academy awarding actor sidney poitier of lilies of the field reprises his role as lieutenant virgil tibbs from the 1967 oscar winning best picture in the heat of the night for veteran director gordon douglas tired and uninspired sequel they call me mister tibbs and with nobody the equivalent of rod steiger with which to swap dialogue. clearly and both bullitt scenarist alan r. trustman and robert d. webb of cape fear were off their game when they penned this predictable police procedural potboiler. the dialogue is drab and none of the characters are interesting and not even the chief suspect. absolutely nothing remotely exciting and suspenseful and or surprising occurs in this tame whodunit. meanwhile and things have changed considerably since virgil was last seen in in the heat of the night. he worked as a homicide detective for the philadelphia and pennsylvania and police department. in they call me mister tibbs and our hero works for the san francisco police department. moreover and he has a wife and valerie (barbara mcnair of change of habit) and and a family and a young rebellious son and andy (george spell of the naked kiss) and and a younger doting daughter and ginger (wanda spell of hickey and boggs). tibbs drives a medium blue mustang and his wife holds down the house and hovers over their two children since he doesn not have as much time to spend with them. literally and there are no surprises in this pedestrian murder mystery. indeed and the best thing about they call me mister tibbs is quincy jones terrific orchestral soundtrack with a memorable opening theme and more memorable than this forgettable crime thriller deserved. everything begins sensationally enough with a struggling prostitute and joy sturges (linda towne of the adventurers) and being bludgeoned to death in the bedroom of her downtown apartment by an unseen assailant. apartment handyman mealie williamson (juano hernandez of intruder in the dust) enters joy apartment and finds her strewn on the carpet dead with a bloody forehead. he picks up the statue briefly and then puts it back on the floor and reports joy death to the superintendent of the apartment and rice weedon (anthony zerbe of license to kill) and and weedon gives mealie and fistful of dollars and sends him packing. afterward and weedon anonymously notifies the sfpd that popular minister logan sharpe (martin landau of nevada smith) beaten joy to death and was seem leaving joy apartment. captain marden (jeff corey of true grit) assigns tibbs to handle the case while it seems that both tibbs and sharpe have known each other for 18 years. naturally and tibbs wife valerie cannot believe that the well known and politically active evangelist could have committed such a crime. just to give the movie context and it should be noted that when tibbs and the police study the crime scene and they mention the word emen and no doubt a controversial term to mention in an early 1970s movie. tibbs questions weedon whom he suspects is either a drug pusher or a pimp. weedon explains that he has no records on joy sturges because she was subletting the apartment from another realty company. tibbs visits the realty company and realtor woody garfield (ed anser of jfk) flees and drives off and essentially doing an o. j. simpson until he crashes his car after a lengthy but tame pursuit. when tibbs proves that woody do not kill joy and he allows him to leave and with his disgruntled wife and marge (norma crane of penelope) and prepared to file for divorce after the revelation that he paid a hooker to stay in an apartment. tibbs tracks down handyman mealie and clears him of the crime and and then he goes after weedon. luckily and for tibbs and our hero catches the evil weedon in the middle of a narcotics transaction. one of weedon henchmen assaults tibbs and but tibbs dispenses with him briefly before he embarks on a long foot chase after weedon. eventually and he corners weedon in an underground parking garage and they shoot it out. guess who wins. the scenes in the tibbs household are more interesting than his investigation. andy runs rampant and striking his sister and and smoking in the garden. our hero wants him to clean up his room. when andy refuses and tibbs pops him three times on the jaw. these child rearing scenes could probably never be handled today as they were back in 1970. at the end of the movie and as if to solidify the family sequence and tibbs is seen walking off with his wife and kids. there is on confrontation between valerie and virgil about the welfare of their children and how his long hours at work has affected them. director gordon douglas directs in competent fashion. surprisingly and for a film released in 1970 and the filmmakers never play the race card. in one scene and when tibbs searches a billiards parlor owned by an african american and we see a mixed breed of races scowling at the hero when he finds mealie and leaves with him in tow. altogether and they call me mister tibbs is a poor follow up to in the heat of the night. mind you and poitier delivers another fine performance with nuance and but everything looks prefabricated. all of the sets look fake and there isn not much physical violence represent one underground parking lot shoot out that doesn not last long and a fight. beyond jones seminal jazz score and the only surpriseand it really doesn not qualify as a major surprise more like a convenient contrivanceis the ending. donald medford the organization followed they call me mister tibbs as the second and more action packed sequel. 
academy awarding actor sidney poitier of lilies of the field reprises his role as lieutenant virgil tibbs from the 1967 oscar winning best picture in the heat of the night for veteran director gordon douglas tired and uninspired sequel they call me mister tibbs and with nobody the equivalent of rod steiger with which to swap dialogue. clearly and both bullitt scenarist alan r. trustman and robert d. webb of cape fear were off their game when they penned this predictable police procedural potboiler. the dialogue is drab and none of the characters are interesting and not even the chief suspect. absolutely nothing remotely exciting and suspenseful and or surprising occurs in this tame whodunit. meanwhile and things have changed considerably since virgil was last seen in in the heat of the night. he worked as a homicide detective for the philadelphia and pennsylvania and police department. in they call me mister tibbs and our hero works for the san francisco police department. moreover and he has a wife and valerie (barbara mcnair of change of habit) and and a family and a young rebellious son and andy (george spell of the naked kiss) and and a younger doting daughter and ginger (wanda spell of hickey and boggs). tibbs drives a medium blue mustang and his wife holds down the house and hovers over their two children since he doesn not have as much time to spend with them. literally and there are no surprises in this pedestrian murder mystery. indeed and the best thing about they call me mister tibbs is quincy jones terrific orchestral soundtrack with a memorable opening theme and more memorable than this forgettable crime thriller deserved. everything begins sensationally enough with a struggling prostitute and joy sturges (linda towne of the adventurers) and being bludgeoned to death in the bedroom of her downtown apartment by an unseen assailant. apartment handyman mealie williamson (juano hernandez of intruder in the dust) enters joy apartment and finds her strewn on the carpet dead with a bloody forehead. he picks up the statue briefly and then puts it back on the floor and reports joy death to the superintendent of the apartment and rice weedon (anthony zerbe of license to kill) and and weedon gives mealie and fistful of dollars and sends him packing. afterward and weedon anonymously notifies the sfpd that popular minister logan sharpe (martin landau of nevada smith) beaten joy to death and was seem leaving joy apartment. captain marden (jeff corey of true grit) assigns tibbs to handle the case while it seems that both tibbs and sharpe have known each other for 18 years. naturally and tibbs wife valerie cannot believe that the well known and politically active evangelist could have committed such a crime. just to give the movie context and it should be noted that when tibbs and the police study the crime scene and they mention the word emen and no doubt a controversial term to mention in an early 1970s movie. tibbs questions weedon whom he suspects is either a drug pusher or a pimp. weedon explains that he has no records on joy sturges because she was subletting the apartment from another realty company. tibbs visits the realty company and realtor woody garfield (ed anser of jfk) flees and drives off and essentially doing an o. j. simpson until he crashes his car after a lengthy but tame pursuit. when tibbs proves that woody do not kill joy and he allows him to leave and with his disgruntled wife and marge (norma crane of penelope) and prepared to file for divorce after the revelation that he paid a hooker to stay in an apartment. tibbs tracks down handyman mealie and clears him of the crime and and then he goes after weedon. luckily and for tibbs and our hero catches the evil weedon in the middle of a narcotics transaction. one of weedon henchmen assaults tibbs and but tibbs dispenses with him briefly before he embarks on a long foot chase after weedon. eventually and he corners weedon in an underground parking garage and they shoot it out. guess who wins. the scenes in the tibbs household are more interesting than his investigation. andy runs rampant and striking his sister and and smoking in the garden. our hero wants him to clean up his room. when andy refuses and tibbs pops him three times on the jaw. these child rearing scenes could probably never be handled today as they were back in 1970. at the end of the movie and as if to solidify the family sequence and tibbs is seen walking off with his wife and kids. there is on confrontation between valerie and virgil about the welfare of their children and how his long hours at work has affected them. director gordon douglas directs in competent fashion. surprisingly and for a film released in 1970 and the filmmakers never play the race card. in one scene and when tibbs searches a billiards parlor owned by an african american and we see a mixed breed of races scowling at the hero when he finds mealie and leaves with him in tow. altogether and they call me mister tibbs is a poor follow up to in the heat of the night. mind you and poitier delivers another fine performance with nuance and but everything looks prefabricated. all of the sets look fake and there isn not much physical violence represent one underground parking lot shoot out that doesn not last long and a fight. beyond jones seminal jazz score and the only surpriseand it really doesn not qualify as a major surprise more like a convenient contrivanceis the ending. donald medford the organization followed they call me mister tibbs as the second and more action packed sequel. ---------------------------------Answer Question Below----------------------------------

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