Film
Exterminator 2
A rage-fueled 1984 revenge thriller where Robert Ginty's burnt-out vigilante takes to the streets with a flamethrower to wage war on drug dealers in New York. It's exploitation cinema at its most earnest and grimy, all sweaty close-ups and practical violence. Built for an audience that wanted their action visceral, morally uncomplicated, and very, very hot.
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Rolling Thunder1977
Paul Schrader's revenge blueprint: a tortured veteran returns home and methodically hunts those who wronged him. Lean, mean, and psychologically unsettling in ways that elevate the genre.
But The pacing is glacial and deliberate. If you want constant action, you'll find long stretches of quiet dread instead.

Death Wish1974
The original vigilante fantasy, with Charles Bronson as an architect-turned-killer in '70s New York. Raw, brutal, and genuinely disturbing about what revenge actually costs.
But It's dated in some ways, and the politics are questionable even by exploitation standards. Some find it more uncomfortable than entertaining.

Cobra1986
Stallone as a cop who plays by his own rules against a serial killer cult. Stylish '80s excess with practical action and a genuinely threatening villain. Pure adrenaline.
But The plot is paper-thin and the dialogue ranges from unintentional to intentionally corny. Logic takes a backseat to spectacle.

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The wildcard
Something you would not have found on your own.
Ms .451981
Both are '80s New York vigilante films that use genre exploitation to explore urban alienation and violence, but Ferrara asks harder questions about what revenge actually achieves.
Abel Ferrara's rape-revenge film where a mute woman systematically dismantles the men who assault her. Unflinching, stylish, and morally complex in ways exploitation films rarely attempt. The score alone is hypnotic.
But It's a difficult watch about sexual violence, however justified the revenge fantasy. The graphic nature of both violence and assault will be triggering for many.

More like this (7)
Assault on Precinct 131976
Carpenter's masterclass in siege filmmaking: cops and convicts forced to trust each other. Tense, economical, and relentlessly propulsive with minimal dialogue.
But The action is realistic and grounded rather than kinetic. Some find it slow-burn; others find it just slow.

Road House1989
Swayze as a philosophical bouncer who takes on a corrupt town. Peak '80s action absurdity played with a straight face. Entertaining and unpretentious.
But It knows it's ridiculous but doesn't quite wink at the audience. The tonal balance won't work for everyone.

Commando1985
Schwarzenegger on a one-man revenge mission with impossible odds and ridiculous one-liners. High-energy, colorful, and completely shameless about its own excess.
But There's no subtext, no complexity, no reason to care about the story. It's pure mechanics, which is either the point or the problem.

Escape from New York1981
Carpenter's dystopian action film with Kurt Russell as an antihero in a prison city. Inventive world-building, eccentric characters, and style for days.
But It's deliberately pulpy and sometimes clunky. The plot is secondary to atmosphere, which won't appeal to everyone.

Nighthawks1981
Stallone and Tatum in a gritty cat-and-mouse thriller with a terrorist antagonist. Urban, unglamorous, and genuinely tense in places. Underrated '80s cop thriller.
But The pacing drags badly in the middle. Some of the dialogue and politics haven't aged well.

The Warriors1979
Both are genre films about survival in a lawless New York, but The Warriors abstracts that world into pure visual poetry rather than exploitation realism.
Walter Hill's kinetic gang thriller set in a heightened, almost mythological New York. Visually stunning, narratively lean, and endlessly watchable. The best action-choreography film about movement through urban space.
But The stylization won't feel like 'real' action to everyone. Some find it dated; others find that dating essential to its power.

Johnny Mnemonic1995
A different era and genre, but the same commitment to practical action and visceral effects over narrative coherence; both films prioritize the sensation of danger over story logic.
Keanu Reeves in a cyberpunk action film that's trashy, incomprehensible, and genuinely weird. It doesn't work, but it swings for the fences with such earnest ambition that it becomes strangely rewarding.
But The plot makes little sense and the dialogue is often laughably bad. It's campy almost by accident, which frustrates viewers looking for competence.

People
Cast
Robert GintyJohn Eastland
Deborah GeffnerCaroline
Frankie FaisonBe Gee
Reggie Rock BythewoodSpider
Bruce SmolanoffRed Rat- David BuntzmanHead Mafioso
- Kenny MarinoTony
- Derek EvansSquealer
Irwin KeyesMonster- Robert Louis KingPhilo
Directing
- Mark BuntzmanDirector
Writing
- James GlickenhausCharacters
- Mark BuntzmanWriter
- William SachsWriter
Production
- Menahem GolanExecutive Producer
- Yoram GlobusExecutive Producer
- Mark BuntzmanProducer
- William SachsProducer