Rating: 
Summary: OK I guess...
Review: The main point of interest of this movie for me, is that it is the oldest movie I have seen that freely uses the word F##K. I guess that before 1970 nobody used to swear. Oh, and I really hated the ending. Glad to see Susan Sarandon kicked on though, although we had to wait 20 more years until we got to see "Thelma and Louise". I'd say to prospective "Joe" watchers, see it, but don't knock yourself out.
Rating: 
Summary: excellent sleeper flick
Review: these other reviews of the film are great and there is not much to add. the acting of some of the hippie kids is bad, and there are a few holes here and there, but this is a tremendous film that doesn't deserve to be obscure today. boyle's character is like pretty much everyone i grew up with, i think this is his finest performance. and i agree that the soundtrack should be re released on cd immediately.
Rating:
Summary: Dated, but still engaging
Review: This movie introduced the world to two new stars. One, Peter Boyle, became a star instantly, and still remains one today. We also get the debut of Susan Sarandon, who star really wouldn't shine until, well, how about "The Rocky Horror Picture Show"? She certainly shone for me there! However, she was a small if important figure in this movie, and it's Boyle who carries it. What's strange about the film is that the "star" and title character does not get introduced until over thirty minutes into the film, before he virtually takes it over. We are first introduced to Sarandon and her hippy-dippy drug dealing boy friend. They are leading relatively aimless lives, and the boyfriend is as scummy as a drug dealer gets, in that he rips off his customers. When Sarandon overdoses, we are introduced to her parents, we see the first of two foil situations in this movie. There are two tugs-of-war going on in this movie. There is the generation gap here, as the hippy kids can't figure out why the parents would want to work the way they do to get the life they lead. Yes, the parents are stereotypes of people who's joy in life consists of their evening cocktail, but the alternative presented by the kids here is not that appealing either. Then there is the tug-of-war between white collar and blue collar. Sarandon's parents are relatively wealthy, and after the father has his "conflict" with the boyfriend, he drowns his sorrows in a bar. Enter Boyle, who has been raving about everything wrong with current society in a manner that must have inspired Archie Bunker. When white-collar tells Joe the blue-collar that he wailed on a hippie, he becomes Joe's hero. A little too much though, as Joe starts involving himself in a life he can only imagine. We see scenes between the two, and then with their wives involved, that show much uncomfortable ness as they realize (well, all but Joe seem to realize) that they live in different worlds. But they also find that their bond (hating hippies) is strong enough that they even begin to admire each other. The film takes no real sides in all four areas. All have their points, and all have their faults. The youth understandably don't want to turn into their parents, but don't seem to offer a decent alternative. The older people are too set in their ways, but they earned their livelihoods, and this is how they choose their later years. The white-collars are a bit spoiled, but they seem to have education on their side. The blue-collars have a lot of prejudices based on ignorance, but in a way are the salt of the earth. The strength of this picture is that this is all presented while telling an unusual male-bonding story.
Rating:
Summary: Dated, but still engaging
Review: This movie introduced the world to two new stars. One, Peter Boyle, became a star instantly, and still remains one today. We also get the debut of Susan Sarandon, who star really wouldn't shine until, well, how about "The Rocky Horror Picture Show"? She certainly shone for me there! However, she was a small if important figure in this movie, and it's Boyle who carries it. What's strange about the film is that the "star" and title character does not get introduced until over thirty minutes into the film, before he virtually takes it over. We are first introduced to Sarandon and her hippy-dippy drug dealing boy friend. They are leading relatively aimless lives, and the boyfriend is as scummy as a drug dealer gets, in that he rips off his customers. When Sarandon overdoses, we are introduced to her parents, we see the first of two foil situations in this movie. There are two tugs-of-war going on in this movie. There is the generation gap here, as the hippy kids can't figure out why the parents would want to work the way they do to get the life they lead. Yes, the parents are stereotypes of people who's joy in life consists of their evening cocktail, but the alternative presented by the kids here is not that appealing either. Then there is the tug-of-war between white collar and blue collar. Sarandon's parents are relatively wealthy, and after the father has his "conflict" with the boyfriend, he drowns his sorrows in a bar. Enter Boyle, who has been raving about everything wrong with current society in a manner that must have inspired Archie Bunker. When white-collar tells Joe the blue-collar that he wailed on a hippie, he becomes Joe's hero. A little too much though, as Joe starts involving himself in a life he can only imagine. We see scenes between the two, and then with their wives involved, that show much uncomfortable ness as they realize (well, all but Joe seem to realize) that they live in different worlds. But they also find that their bond (hating hippies) is strong enough that they even begin to admire each other. The film takes no real sides in all four areas. All have their points, and all have their faults. The youth understandably don't want to turn into their parents, but don't seem to offer a decent alternative. The older people are too set in their ways, but they earned their livelihoods, and this is how they choose their later years. The white-collars are a bit spoiled, but they seem to have education on their side. The blue-collars have a lot of prejudices based on ignorance, but in a way are the salt of the earth. The strength of this picture is that this is all presented while telling an unusual male-bonding story.
Rating:
Summary: Flip side to "Easy Rider"
Review: When I saw the shock ending of "The Sixth Sense," Ithought back to the last time a movie's ending took my breath awaylike that, and I thought instantly of "Joe." It's "Allin the Family" plus "Easy Rider" equals "TaxiDriver," and it's unforgettable. (At the time, it wasconsidered a hard "R," and people enjoyed disparaging it forits profanity and violence, including matrons in the lobby afterward,although I noticed none of them left early. One night, at theByron/Carlyle Twin Theater in Miami Beach, a man had a heart attack inthe audience during the last half of the picture.) Some of theperformances are clunky, as is some of the camerawork and patches ofdialogue. But overall, this look at a blue-collar American bigot'simmersion into the world of sex, drugs, and rock and roll istremendously effective. There's a single camera shot near the end,taken from inside a dark house where some casual music is playing,looking out onto a snowy yard over which two shotgun-wielding men areapproaching, and it's one of the most chilling moments of portent infilm. If you still need a reason, well, hey, it was young Sarandon'sfirst movie, and you get to see her in a tub.
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