A naturally talented basketball player, Noah Cruise is determined to become a doctor using his basketball scholarship to UCLA pre-med, rather than succumb to the lure of former sports agent... See full summary »
When a rap mogul from Atlanta tries to join a conservative country club in the Carolinas he runs into fierce opposition from the board President- but it's nothing that he and his entourage can't handle.
Nate moves to L.A. to track down Cristabel, the woman he's been in love with since childhood, only to discover that his plan to woo her only has one hurdle to overcome: what to do with June, Cristabel's ever-present, not-so-hot best friend? What's even more complicating is Nate's growing feelings for June, whose true beauty starts to emerge.
Joel David Moore,
A naturally talented basketball player, Noah Cruise is determined to become a doctor using his basketball scholarship to UCLA pre-med, rather than succumb to the lure of former sports agent Vaughn and go for the NBA. His best friend, the buddy that took the fall for him and did the time for an assault charge, Tech, also an outstanding basketball player, has less lofty ambitions: he wants to get his GED and win an underground street ball game against his arrogant rival, Jewelz. Their lives change drastically when they both fall in love with two local girls, Vanessa Lilly and Eboni Jackson, and take fateful trip out to L.A. together. Written by
For all who have cried for quality urban film-making free from gangsta, thuggin, and drug related themes keep looking.
Detroit is a city rich in culture, history, ethnicity and empowerment but in recent years has developed an unfortunate reputation that upsets many natives. Those with a voice, the politicians, the rappers, even the filmmakers try desperately to reverse that negative image much to their credit. Writer and Director Preston Whitmore II, a loyal patriot indeed, attempts an urban tale about street ball, dreams fulfilled, and dreams deferred. It seemed like every few minutes there was a needless montage of city landmarks that were not part of the storyline. A gimmick that seemed patronizing at best, insulting at worst. I too love my city and I understand patriotic sympathies. However, they simply have no place on the celluloid. If a filmmaker wants to show the good of the city make a good movie! But that was just part of my problem with Crossover. It wasn't dramatic enough to be taken seriously and not funny enough to be a comedy. The funniest thing in the movie was the main character Tech (Mackie) spending half the movie studying for his GED. The plot was mediocre and the acting simply ghastly. Wayne Brady (who said he could be a leading man?) has to prove he's black to all his critics and quite unconvincingly portrays Vaughn, part businessman, part thug who has more than a legitimate interest in street ball. The cookie monster is a scarier underworld figure. Wesley Jonathan who was absolutely priceless in Rollbounce was less than thrilling-- almost boring. And Eva Pigford's play acting of the femme fatal just ruined a character that might have been interesting.
Crossover (or Crapover as I was calling it by the end) was a film that probably looked good on paper but lost its focus somewhere between the pitch and the production. I often advise urban screenwriters to beware of this potential peril. It's a death sentence to the film, but more importantly it is another unwanted blemish on the genre of film that is blemished enough.
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