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.
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.
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.
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.
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.
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.
