Synopsis
When He's In The Groove The Mob Better Move!
Fass Black, an accomplished black man in Los Angeles, is bullied to play another record labels music at his disco club, but continually refuses because it ain't groovy enough.
Disco 9000
Cast
Director
Producers
Writer
Set Decoration
Releases by Date
Theatrical
-
USAPG
Releases by Country
USA
27 Jul 1976
- TheatricalPG
Popular reviews
More-
If you were ever curious about director D'Urville Martin's one and only follow-up to DOLEMITE, here it is. It's almost as inept as Rudy Ray Moore's debut film, but without any of the accidental charm. Somehow Martin has made 70s discos look boring and sad, which is the opposite of every other film from the era I've ever seen.
-
For a blaxploitation movie, this moves waaaaaayyyyyy tooooo slooooooowwwwwwwwlyyyyyyyyyy. (There's too many scenes here that just go on and on and on way, way, way past the point where they should've logically been cut! It'd be funny if it wasn't also frustrating!)
Music's good tho...well that one song that gets played over and over and over again is. ("Down at the Disco...Down at the Disco....Nine Thousand....Down at the Disco...Down at the Disco....Nine Thousand...People From Coast to Coast Are Talkin' About It!")
There's barely a scene where the leading man is not wearing his fly pair of shades, and there's barely a place he sets foot in where there's not like two or three random people randomly happy to see him…
-
Best known for his strong supporting roles in a handful of Fred Williamson films and as Rudy Ray Moore's arch nemesis Willie Green in DOLEMITE(which he also directed),D'Urville Martin took the director's chair(and the producing reigns) for the second(and final) time with this watchable yet mundane blaxploitation feature that takes upon the popular blaxploitation cinema theme of a strong brotha taking on the big bad white Mafia hoodlums,as (the Samuel L. Jackason looking)John Poole(DEATH DRUG) portrays the proud owner of the city's most lavish and popular disco/nightclub that is also the home of his recording studio where a handful of bands record their latest disco and R&b albums,with all going fine for Poole until a local mobster(Nicholas Lewis[HOMEBODIES]) enters the…
-
Actor D'Urville Martin directed one other movie besides DOLEMITE: a drama about a Black entrepreneur running the hottest disco in L.A., much to the chagrin of the white labels whose music he won't play because he doesn't think it's danceable. Starring an interesting guy who only had one other bit part and co-starring one of the Nicholas Brothers and Stymie from The Little Racals.
-
Surprisingly decent discofied crime flick from late in the blaxpoitation cycle, helmed by D’Urville Martin of The Final Comedown and the Dolemite franchise. Nicely shot with good music and entertaining performances, including that old dancing guy from The Five Heartbeats. Solid!
-
Fass Black (John Poole) is the successful owner of the Disco 9000 in LA. The club plays the best music in the city. Then, comes the owner of the record label 9000 and wants to force him to play different music. When he resists, he gets into trouble.
I didn´t like the movie for the full time although it contains lots of good scenes and dialogues. Also, Fass Black is a really funny character.
Friends of Black disco music or people who like music movies from the 1970s might appreciate “Disco 9000”.
-
The owner of the popular L. A. Disco 9000 gets in trouble when he refuses to play records of a certain label...
The 'plot' if told without all the disco stuff would make this movie about ten minutes long. It's almost admirable how D'Urville Martin (Blaxploitation actor turned director) managed to stretch this out to almost 100 (!) minutes. Even more admirable is leading man John Poole who looks like Samuel L. Jackson's mean little brother. His plastic shades and badass attitude is quite entertaining but then he's no Glynn Turman and as much as I appreciate 70s funky music Martin isn't the guy who is able to do some interesting stuff with it but repeats the same looking shots… -
D'urville Martin, director of DOLEMITE, helms this groovy picture. The disco scenes are the most interesting part of the film, interspersed as they are in a pretty standard narrative. It could certainly be read as a commentary on the exploitative nature of the music industry with regards to black talent. Instead of resorting to violence, Fass Black eventually gets the tax returns and secret bank accounts of the man who's fucking with him. In the end, all is well.
-
I had never seen this blacksploitation flick. And seeing it at the New Beverly with a semi full house only accentuated why I had never seen it. The least amount of plot ever. With the most footage of people dancing to the same Disco 9000 song ever. Easily more than half of this movie is b-roll of people dancing in the club, the lights, the speakers and more pelvis's grinding slightly close to one another. I mean, this movie is such a mess I can hardly believe I made it through the whole thing.
And yet, there was something hypnotically right about it. As well as that feeling of HOW DID THIS GET MADE that flooded through the whole place.…