that leaves audiences breathless and entertained. Read full review

Fresh, virulently funny, with an eye on life that's as offbeat as the early Beatles movies, the talents behind the bizarre and irreverent Repo Man are a real discovery. [16 Nov 1986, p.5]

Cox, who wrote and directed the film, creates a strange but hilarious view of our culture, a brilliant satire on modern society...deserves the same respect and attention given to "The Rocky Horror Picture Show" and "This Is Spinal Tap," two films that define the cult category. Read full review

A non-stop, shoestring trip with more adventures and a helluva lot more smarts than you'll find in most American movies...All in all, there's more plain fun to be had here in 10 minutes than in a whole hour on the road with that jerk Indiana Jones. Read full review

Fine, stylish debut from Alex Cox with some great turns from the two leads. Read full review

Cox gives the denizens of Edge City wacky ways of expressing themselves whether they're principals, passers-by or disembodied voices. [14 Sept 1984, p.C1]

Whether it works as a traditional motion picture is up for debate. However, it’s short enough (about 90 minutes) that it never overstays its welcome and is generally a fun, wild ride, even though it may at times be difficult to figure out where the journey began and where, as the 1964 Chevy leaves the streets like Doc’s DeLorean in Back to the Future, it ends. Read full review

This is the kind of movie that baffles Hollywood, because it isn't made from any known formula and doesn't follow the rules. Read full review

The atmospherics here are impressive. There's an undertone of comic dread in most of Cox's scenes, so artfully established that you wonder where it came from. In this respect, Cox seems a more playful variant of Wim Wenders, whose Paris, Texas might have been this funny had it not taken itself so seriously. Of course, Cox isn't Wenders -- he doesn't have the narrative skills yet. But Repo Man is without qualification the most interesting film yet about people driving around and getting into trouble. And there does seem to be a metaphor in there somewhere. [4 Apr 1985, p.4]

No wonder adolescents have taken Repo Man for their own. Lifting its hood is like peering into a teen-ager's mind: miswired and noisy, Repo Man is capable of fast starts and amazing cornering. [4 Feb 1985]

One of the most original films of recent memory, with an edge of black humor and punk sensibility--wickedly funny, ceaselessly inventive, and never boring. Read full review

The attraction of the movie is its friendly, light tone, its affectlessness, and its total lack of humanity. [6 Aug 1984, p.72]

It's a quirky film -- extremely profane and violent -- a respite from reverential sigh-fi. It's like visiting the bus depot late at night, and finding you kind of like it. [14 Sept 1984]