Marketic It's no definitive masterpiece but it's damn close.

Organnall Too much about the plot just didn't add up, the writing was bad, some of the scenes were cringey and awkward,

Tyreece Hulme One of the best movies of the year! Incredible from the beginning to the end.

Phillida Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

ceejayred I picked up Coffy as part of a 2-movie set packaged with Friday Foster. I was pleasantly surprised with how much I liked Coffy.Pam Grier is a strong female lead during a time when strong female leads were rare, especially in the blaxploitation era. She plays a nurse named Coffy who goes out on a revenge-driven killing spree of any and all scumbags involved in the drug trade in her city. Her baby sister was a victim of drug pushers, setting off her rage. The violence is pretty standard for the genre, but there seems to be an undercurrent of sleaze, with women getting their tops torn off just for the hell of it. Director Jack Hill is a veteran of the genre and this is nothing new for one of his films. A solid plot without many logic gaps, good action, with actors such as Sid Haig and Robert Doqui to support Grier in her efforts to come off as heroine amongst the sleaze. Recommended for those who enjoy 70's styled sleazy action.

TidalBasinTavern Having watched a lot of by the numbers 70s thrillers I was a little jaded by the time I came to watch this. Although at times it also falls into that trap there is enough here to elevate it above that level. I think it's unfair to call this Blaxplotation. It's just a thriller where the lead happens to be a black women.Most strikingly there weren't many women (black women at that) in the 1970s blowing criminals away with shotguns. Particularly ones who are completely self-driven. Frankly there aren't too many of those in Hollywood movies even today. Also I really like the the charm Pam Grier brings to the role whenever she's talking to good guys.There are bits of comic relief such as the scene where the heavy-hitters say to the former driver of the gangster they've just brutally murdered "hey, why not come and work for us now? We're not bad guys really" - all said in a totally irony free way. Or the scene where Pam Grier does a Borat-style Jamacan impression.There's some 'LA Confidential' style high level corruption shown, which again raises this above the usual standard of cheap 70s thrillers.If you like 70s thrillers this is definitely worth seeing.

tomgillespie2002 Since impressing writer/director Jack Hill in his two previous films (The Big Doll House (1971) and The Big Bird Cage (1972)), the buxom and beautiful Pam Grier takes centre stage in this violent anti-drug vigilante drama. Grier plays a no-holds-barred nurse, known by many as Coffy, whose younger sister has been brought into the world of drugs, and is in hospital after being sold some "bad stuff". She subsequently takes control of the situation, infiltrating the criminal world of pimps and drug pushers, using her sexuality to dupe the seemingly stupid and ridiculous criminal gangs. In the opening, she poses as a woman hooked on drugs, looking for her next fix, portraying herself as one of the many women that will do "anything" for drugs. This leads to a quite graphic scene in which Coffy blows the head off a dealer with a shotgun.Within an exploitation industry that played very much within the confines of misogyny, this particular blaxploitation film offers a more feminist approach to the subject. At the time black films were largely masculine in their output, with lead actors such as Rudy Ray Moore, who would treat female characters with seeming disdain, and they were fundamentally in the films as sexual objects. In Coffy, Grier obliterates the ideal of the passive woman, and gleefully attacks both men and women in her mission to destroy the illegal drugs industry. This inevitably leads her to areas of society formally thought to be justified; including a local politician who Coffy has been in a relationship with.Coffy is an interesting twist on the male dominated blaxploitation genre, and Grier is sensational in the lead - it is easy to see why she has endured where many other actresses of the decade have disappeared into obscurity. It does still have sequences of gratuitous female nudity (but that is simple symptomatic of the period), such as the party scene where Coffy attacks the harem of prostitutes under the control of the over-the-top, garishly dressed pimp, King George (Robert DoQui), whose collection of "onesy" outfits are spectacularly '70's. I find most of the charm of these low budget '70's films to be held in their outrageous iconography - the fashions and outlandish decorations are a special joy to behold. Unusually for the time, Coffy does not glorify drugs and the activities of the criminals, but does show the ubiquitous theme that authorities were implicit in pushing drugs into the black ghettos of America.www.the-wrath-of-blog.blogspot.com

BA_Harrison Quentin Tarantino's fixation with Pam Grier, the star of Coffy, resulted in him casting her as the lead in his 1997 movie Jackie Brown; QT's worship of the actress really comes as no surprise—she's a B-movie nerd's wet dream come true, a foxy, feisty, take-no-crap bad-ass mama with a body to die for. Grier's unforgettable performance, along with no-nonsense direction from Jack Hill and an excellent supporting cast (including Hill regular Sid Haig) ensure that Coffy is not only one of the best blaxploitation films ever, but also one of the best exploitation films of any type, period.The film combines all the trappings one expects from a pimped-out early 70s revenge thriller aimed primarily at a black audience—big afros (so handy for hiding weapons in), cool music, loud suits, wide ties, flares, pimps, hos, and drug dealers—along with the regular gratuitous violence and nudity one would hope to find in a standard low-budget grindhouse style flick of the era. In Coffy, every woman loses her top and all the bad guys meet suitably nasty fates (gruesome deaths including being dragged behind a car until a bloody pulp and blasted in the balls by a shotgun!); all this to the sound of a funky waka-waka guitar riff.Something for everyone, then.