Gravity or Police, these guys don't believe in any law. Idolised by the youth of Paris as much as they're hated by the police, they are the Yamakasis, modern samurais. With acrobatic ... See full summary »
Châu Belle Dinh,
Two brothers, Leon and Bobby are members of the street gang in Brooklyn known as the deuces. Their brother was killed by a drug overdose a few years earlier and the gang is determined to ... See full summary »
A gun-for-hire known only as Agent 47 hired by a group known only as 'The Organization' is ensnared in a political conspiracy, which finds him pursued by both Interpol and the Russian military as he treks across Russia and Eastern Europe.
A mythic motorcycle tale of father and son", this is the story of Manuel Galloway, also known as "the King of Cali", the president of a motorcycle club whose members are all African-American men, mostly white-collar workers who exchange their suits and ties at night and on weekends for leather outfits and motorcycle helmets. The focus of this story takes place at an annual drag-racing event in Fresno, as Manuel tries to retain his championship title. Written by
Actual motorcycle clubs were on the set to aid with tricks, stunts, and racing. They include Valiant Riders, Black Sabbath, G-Zer Tribe, Ruff Ryders, Soul Brothers, Total Package, Chosen Few, Rare Breed, Brothers of the Sun, Sisters of the Sun, Deuces, and Black Sabbath New Breed. See more »
When Kid is playing a video game with his little brother, Will Jr. is using both trigger buttons on each side of the controller, mashing them wildly with two fingers on either side. However, when Anita sits down to play, she doesn't use them at all. See more »
Written by Mikka Harvey, Jerry Franklin, Christian Dudley, Brandon Stringfield, DeWayne Staten,
Chauncey Hawkins, David Paich & Jeffrey Porcaro
Performed by Mowett & Loon
Courtesy of DreamWorks Records
Under license from Universal Music Enterprises
Loon appears courtesy of Bad Boy Entertainment
Contains a sample of "Africa"
Performed by Toto
Courtesy of Columbia Records
By Arrangement with Sony Music Licensing See more »
The days of Harley-Davidsons mastering the road are over. Nowadays color and plastic coat the fastest and most coveted motorcycles in the land, and `Biker Boyz' heralds the passing with unrestrained glee.
Set among African-American biker clubs in Southern California, the film follows Kid (Derek Luke), a prodigious young motorcycle racer, in his quest for the title of `King of Cali,' currently held by Smoke (Lawrence Fishburne), leader of the Black Knights bike club. Smoke hesitates in accepting Kid's challenges, citing that Kid is not a member of a legitimate club. In one scene, Kid addresses Smoke's assistant with anger and frustration: `Are you racing? Or are you just blowin' smoke?' Kid begins his own club (the aptly named `Biker Boyz') and sets out for the crown of fastest biker. The rest of the film follows a sort of formula we have seen before, with the underdog taking on the inhumanly skilled antagonist at the end. Though the plot is weak, the talent both onscreen and off push the film into something the script alone could not hold. The actors, for the most part, excel in their respective roles. Fishburne turns what may have been a trivial role into one exuding sincerity and masculinity, holding to an effectively pensive and reserved demeanor. His presence on the screen legitimizes the film as not just another `Days of Thunder.' Fishburne's charisma must have extended to the rest of the cast, as even Kid Rock, who made his film debut in 2001's deplorable `Joe Dirt,' portrays his character with gusto and road-wise scruffiness. Director Reggie Rock Bythewood makes his presence felt in the film. Bythewood made a splash at Sundance a few years ago with his debut `Dancing in September.' With `Biker Boyz,' he manages to pull off something slightly extraordinary: he makes motorcycle racing entertaining. The camera freewheels around smoking tires, colorful racing suits and bouncing nightclubs with dizzying ease. His film is loosely based on a feature from the Los Angeles New Times on the biking subculture in California, and Bythewood tries to bring a sense of biker culture to the screen. The nonfiction foundation of the film shines through, displaying a bizarre sense of camaraderie between cyclists similar to that of a fraternal order.
Despite its basically inane premise, the movie is not all bad. The poor title and plot outline summons memories of `Rollerball' and the like, but do not be deceived. `Biker Boyz' inspires some sense of genuine excitement and intrigue. As entertainment, it works on the same level as last year's `Spider-Man.' It cannot be praised as a piece of art, but the craftsmanship of the film is undeniable, which grants it a begrudged recommendation.
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