Joe Bullet

1h19m | Directed by Louis de Witt | South Africa | Action

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Friday, Feb. 17, 2017
7:30 PM | 9:45 PM

Saturday, Feb. 18, 2017
7:30 PM | 9:45 PM

Sunday, Feb. 19, 2017
7:30 PM

Monday, Feb. 20, 2017
7:30 PM | 9:45 PM

Tuesday, Feb. 21, 2017
7:30 PM | 9:45 PM

Wednesday, Feb. 22, 2017
7:30 PM | 9:45 PM

Thursday, Feb. 23, 2017
7:30 PM | 9:45 PM

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In the criminal underworld of soccer, one man will have to save the championship — JOE BULLET!

Local soccer team The Eagles, only a week before the championship final, fall prey to sabotage from a mysterious gangster. The team calls on the only man that can save their chances at victory – Joe Bullet (Ken Gampu, The Gods Must Be Crazy). Joe fights villainous henchmen, escapes booby-trap bombs, and brings the martial arts mojo. In the end, he must infiltrate the mysterious gangster’s hideout in a dangerous mission to save not only The Eagles’ two kidnapped star players but also his love interest, Beauty (singer/activist Abigail Kubeka). The odds are stacked against him, but he’s the man that fights crime, the man that no one can tie down…Joe Bullet!

Produced in 1971, Joe Bullet was one of the first South African films featuring an all-black cast. Upon completion in 1973, the film screened just twice at a cinema in Soweto and then was banned. The banning order cited, among other issues, the portrayal of a Black man with a gun, driving a nice car, and living in a nice apartment. The film was later “unbanned” after special appeal, but it was never re-released. Joe Bullet simply disappeared and was thought to be completely lost.

In 2013, however, a print of the film was found in a garage, and it has now been digitally restored by the Gravel Road Distribution Group. Cinema Detroit is pleased to present Joe Bullet’s potent mix of action and suspense in the film’s first-ever United States shows.

It’s a credit to Mills that he makes it feel like he’s making the Earth move even when he’s just capturing a snapshot in time.
Adam Graham | Detroit News | Full review

The most surprising part of the movie is how well Mills writes his three women, and how accurately he pinpoints their very distinct anxieties.
Sophie Gilbert | The Atlantic | Full review

The film’s greatest strength is its specific set of characters. While no big events or personal crises happen, no one seems two-dimensional or thin.
Colin Covert | Minneapolis Star Tribune | Full review