Story of a promising high school basketball star and his relationships with two brothers, one a drug dealer and the other a former basketball star fallen on hard times and now employed as a security guard.
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Butch "Bullet" Stein is a Jewish junkie from the mean streets of Brooklyn, is paroled after eight years in prison. Butch rips off a runner for local drug dealer, Tank, and is soon right ... See full summary »
After witnessing the murder of her first and only boyfriend, young Justice decides to forget about college and become a South Central Los Angeles hairdresser. Avoiding friends, the only way for her to cope with her depression is by composing beautiful poetry. On her way to a convention in Oakland, she is forced to ride with an independent-minded postal worker whom she has not gotten along with in the past. After various arguments between them and their friends, they start to discover that their thoughts on violence, socially and domestically, are the same. Justice may finally feel that she is not as alone as before. Written by
In one scene, Justice, played by Janet Jackson, is listening to the Stevie Wonder song "Never Dreamed You'd Leave In Summer". Sixteen years later, Wonder would perform that song at the memorial for Janet's brother, Michael Jackson. See more »
[as Iesha vomits on the side on the road after having drunk too much alcohol]
Look at you.
What's up, J? What's the problem, girl?
[grabbing wine bottle out of Iesha's hand]
*This* is the fucking *problem!*
[smashes bottle on the ground]
I'm *sick* of this shit! That's all you do. You act like some alcoholic bitch!
Why are you calling me a bitch?
[grabbing Iesha tightly by the neck of her shirt]
All you do is get drunk all the time. That's why I never go any place with you, because you're ...
[...] See more »
Can a Corn
Written by Coolio (as Artis Ivey, Jr.) and Wino (as Bryan Dobbs)
Produced by Wino (as Bryan Dobbs "The Wino") & Andre "Priest" Jackson
Performed by Coolio
Courtesy of Tommy Boy Records See more »
After making the effective tear-jerker Boyz N The Hood, John Singleton returns to the field of film with Poetic Justice. While this one is significantly different from that masterpiece, it still has its perks and a solid message to add to its formula of an urban-drama. It is the second film in what Singleton has branded his "Hood trilogy," but yet, it is definitely the weakest of them all.
The plot: Justice (Jackson) is a young woman who lives in South Central, Los Angeles, and is still grieving over the loss of her boyfriend who was murdered during a silly confrontation. Justice writes numerous poems, and narrates them throughout the film. The actual poem were written by writer Maya Angelou, but the authenticity of the writing is the least of our concerns.
Justice works as a hairstylist, and one day, a mailman named Lucky (Shakur) waltzes in one day trying to flirt with several women, when Justice and her friend play a mean joke on him. Karma has its way of reuniting the mailman and the stylist when Justice's friend Iesha (King) forces her to come along on a trip to Oakland with her boyfriend Chicago (Torry) and his coworker Lucky. Justice needs to go for a hair show, so reluctantly agrees to hitch a ride in Lucky's mail-truck.
From then on, the film plays like a buddy road-trip film lacking the buddies. These characters must tolerate each other to survive the trip, but social and emotional conflicts continue to get in their way. Some of these situations feel genuine, but others feel contrived and meant to happen only so the film can advance.
Poetic Justice is very distant from its predecessor, with the only similarities being the setting and the fact that Lucky's uncle, seen in the end of the film, looks a lot like Laurence Fishburne's character in Boyz N The Hood. I can't quite figure out why this one is inferior to them. Maybe it's because the characters aren't as well developed and dripping with charisma, maybe because each one of the characters can be bitter and selfish at points in the film struggling socially, or maybe it's just because.
In Boyz N The Hood, Cuba Gooding Jr. was extremely developed to the point of almost going overboard. In Baby Boy, Omar Gooding was extremely developed. But in Poetic Justice, about a chunk of Janet Jackson's personality is almost snatched away. Same with the ending being a little perplexing and open for explanation.
But this can all be overlooked by two things; the writing and the acting. John Singleton manages to squeeze the premise dry in terms of character dialog. It feels like real discussions being had by real human beings. And Tupac Shakur's acting talents are definitely the strongest point in the film.
Poetic Justice has three meanings when I look at it. It describes redemption for one's previous actions, the character herself in the film, and what the slick writing achieves in this picture.
Starring: Janet Jackson, Tupac Shakur, Regina King, Joe Torry, Tyra Ferrell. Directed by: John Singleton.
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