Film

Dolemite

Name: Dolemite
Genre: Action, Comedy, Crime
Released: 1975
Cast: Rudy Ray Moore, D'Urville Martin, Lady Reed, Jerry Jones, Cardella Di Milo

Crime

Dolemite is a 1975 blaxploitation comedy starring Rudy Ray Moore as the titular pimp fighting his way out of a setup that landed him in prison. It's deliberately absurd, technically ramshackle, and powered entirely by Moore's charisma and gift for trash-talk comedy. For those who love cinema at its most gloriously unpolished—where enthusiasm and audacity matter more than budget—this is essential.

TMDb rating

2.9

Should you watch it?

Watch it if you love blaxploitation shot through with raw, unembarrassed comic energy, where the crude jokes, the swagger and the cheap-looking hustle are the whole point and the kung fu-tinged brawling feels like a party.

Skip it if you want slick craft or tight plotting, since the editing is loose, the acting is rough around the edges and the humor often lands by sheer nerve rather than polish.

What it asks of you: It runs about ninety minutes and moves in loose, episodic bursts, so settle in for a shaggy, scrappy ride rather than something that builds tension steadily.

Not sure? Find tonight's pick in a minute.

If you liked this

Shaft1971

The definitive blaxploitation blueprint: a Black private detective navigating corrupt cops and criminals in New York. Stylish, genuinely thrilling, and Isaac Hayes' theme is unforgettable. Everything Dolemite aspires to with five times the budget.

But Slower paced than modern action films, and the sexual politics feel deeply of the era—not in a fun way. Takes itself seriously where you might expect camp.

Coffy1973

Pam Grier on a revenge mission through blaxploitation territory. Sharper and meaner than Dolemite, with real style and a fearless female lead. Grindhouse filmmaking at its most effective and entertaining.

But The violence is nasty and personal rather than cartoonish. Grier's character endures brutal trauma; it's not an easy watch despite its B-movie energy.

The Mack1973

Max Julien as a pimp who's actually a charismatic businessman—smarter and slicker than Dolemite's approach. Real Oakland street culture, excellent dialogue, better pacing. This is blaxploitation with craft.

But Unapologetically pro its protagonist's lifestyle, which lands differently now. Some will find it exploitative in ways beyond the usual genre conventions.

Not sure tonight? Get a pick in a minute, starting from Dolemite

The wildcard

Something you would not have found on your own.

Petey Wheatstraw1977

Same star, same era, same anarchic energy—but Petey Wheatstraw abandons plausibility entirely and becomes something closer to a fever dream. Moore's comedic gifts carry both, but this one lives in a different genre entirely.

Also starring Rudy Ray Moore, but this time he's a pimp who makes a deal with the devil himself. Blaxploitation meets horror-comedy in the most unhinged way possible. If Dolemite made you love Moore's particular brand of trash-talk genius, this doubles down with a supernatural twist.

But Incomprehensibly weird in ways that go beyond fun. The plot logic dissolves, the special effects are bewildering, and it commits fully to being genuinely strange rather than entertainingly absurd.

Foxy Brown1974

Pam Grier again, this time as an undercover agent taking down drug dealers and human traffickers. Energetic, funny when it means to be, and Grier's presence elevates everything she touches. Grindhouse at its most gleeful.

But The plot is flimsier than the ambition, and some scenes feel genuinely uncomfortable rather than provocatively fun.

The Spook Who Sat by the Door1973

A CIA agent goes rogue to lead a Black revolutionary movement. Serious-minded blaxploitation that actually has something to say about race and power. Thoughtful, angry, and vastly underrated.

But Genuinely political in ways that can feel heavy-handed. Not interested in fun or camp—it wants to provoke, not entertain.

Black Caesar1973

Fred Williamson rising through crime to become a mob boss. Street-level storytelling with real ambition, plus a killer James Brown-inflected score. Blaxploitation that treats its criminal protagonist as a genuine tragic figure.

But Two parts—the first is much better than the second. Uneven, and the pacing drags in stretches where it shouldn't.

Truck Turner1974

Isaac Hayes—yes, the Shaft composer—as a former football player turned bounty hunter. Pure grindhouse fun, lean and efficient, with Hayes' baritone delivering some genuinely quotable dialogue. Absurd in exactly the right way.

But Sleazy towards women in ways even other blaxploitation films find excessive. Cheap-looking even by the standards of its peers.

Cleopatra Jones1973

Tamara Dobson as a tall, elegant secret agent battling a white drug lord. Stylish and fun, with great action sequences and Dobson's effortless cool. Blaxploitation that actually values intelligence and grace.

But Lighter and more family-friendly than the genre's best work, which strips away some of the edge that makes these films matter. Occasionally too polished.

The Black Godfather1974

A numbers runner becomes a crime boss while his son studies to be a lawyer. Ambitious attempt at a Black Godfather, with decent performances and genuine dramatic stakes. Worth seeing for the ambition alone.

But Production values are cheap even for 1974, and the script strains to handle its scope. Feels rough and unfinished in places.

Melvin and Howard1980

Both are films about hustlers at odds with the system, but Melvin and Howard finds dignity and sadness in that struggle while Dolemite finds pure comic energy. Same DNA, opposite emotional registers. Melvin shows you what happens when the hustle doesn't pay off.

Paul Le Mat as a small-time hustler who claims he once gave a ride to Howard Hughes. Gentle, funny, deeply humanizing look at American dreamers and con-men. A Demme film that treats its working-class characters with complete respect and love.

But A character study, not a crime film. Quiet and digressive where Dolemite is loud and forward-moving. Asks you to care about mundane lives, not marvel at audacity.