Movie Review Black Los Angeles

BlackNLA Movie Reviews

*****THE REEL DEAL: Reviewz from the Street*****

by Edwardo Jackson

BIASES: late 20s black male; frustrated screenwriter who favors action, comedy, and glossy, big budget movies over indie flicks, kiddie flicks, and weepy Merchant Ivory fare

ATL (PG-13)

MOVIE BIASES: "If you want me, you can find me in The A..."

MAJOR PLAYERS: Tip "T.I." Harris, Lauren London, Mykelti Williamson (Forrest Gump), Keith David (Armageddon), writer Tina Gordon Chism (Drumline), and director Chris Robinson (music videos)

Anyone who's spoken to me for more than ten minutes knows two things: I'm from Seattle, and I LOVE Atlanta. Went to school there, go back three times a year, am working fervently to move back there some day. Yet even as pre-sold as I would seem to be, the monolithic forces within the black community that howl every time I give a bad black film (cough! "Madea!" cough!) a harsh rating are surely sharpening
their knives in anticipation on this one. Put your utensils away, haters - we're doing dinner "ATL"-ien style.

Welcome to The ATL, Atlanta, Georgia, the SWATS (Southwest Atlanta), specifically the poor, all-black section called Mechanicsville. Home to the older, gold-grillin' Teddy (Jason Weaver), big but soft-spoken, poetry-spoutin' Brooklyn (Albe Daniels), Ivy League-bound, golf-loving private school student Esquire (Jackie Long), and amiable, knuckleheaded junior crew member Ant (Evan Ross). Leader of their crew if, for nothing else, for the fact that he's got the only working car, Ant's big brother Rashad (Harris) is a hardworking night janitor who blows off steam doodling elaborate cartoons and getting down with his boys at the Cascade Roller Rink when not providing for his family. With only five weeks to go until their defense of a big skating competition title, the crew finds their world turned upside down with the introduction of ghetto fabulous drug dealer Marcus (Antwan "Big Boi" Patton), who begins luring Ant into the life, and the casual flirtations of the beautiful New New (London), who begins luring Rashad into love, all the while harboring a potentially damaging secret.

Stacked with heartwarming male camaraderie like a plateful of biscuits at Sunday dinner, "ATL" is a snapshot of early 21st century youth culture in the South. While starting off like an extended music video-cum-roller derby, "ATL," helmed by first time feature director Chris Robinson, finds its way by losing itself - in the language, the locations, and a general love of Atlanta. The script (story by credited to Antwone Fisher, final screenplay credit to Chism) is decidedly meandering but ambitiously so, a well written take on navigating the challenges of urban black male adolescence - which is really timely, coming on the heels of two articles that have gained traction on the Internet and in popular opinion attacking, er, denoting the black man's place in society and within romantic relationships. In Chism and Robinson's 404 area code, the developing romance between Rashad and New New is sweet, gritty, and realistically teenage (they ignore and mildly insult each other while slipping in stealth compliments, up until their feelings take over). Various types of black men are on display (good, bad, book smart, street smart, lazy, ambitious, etc.) with token effort for the women (ironic, Ms. Chism), although a GREAT character plot twist that I did not see coming raises the stakes for the movie and several characters' development as a whole. The only major debits to this film's script are that Teddy and Brooklyn, while played enthusiastically by
competent actors, get lost in the sauce.

Platinum-plus rapper Tip "T.I." Harris makes a strong, if somewhat underwhelming debut as the unquestioned lead of "ATL." Although stronger than 50 Cent's debut and better than Bow Wow's last three films combined, T.I. is a capable actor who's just a little too laid back cool, his expressions stuck in a Southern-fried, Keanu Reeves neutral, as it were. Even when he's beating someone's tail (and this movie features the best use of black-on-black violence I've seen in awhile), T.I. looks like he just smoked a tree with Big Boi in his trailer. Speaking of Antwan "Big Boi" Patton, this one-half of ATLien rap superstar group OutKast also acquits himself nicely as a quirky, unpredictable yet violent drug dealer who can seduce you into the life as much with his 28 inch rims ("You don't got a ruler on you, boy?") as with his toothy, menacing smile.

Yet the showstopper is Lauren London as New New, my new (new) REEL DEAL Crush. Until I did a little online research after the movie, I was firmly convinced that she was a local "shawty" from the SWATS who made good, only to find out that she's a native Los Angelena in her first feature film. Cornea-singeingly gorgeous, well dimpled, and flaunting an authentic, inside I-285-worthy, syrupy Southern accent, Lauren London IS the next generation of REEL DEAL Crushes; she's an
actor. Cocky, vulnerable, secretive yet supportive, London's New New ("Why you call yourself 'New New?'" "Because I always have the new...new...[stuff].") is the epitome of the girl from around the way at whom every guy wanted to holla.

But even my New New Crush gets trumped in this flick by the real star, The ATL itself. Bumpin' all the hottest music ("Kryptonite," "Laffy Taffy," "Georgia," "Bubblegum") like a crunk concert, nailing the hotness of the climate and the roller skating scene (the first time I ever saw referees at a roller rink was in The ATL), the unmistakably low-talking ATL drawl (subtitled amusingly at one point), and the
legendary booty, um, BEAUTY of its cornbread-fed female citizens all collaborated to, simultaneously, make me homesick and give me a two hour visual vacation.

"ATL" is impressive in that it accomplishes all this fun stuff while still shoehorning in real issues within the black community: a look at its silent but deadly class warfare, the paradox of obsessing over material wealth yet wanting to maintain a ghetto lifestyle, trust issues within nuclear and non-nuclear black families, etc. Sure, not
all of these issues are fully explored in a movie that is (smartly) being marketed as a roller derby video, but at least they are being discussed. Considering that some of the same filmmakers using this approach were behind sneaky smart urban classic "Drumline" - Dallas Austin, take a bow - I shouldn't be surprised.

While I am sure some in the media will criticize "ATL's" wandering style and script, I defend it. Had "ATL" been about some middle class white people in LA, critics would've compared it to 1993's "Grand Canyon" or the more recent "Friends with Money," or whatever yuppie, white angst-ridden film comes down the pike this month. That's not to say that those type of films don't have their place or deserve to
exist; finally, here's a similarly rambling, free-wheeling type of film that concentrates on my issues, on stuff that I can primarily relate to before having to sift through the details for "universal themes" (which are in films of all races, when executed well). In fact, "ATL" should strike another blow to the haters who subscribe to the fallacy that "THE REEL DEAL don't like black movies" (which is prima facie evidence against itself, seeing how my favorite movies are "Boomerang," "Boyz N the Hood," "Coming to America," etc.). I don't like BAD movies, black or otherwise - I just wish that the gatekeepers to what gets produced in Hollywood gave us more "Drumlines" than "Madeas." But for now, I'll settle for a nice big screen vacay to the "ATL."

@@@ REELS
(THREE REELS)
It's pretty hot – go give it a shot.

Like what you read? Agree/disagree with The Reel Deal? Think he's talkin' out his...HUSH YO' MOUF! (I'm only talkin' about The Reel Deal!) Email him at ReelReviewz@aol.com!

Edwardo Jackson is the author of the novels EVER AFTER and NEVA HAFTA, (Villard/Random House), a writer for UrbanFilmPremiere.com, and an LA-based screenwriter. Visit his website at www.edwardojackson.com




			BlackNLA Movie Reviews ***THE REEL DEAL: Reviewz from the Street*** by Edwardo Jackson BIASES: late 20s black male; frustrated screenwriter who favors action, comedy, and glossy, big budget movies over indie flicks, kiddie flicks, and weepy Merchant Ivory fare ATL (PG-13) MOVIE BIASES: "If you want me, you can find me in The A..." MAJOR PLAYERS: Tip "T.I." Harris, Lauren London, Mykelti Williamson (Forrest Gump), Keith David (Armageddon), writer Tina Gordon Chism (Drumline), and director Chris Robinson (music videos) Anyone who's spoken to me for more than ten minutes knows two things: I'm from Seattle, and I LOVE Atlanta. Went to school there, go back three times a year, am working fervently to move back there some day. Yet even as pre-sold as I would seem to be, the monolithic forces within the black community that howl every time I give a bad black film (cough! "Madea!" cough!) a harsh rating are surely sharpening their knives in anticipation on this one. Put your utensils away, haters - we're doing dinner "ATL"-ien style. Welcome to The ATL, Atlanta, Georgia, the SWATS (Southwest Atlanta), specifically the poor, all-black section called Mechanicsville. Home to the older, gold-grillin' Teddy (Jason Weaver), big but soft-spoken, poetry-spoutin' Brooklyn (Albe Daniels), Ivy League-bound, golf-loving private school student Esquire (Jackie Long), and amiable, knuckleheaded junior crew member Ant (Evan Ross). Leader of their crew if, for nothing else, for the fact that he's got the only working car, Ant's big brother Rashad (Harris) is a hardworking night janitor who blows off steam doodling elaborate cartoons and getting down with his boys at the Cascade Roller Rink when not providing for his family. With only five weeks to go until their defense of a big skating competition title, the crew finds their world turned upside down with the introduction of ghetto fabulous drug dealer Marcus (Antwan "Big Boi" Patton), who begins luring Ant into the life, and the casual flirtations of the beautiful New New (London), who begins luring Rashad into love, all the while harboring a potentially damaging secret. Stacked with heartwarming male camaraderie like a plateful of biscuits at Sunday dinner, "ATL" is a snapshot of early 21st century youth culture in the South. While starting off like an extended music video-cum-roller derby, "ATL," helmed by first time feature director Chris Robinson, finds its way by losing itself - in the language, the locations, and a general love of Atlanta. The script (story by credited to Antwone Fisher, final screenplay credit to Chism) is decidedly meandering but ambitiously so, a well written take on navigating the challenges of urban black male adolescence - which is really timely, coming on the heels of two articles that have gained traction on the Internet and in popular opinion attacking, er, denoting the black man's place in society and within romantic relationships. In Chism and Robinson's 404 area code, the developing romance between Rashad and New New is sweet, gritty, and realistically teenage (they ignore and mildly insult each other while slipping in stealth compliments, up until their feelings take over). Various types of black men are on display (good, bad, book smart, street smart, lazy, ambitious, etc.) with token effort for the women (ironic, Ms. Chism), although a GREAT character plot twist that I did not see coming raises the stakes for the movie and several characters' development as a whole. The only major debits to this film's script are that Teddy and Brooklyn, while played enthusiastically by competent actors, get lost in the sauce. Platinum-plus rapper Tip "T.I." Harris makes a strong, if somewhat underwhelming debut as the unquestioned lead of "ATL." Although stronger than 50 Cent's debut and better than Bow Wow's last three films combined, T.I. is a capable actor who's just a little too laid back cool, his expressions stuck in a Southern-fried, Keanu Reeves neutral, as it were. Even when he's beating someone's tail (and this movie features the best use of black-on-black violence I've seen in awhile), T.I. looks like he just smoked a tree with Big Boi in his trailer. Speaking of Antwan "Big Boi" Patton, this one-half of ATLien rap superstar group OutKast also acquits himself nicely as a quirky, unpredictable yet violent drug dealer who can seduce you into the life as much with his 28 inch rims ("You don't got a ruler on you, boy?") as with his toothy, menacing smile. Yet the showstopper is Lauren London as New New, my new (new) REEL DEAL Crush. Until I did a little online research after the movie, I was firmly convinced that she was a local "shawty" from the SWATS who made good, only to find out that she's a native Los Angelena in her first feature film. Cornea-singeingly gorgeous, well dimpled, and flaunting an authentic, inside I-285-worthy, syrupy Southern accent, Lauren London IS the next generation of REEL DEAL Crushes; she's an actor. Cocky, vulnerable, secretive yet supportive, London's New New ("Why you call yourself 'New New?'" "Because I always have the new...new...[stuff].") is the epitome of the girl from around the way at whom every guy wanted to holla. But even my New New Crush gets trumped in this flick by the real star, The ATL itself. Bumpin' all the hottest music ("Kryptonite," "Laffy Taffy," "Georgia," "Bubblegum") like a crunk concert, nailing the hotness of the climate and the roller skating scene (the first time I ever saw referees at a roller rink was in The ATL), the unmistakably low-talking ATL drawl (subtitled amusingly at one point), and the legendary booty, um, BEAUTY of its cornbread-fed female citizens all collaborated to, simultaneously, make me homesick and give me a two hour visual vacation. "ATL" is impressive in that it accomplishes all this fun stuff while still shoehorning in real issues within the black community: a look at its silent but deadly class warfare, the paradox of obsessing over material wealth yet wanting to maintain a ghetto lifestyle, trust issues within nuclear and non-nuclear black families, etc. Sure, not all of these issues are fully explored in a movie that is (smartly) being marketed as a roller derby video, but at least they are being discussed. Considering that some of the same filmmakers using this approach were behind sneaky smart urban classic "Drumline" - Dallas Austin, take a bow - I shouldn't be surprised. While I am sure some in the media will criticize "ATL's" wandering style and script, I defend it. Had "ATL" been about some middle class white people in LA, critics would've compared it to 1993's "Grand Canyon" or the more recent "Friends with Money," or whatever yuppie, white angst-ridden film comes down the pike this month. That's not to say that those type of films don't have their place or deserve to exist; finally, here's a similarly rambling, free-wheeling type of film that concentrates on my issues, on stuff that I can primarily relate to before having to sift through the details for "universal themes" (which are in films of all races, when executed well). In fact, "ATL" should strike another blow to the haters who subscribe to the fallacy that "THE REEL DEAL don't like black movies" (which is prima facie evidence against itself, seeing how my favorite movies are "Boomerang," "Boyz N the Hood," "Coming to America," etc.). I don't like BAD movies, black or otherwise - I just wish that the gatekeepers to what gets produced in Hollywood gave us more "Drumlines" than "Madeas." But for now, I'll settle for a nice big screen vacay to the "ATL." @@@ REELS (THREE REELS) It's pretty hot – go give it a shot. Like what you read? Agree/disagree with The Reel Deal? Think he's talkin' out his...HUSH YO' MOUF! (I'm only talkin' about The Reel Deal!) Email him at ReelReviewz@aol.com! Edwardo Jackson is the author of the novels EVER AFTER and NEVA HAFTA, (Villard/Random House), a writer for UrbanFilmPremiere.com, and an LA-based screenwriter. Visit his website at www.edwardojackson.com © 2004, Edwardo Jackson