Ahora que el aspecto 'punk' es un anacronismo, brillan otras de sus virtudes:

- Las referencias a Kiss Me Deadly, desde el brillo en la cajuela hasta ese Los Ángeles quasiapocalíptico como protagonista.

- Harry Dean Stanton, nunca mejor. (lo siento club de fans de Paris, Texas)

- Emilio Estevez, en serio nunca mejor. (lo siento club de fans de la trilogía Mighty Ducks)

- Los chistes adelantados a su época (let's go get sushi and not pay)

- Uno…

I don't know that I've ever seen a film so carefully packed with details that would probably give me nothing for exploring them further. Yet there's also a strange intimacy and prophecy to the film, its apocalyptic vision of a country dessicated by the Hydra of televangelist fundamentalism and empty capitalism timely for its contemporary release and no less so now. "There's fuckin' room to move as a fry cook" is a perfect summary for the twisted, backwards career possibilities…

One of the most central films in my awakening as a real movie buff, REPO MAN positively blew my mind when I first saw it in high school (soon after BLUE VELVET!) I had scarcely ever seen anything so funny, so bizarre, so exhilaratingly unpredictable and ALIVE. There is truly no movie like REPO MAN, and I doubt there ever will be again.

It starts out fairly normally, following a young punk named Otto (Emilio Estevez) who, almost accidentally, finds…

As a comedy, it’s more quirky than funny; like Otto, the audience is often wondering just what’s going on and what’s wrong with everybody. Its characters aren’t likeable as people. The plot can only loosely be considered a story until the last twenty minutes or so, and sometimes misses a beat jumping from one scene to the next. But for all of that, it’s still a reasonably entertaining film. The characters may not be likeable, but the primary ones are…