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Cult film fanatics may find themselves initially stunned by The Mack because it is in many ways the polar opposite of the blaxploitation films it is often lumped in with: the amount of racy and violent content is minimal, the storyline is episodic in nature and the dramatic tone is very heavy and dark from start to finish. It also lacks the polish of films like Shaft and Superfly: the technical quality of the film is frequently raw and the pacing is sometimes inconsistent. However, viewers who can get used to this style will find The Mack to be a rewarding experience because it makes up for what it lacks in polish with a wealth of detail and plenty of raw emotion. The script is rife with quotable dialogue and documentarian-turned-director Michael Campus brings a feverish 'you are there' intensity to the material. The film further benefits from an excellent orchestral soul score by Willie Hutch that adds style and a haunting, subtle sense of dramatic weight to the proceedings. The acting occasionally goes a bit over the top but is pulled through by the sincerity of the actors: Max Julien's performance hits the right mix of carefully guarded vulnerability and deep-seated anger as Goldie and Don Gordon is downright terrifying as his main cop nemesis. There are also several notable supporting performances, including Dick Anthony William's charismatic turn as rival pimp Pretty Tony and Roger Mosley's impassioned work as Goldie's radicalized brother. The work of these gifted actors, combined with the consistent intensity of the filmmaking, brings the material to life in a way that keeps the viewer riveted even when the story loses focus. All in all, The Mack is a one-of-a-kind urban epic and required viewing for anyone interested in the major cult movies of the 1970's.