
Going Home
1971

1987
Director
Tim Kincaid
Runtime
89 minutes
Average Rating
No ratings yetSynopsis
Tough ex-con Glenn Barnes gets paroled from prison after serving a sentence for manslaughter. Glenn plans to reopen his old nightclub the Garage on 42nd Street. Vicious rival nightclub owner Farrell threatens to take drastic measures if Glenn goes through with his plan. After all the employees get massacred by Farrell's flunkies on opening night, Glenn reverts back to his brutish criminal ways to exact a harsh revenge on Farrell and his men.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The plot centers on a cycle of crime and vigilante justice. There is no explicit mention of LGBTQ+ characters or non-cisnormative identities within the primary narrative.
Gender Representation
The story relies on traditional masculine archetypes, focusing on a tough ex-con and male-coded conflict. It emphasizes physical dominance and retribution rather than subverting gender hierarchies.
Racial & Ethnic Diversity
While the 42nd Street setting implies a diverse urban environment, the text does not detail the racial composition of the cast. The narrative follows a standard crime-drama trajectory.
Religious & Cultural Diversity
The film utilizes a conventional revenge arc centered on individualistic justice. It lacks an interrogation of systemic corruption or complex moral relativism.
Disability Representation
The narrative provides no information regarding characters with physical, sensory, or neurodivergent disabilities.
Strengths
Areas for Improvement
AI Analysis
Riot on 42nd St. follows a standard 1980s crime-drama structure, prioritizing a linear revenge plot over social complexity. The narrative is driven by a masculine archetype, focusing on a protagonist's transition from parolee to vigilante. The film lacks visible representation of LGBTQ+ identities or specific racial details, despite its urban setting. It leans heavily into traditional tropes of physical retribution and individual agency. Ultimately, the work functions as a character-driven thriller that reinforces established social hierarchies rather than challenging them through intersectional storytelling.

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