The Kill Reflex

Fred Williamson should not be allowed behind a camera. While I find his classic blaxploitation films to be some of the finest of its genre, this latter one was simply Godawful. Acting, storyline, title ("Soda Cracker" when aired on cable), you name it. I've never seen as many inconsistent emotions to scenes than this film. The continuity was all over the place. It was unintentionally hilarious at times. The only positives that I can see: eye candy provided by Maud Adams & Phyllis Hyman. Albeit, Fred spent so much time on one scene with singer Hyman that it could have been released as a concert film. LOL! Pass on this, and stick to any of his classic ones from the 70s.

I admire what Fred Williamson did after the blaxpoitation craze of the 1970s died out and the major studios were no longer interested in making these movies, which was to make his movies himself. What I don't admire, however, is the quality of most of Williamson's self- directed movies, and "Soda Cracker" (a.k.a. "The Kill Reflex") is no exception. Where to start with this movie? Well, probably with the biggest complaint I had with it - it is unbelievably slow and boring. There is an incredible amount of padding on display. In the first sixty minutes, Williamson's cop character makes almost no effort towards investigating the murder of his partner. Not only that, this first hour only has about a couple of minutes of action at most, and what there is is incredibly flat and unexciting. Things pick up (very slightly) in the last half hour, but it's too little and too late. Add in rock bottom production values and passionless acting, the entire package is incredibly hard to sit through from start to finish. At least in its present version - I could see that the people behind "Mystery Science Theater 3000" could really skewer this movie in a hilarious manner. If they should do so in the future, only then should you watch this movie.

My review was written in July 1990 after watching the movie on RCA/Columbia video cassette.

Fred Wiliamson tips the balance from action to drama in the effective direct-to-video feature "The Kill Reflex", originally monikered "Soda Cracker".

Nicknamed Soda Cracker, Williamson is his usual relaxed cop in Chicago out to find his partner's killer. Though there is an action-packed finale involving baddie Bo Svenson (Williamson's regular screen teammate), film concentrates on the human drama of the cop's widow Julie Gregg adjusting as well as policewoman Maud Adams' relationship with the principals.

Vocalist Phyllis Hyman, previously on screen performing in Spike Lee's "School Daze", makes a strong impression as Svenson's girlfriend.

The shooting title for this film was "Soda Cracker," somewhere along the road the title of the film changed and "The Kill Reflex" is what we've got. Fred Williamson's character is nicknamed Soda Cracker (something his friends gave him). He's a "shoot first - ask questions later" Chicago cop, on a mission to track down the killer or killers who offed his partner; all this on his birthday no less. His superiors want him off the case, but that doesn't stop Soda from bustin' heads. The production costs are low, but the thrills high. And don't miss the super-cool conclusion where The Hammer jumps on the side of a train to catch the main baddie as he speeds away in his car - this is really one of The Hammer's coolest moments. Other things to watch for include: the super-sexy Maud Adams, the super-cool Bo Svenson, and the super-funky end credit theme song: "Soda Cracker!"

Who would have guessed that there was a Fred Williamson picture out there that is not worth watch? Worse yet, he produced and directed it, so he has no one else to blame.

It was a cop picture, and he is after the baddies that killed his partner, so you would expect plenty of action. You would be wrong. It just plods along with nothing special to excite you. Heck, even when Williamson and Maud Adams (the double Bond Girl) get in bed together with a smooth jazz background, the song ends and the scene changes just as they are getting started.

A little action at the end doesn't make up for slow pace for the first hour or so.