Santa Kleinman just sent me a fist full of Pam Grier classics. We already talked about Foxy Brown a few weeks back, but rashly skipped right over the immortal Coffy, which burns a bit hotter and longer than its slick, non-sequel sequel. It won't happen again, sugar. We'll also explore the kinder, gentler side of Ms. Grier in the comic-strip-turned-motion-picture called Friday Foster (1975, 89 minutes). And finally, for the moment, the Queen of Blaxploitation revisits her women-in-prison roots in the sweeping anti-buddy picture Black Mama, White Mama. All-in-all vintage Pam. But where's that Jackie Brown disc?

The movie: Friday Foster (Grier) is a former model turned Glance magazine photographer who's sent on a last-minute assignment -- when her white, male colleague is off ringing in the new year. Unlucky for her, she happens to covertly photograph the attempted assassination of the world's richest black businessman ( Thalmus Rasulala). Well, not THAT covertly, as one of the goons spots her clicking away when he flees the scene. The next day, Friday's model friend drops to the runway dead -- with the classic knife to the back. That's about the time a reluctant P.I. (Yaphet Kotto) joins the picture and the plot gets a heck of a lot murkier. Basically, Friday charms her way into a swank Washington, D.C. party to quiz a senator she and the private eye think put the hit on Mr. Moneybags. The super sister sleeps with a couple fellas. Steals a milk truck. Saves the free world. All without breaking a nail. CineSchlockers will enjoy the film's steady stream of familiar faces like the great Scatman Crothers as a handsy priest. But some of the best laughs come when a pimp passes expensive gifts to Friday's little brother who sells them instead of presenting them to his sister. The flashy flesh peddler is none other than Ted Lange -- Isaac the bartending ladies man of "The Love Boat."

Notables: Eight breasts. 26 corpses. Multiple gun battles. Milk bottle to the brainpan. Fashion show with interpretative dance. Gratuitous shower scene. Switchblade switching. Attempted hit and run. Bath tub frolicking. Gratuitous foot chase with guys leaping from rooftop to rooftop. White guys in blackface and afro wigs.

Quotables: Friday has a memory when it comes to beefcake, "You just don't forget the FINE ones." Eartha Kitt in mid-tirade as a flamboyant (and paranoid) fashion designer, "That plastic faggot couldn't design a handkerchief, let alone a dress! The only thing he CAN do is steal from me!!!"

Time codes: Voluptuous wall hangings adorn Friday's living room (3:02). Models strut in fashions of the day (21:29). Hearse vs. Convertible chase scene (35:40). Squealer gets squished while dropping the dime (51:15). The evil, evil ... MR. HOWELL?!! (59:10).

Audio/Video: Crisp, clean presentation in its original widescreen (1.85:1) format. Utilitarian Dolby Digital mono track. This disc is part of MGM's "Soul Cinema" line that each carry an unusually low suggested retail price ($15 and lower). The prints aren't exactly pristine, nor is any real effort spent on creating superior audio masters, but most feature trailers and the occasional commentary. Titles include Black Caesar, Coffy, Cotton Comes To Harlem, Foxy Brown, Friday Foster, Sheba, Baby, Slaughter, Slaughter's Big Rip-Off, Truck Turner and Black Mama, White Mama. Plus, the Keenen Ivory Wayans parody of these films, I'm Gonna Git You, Sucka.

Extras: Theatrical trailer. Static menus without audio. No insert or liner notes.

Final thought: Ms. Grier remains wily and sexy, yet her character is firmly mired in the bubble-gum world of the comic. It's a stark contrast to her traditionally fiery screen persona, but the flick has a certain charm. Recommended.

G. Noel Gross is a Dallas graphic designer and avowed Drive-In Mutant who specializes in scribbling B-movie reviews. Noel is inspired by Joe Bob Briggs and his gospel of blood, breasts and beasts.