They Call Me Mister Tibbs! (1970)

not great. but correct use of the rules of genre. a film who could be seductive for the flavor of the period, for the clichés. and, sure, for Sidney Poitiers. and it is enough for a nice policier, using the ambiguity and exploring the family life of the lead hero. it is one of films who seems be part of a long chain from the "70 about justice and law and romanticism of each of theme. the irony, the courage, the need to give the right / complex portrait of the hero are marks of a sort of crime film who remains seductive for its basic virtue to be a time machine. nothing new. or surprising. only good motif to see a kind of hero who has style and humor and wisdom and who fights for justice in his personal manner.

This is an unofficial sequel to „In the heat of the night" . Both movies have the same main hero – Tibbs. The first movie was a great thriller with anti-racism message . It was both entertaining and with substance. It was directed by Norman Jewison. This one is directed by Gordon Douglas.This one unfortunately is just boring. BORING. Boring , boring , boring… You could cut the tension in the first one with a knife . The sequel without the anti-racism subtext doesn't really have anything to offer . It tries to replace that by giving Tibbs family problems , but they are so lame and uninteresting . Same goes for the investigation . I was able to guess the "surprise" ending from the beginning . Not to mention that the movie lacks any twists or red herrings. They try to live it up a little with some action : a car chase there , a fist fight here … It doesn't work thanks to the uninspired story and dreadful direction. The end result ? A very forgettable movie.There are nice performances here from Sidney Poiter and Martin Landau . Sometimes you can here some nice dialogue.It's definitely too little to save this movie . I give it 1/10.

Sidney Potier allows his infant son to blatantly disobey him. The boy, after being slapped by Sidney, continues to refuse to pick up some thing off the floor. At that point, Sidney gives up. The result is that his son remained undisciplined, with more serious confrontations to come in the future. (Sidney could have continued by denying the kid all of his home privileges -- such as confinement to his room, no radio, no television, no games, no contact with his friends outside of school no rides, no bicycling, no outside walking, etc. -- until the item on the floor was picked up. After all, who is suppose to run the household, him or the boy.)

This sequel to "In the Heat of the Night" will suffer in inevitable comparisons to its infinitely better predecessor. Instead of looking like a theatrical movie edited for television, "Mister Tibbs" looks suspiciously like a TV movie edited for theatrical release, with grainy photography, cheesy opening titles, and sets that look like they're made of plywood. The murder sequence has a glaring continuity error: the camera shows two hands choking the girl, then a shot of a hand reaching for a statuette, then a shot of the girl being choked with two hands again, and finally the statuette coming down for the fatal blow. Solving the case should be easy: find the only guy with three hands! But the shoddy production values can't completely obscure this film's considerable merits: namely, Sidney Poitier's performance as the cool detective determined to follow the evidence wherever it may lead, even if it implicates a friend. Martin Landau is also convincing as the do-gooder preacher-activist suspected of brutally murdering his prostitute girlfriend. In addition to being haunted by the case, Tibbs is conflicted about his home life, but the issues of race and Tibbs' barely concealed sense of social outrage are absent here. So is the complex murder mystery that made "In the Heat of the Night" so compelling.