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Crossover (2006)

PG-13 | | Action, Sport | 1 September 2006 (USA)
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 »

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Cast

Credited cast:
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Vanessa (as Eva Pigford)
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Eboni (as Alecia Fears)
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Aub (as William Johnson)
Rest of cast listed alphabetically:
Tamer Alwerfalli ...
Angelo (as Tamer Alwer Falli)
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Director (as Gavin Behrman)
Michael Lamont Bivins ...
Heart Attack (as Michael Bivens)
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Storyline

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 Anonymous

Plot Summary | Add Synopsis

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Play by your own rules.

Genres:

Action | Sport

Motion Picture Rating (MPAA)

Rated PG-13 for sexual content and some language

Parents Guide:

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Details

Country:

Language:

Release Date:

1 September 2006 (USA)  »

Also Known As:

Переходный момент  »

Filming Locations:

 »

Box Office

Budget:

$5,800,000 (estimated)

Opening Weekend:

$4,402,123 (USA) (1 September 2006)

Gross:

$7,009,668 (USA) (22 September 2006)
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Company Credits

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Technical Specs

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Sound Mix:

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Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Goofs

During Tech's final free throw, he begins to shoot with his left hand. When the camera angle changes, he takes the shot with his right. See more »

Quotes

Tech: 100 singles looks like a lot more than it is
See more »

Connections

References Coming to America (1988) See more »

Soundtracks

All of Me
Written by DeYon Dobson, Jeffrey Freeman and Tim Owens
Performed by Tim Owens
Courtesy of Yon Ti Entertainment
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User Reviews

Crapover
31 August 2006 | by (United States) – See all my reviews

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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