This lesser film from Pam Griers' days as a blaxploitation queen is nonetheless mildly pleasing. Because it's rated PG, it has less punch than Pams' best stuff. Some viewers will really miss the elements of sex and graphic violence. The script, by producer David Sheldon and cult director William Girdler, is somewhat less than inspired, with only one sequence - the pursuit through the carnival - that could be considered memorable. The cast is also more colourless than usual. But Pam, in her inimitable fashion, could make just about anything watchable. Hell, this is worth watching just to see her in a wetsuit.Pam plays our title character, Sheba Shayne, a Chicago-based private eye who returns to her hometown of Louisville, Kentucky. It seems that aggressive gangsters are constantly threatening her father Andy (Rudy Challenger) and his loan business, which Andy runs with Shebas' good friend Brick (Austin Stoker). Inevitably, the bad guys will have a full scale war on their hands once Sheba steps into the fray.The ever engaging Stoker of "Assault on Precinct 13" fame is a good leading man for Pam, and D'Urville Martin is lively as "Pilot", a lowlife criminal. Christopher Joy is a hoot as a peddler who for whatever reason dresses more like a stereotypical pimp. Dick Merrifield is amusing enough as smiling, smarmy white guy villain "Shark". And it's nice to see Girdler regular Charles Kissinger as a mostly ineffectual white detective. Pam is great entertainment and eye candy as always, even if her role here isn't really on a level with her most famous ones.The action scenes are passable (one comeuppance offers a spin on something we'd previously seen in "Coffy"), and the music score by Alex Brown and Monk Higgins (with vocals by Barbara Mason) is good, even if, like so much else here, it's also unmemorable.Completists of the filmographies of Pam and Girdler will definitely want to check it out, no matter if it's not their best work.Six out of 10.

'Sheba, Baby' (1975) ** 1/2 (out of 4) Blaxploitation Girdler style has Pam Grier leaving Chicago and heading to Louisville when she hears a bunch of thugs are trying to push her father out of his business. Soon dad is shot dead and it's up to Grier to track down the killers and put an end to them. Once again, this isn't the greatest film in the world and it's certainly not an Oscar-winner but if you enjoy the genre and what it has to offer then you're going to be able to enjoy what's here. I was a little hesitant going into a PG-rated blaxploiation film but the screenplay offers up enough action to keep things moving even though I'm sure fans of Grier want the R-rated action that comes with the nudity. Grier is as tough as ever here and she really turns in another winning performance. What always amazes me about her is how much fire and energy you can see her burning even if she's just standing around not doing a thing. Then, when it's time to fight, that energy just erupts like a volcano and one can't help but respect that energy she brings to a film. The supporting players include Rudy Challenger, Austin Stoker and Dick Merrifield but there's no doubt that the film belongs to Grier. Having lived in Louisville for many years, the film gave me even more entertainment than it probably will from someone who has never visited the city. There were several locations that I recognized and that's always going to add a little bit more charm to a film for someone. The movie does go over the top in its violence and I was a little surprised to see more of the red stuff than I was expecting. Of course, being a blaxploitation picture we've got to end the film with a wild chase and shoot out and that doesn't disappoint here either. Seeing Grier in a wetsuit never hurts either.

I really tried, but this movie just didn't work for me. The action scenes were dull, the acting was surprisingly poor, and some of these characters were TOO stereotypical to even be funny. Pam Grier tries, but when you have nothing to work with, even her considerable talent cannot prevent a disaster. Even by the standards of this weak genre, this film is pretty bad.

Unfortunately, William Girdler's 1975 Sheba, Baby is one of Pam Grier's weaker vehicles. Playing a Chicago-based private investigator who flies to the South in order to help her father save his loan business from corrupt sharks, Grier has fewer that usual opportunities to pull out the stops. Additionally, Grier is hampered the most by a substandard script and little chance to do what she does best. Despite the lethargic pacing, a climactic speed boat chase -- which culminates in a nasty skewering at the end of a harpoon -- should please fans of the genre. Jack Hill's 1973 Coffy is a far superior Pam Grier movie.