A former drug lord returns from prison determined to wipe out all his competition and distribute the profits of his operations to New York's poor and lower classes in this stylish and ultra violent modern twist on Robin Hood.
Hardened, uncomprimising drug dealer Roemello Skuggs decides to quit his scumbag profession so he may start a new life with his girlfriend. However, he soon learns getting out is nowhere ... See full summary »
Alek is an immigrant from the Soviet Union who was a talented boxer in his day, but he was not allowed on the Soviet national team because he was a Jew. Depressed and discouraged, he meets ... See full summary »
Klaus Maria Brandauer,
The gangster Nino has a gang who call themselves Cash Money Brothers. They get into the crack business and not before long they make a million dollars every week. A cop, Scotty, is after them. He tries to get into the gang by letting an ex-drug addict infiltrate the gang, but the attempt fails miserably. The only thing that remains is that Scotty himself becomes a drug pusher. Written by
The first words heard in the film, when the studio logo appears on the screen, "You are about to witness the strength of street knowledge," which is the opening line of the N.W.A. song "Straight Outta Compton." This is odd because that's a West Coast song and this film is set in New York City. See more »
Just before Nino's meeting with Frankie Needles, he's talking on the phone about taking over the Carter apartments but he had already done that in the beginning of the movie. See more »
They got that shit hooked up like Mission Impossible, man!
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This movie was a surprise. I remember Mario van Peeble's father's "Watermelon Man", an amusing comedy that turns anti-white about half-way through and winds up rather a racist tract. It's almost a convention in movies about African-Americans who seem destructive to themselves or others that they are turned on to dope by white guys. Or, if they retain their rectitude, it's the white guys that are at the head of the horde of local pushers. Of course white women flock to the heroes, etc. We've seen it hundreds of times. But this one is different. The majority of performers are African-Americans, both the cops and the bad guys, neither of them perfect in their goodness or their evil. The characters seem to choose their own destinies for a change. Wesley Snipes is not given a loving trophy blonde. There is a token white cop, Judd Nelson, who was my supporting player in "From the Hip," an extraordinarily good film itself, who is permitted to say, "It's not a black thing. It's not a white thing." Crack is the problem here, not race. We're all in this together, which, in these days, is a pretty progressive statement. It's strictly a genre film. There is craftsmanship in it, if no noticeable attempt at depth, but it's well and stylishly done too. Van Peebles knows how to place the camera and when to cut. The performances are excellent for a film of this type. Snipes especially is a fine physical actor. It winds up with the expected shootout in an empty warehouse or factory. I'd kind of put off seeing this on TV, afraid of wincing through the prejudices I anticipated being expressed, and I was pleasantly surprised to find them completely absent here.
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