Young Cuban Rafael just buried his mother, and comes to Houston to meet his father John for the first time. The difficult part is that John doesn't know he is Rafael's father. John runs a ... See full summary »
Honey Danels is a 22-year-old, sexy, tough-minded, part-black, part-Latina hip-hop dancer in New York's East Harlem who dreams of making it big as a music video choreographer. She teaches hip-hop dancing at a local youth center and encourages the local kids to attend to keep them off the streets and out of trouble. When luck shines on Honey in the form of a famous music video director, named Michael, who casts her in one music video, she's encouraged to make the transition from dancer to choreographer. But Honey's sudden success comes with a price when Michael refuses to take "no" for an answer to his sexual advances and then tries to sabotage her career by blackballing her out of the business. Written by
The tagline was changed from "Her Dream, Her Terms" to "Her Dreams, Her Terms". See more »
During the scene where Honey Daniels is talking to her best friend Gina about how she was feeling and apologizing for letting her down, the camera angle switches from in front of Gina to behind Gina. From the front, Gina is staring at the coffee table...from behind, Gina is looking at Honey. See more »
[watching Honey leave Chaz's Barber Shop, where Chaz has just unsuccessfully asked Honey out on a date]
Let us pray. Heavenly Father, please bless Chaz with game IMMEDIATELY.
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Credit `Honey' with at least having its heart in the right place even if its brain isn't always so easy to find. The ever sunny and optimistic Honey Daniels holds down two jobs in her increasingly hectic life a bartender by night and a hip hop dance instructor by day. She has hopes of one day appearing in a music video, a dream that comes true when she catches the eye of a big time producer named Michael Ellis. Not only is Honey a smash in her first video appearance, but Michael immediately hires her as choreographer for one of his projects. As is typical in these strive-and-succeed tales, Honey soon discovers that success is not all that it's cracked up to be when Michael reveals his true colors, setting up conditions for her continued employment that she hadn't quite counted on (in other words, `put out or pull out'). But the always-undaunted Honey is not about to be knocked down that easily. She uses this little setback to start thinking less about herself and more about the street kids whom she sees turning into drug dealers and gangsters right before her rose-colored eyes. Filled with a righteous zeal and determination, she rallies the neighborhood to raise money for a new dance studio that can get the youngsters off the street, channel their energies in a more positive direction, and turn their lives around.
Only the most Scrooge-like curmudgeon could object to the positive, laudatory, pull-yourself-up-bythe-bootstraps message the film is trying to convey, and one would have to be downright inhuman not to feel uplifted by the final dance sequence. But good intentions and noble aspirations do not, in and of themselves, make for a quality film, and `Honey' is a long way from fitting that bill. The movie wants to be taken seriously as a realistic view of urban life but very little of what we see ever rings true, starting with Honey herself who, with her invariably perky demeanor, seems like a cross between Little Mary Sunshine and Mother Teresa in form fitting jeans and matching halter top. Everything that happens to her from her meteoric rise in the music video world to her purchase of an empty store for her new dance studio to the benefit performance she and her dancers stage to raise the money for the project all come about way too easily and with virtually no noticeable effort on her part. We never believe for a moment that any of this would happen in this way in the real world. Thus, `Honey' is really little more than an urban fairy tale, fine for children, I suppose, but not of much use for adults with a more pragmatic understanding of how life actually works.
Jessica Alba is no great shakes as an actress, though she has an infectious smile and a bubbly demeanor that work well on screen. But it is Zachary Williams, as the adorable, gap-toothed eight-year-old Raymond, who steals the show. Now that is one hell of an endearing little kid.
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