IMDb > I'm Through with White Girls (The Inevitable Undoing of Jay Brooks) (2007)
I'm Through with White Girls (The Inevitable Undoing of Jay Brooks)
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I'm Through with White Girls (The Inevitable Undoing of Jay Brooks) (2007) More at IMDbPro »

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I'm Through with White Girls (The Inevitable Undoing of Jay Brooks) -- Jay Brooks is that black guy who digs indie rock, graphic novels, and dates white chicks. After a slew of bad break-ups, Jay gives up white women, "cold turkey," and he goes on a mission: "Operation Brown Sugar"
I'm Through with White Girls (The Inevitable Undoing of Jay Brooks) -- Jay Brooks is that black guy who digs indie rock, graphic novels, and dates white chicks. After a slew of bad break-ups...


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Writer (WGA):
Courtney Lilly (written by)
View company contact information for I'm Through with White Girls (The Inevitable Undoing of Jay Brooks) on IMDbPro.
It's not you. It's him.
Jay Brooks is that black guy who digs indie rock, graphic novels, and dates white chicks. After a slew of bad break-ups... See more » | Full synopsis »
3 wins See more »
User Reviews:
Met Absurdly High Expectations See more (30 total) »


  (in credits order)

Anthony Montgomery ... Jay Brooks

Ryan Alosio ... Matt McKenzie

Lia Johnson ... Catherine Williamson

Lamman Rucker ... Drake Moore

Kellee Stewart ... J.C. Evans

Lisa Brenner ... Molly

Johnny Brown ... Sam Moore
Esther Scott ... Hester

Richard Lawson ... James Evans
Ann Weldon ... Julie Evans

Alaina Reed-Hall ... Jerri Moore

Lynn Chen ... Candace
rest of cast listed alphabetically:
Sekou Andrews ... Cousin #2
Gabrielle Castellini ... Cindy
Cassandra Creech ... Tamiko
Susan Dalian ... Jada
Sarah Livingston Evans ... White girl on bus
Lindsay Frame ... Woman In Bar
John H. Freeland Jr. ... Old Man in Bar

Matt Gorrek ... Record Store Clerk

Kyra Groves ... Nadeen
Jen Hogan ... Beth (as Jennifer Hogan)

Emilie Jacobs ... Erin

Phyllis Johnson ... Evans Caterer
Dwight Jones ... Wedding Guest

Cirroc Lofton ... Nick

Heidi Mages ... Christy
Lorelei Mahoney ... Shyna
Brooke Michael ... Lounge Singer
Aimee Miles ... Thelma

Nafeesa Monroe ... Detria

Mimi Moss ... Girl on the Bus

Marcus Patrick ... Michael

Wil Philip ... Sigmund (as William Philip)

Dionne Phillips ... Cheryl

Tara Platt ... Rachel

Camilla Rantsen ... Tammy

Richard John Reliford ... Wedding Guest

Paul Renteria ... Ruby Room Bartender
Micheal David Ricks ... Pooh Bear

Chip Sickler ... Keenan
Troy Terashita ... Hot Asian Dancer

Lisa Tharps ... Celeste

Carla Toutz ... Monica

Jeff Wadlow ... Billy

Jimmy Walker Jr. ... Old Man in Bathroom
Robert Wheeler ... Card Dealer
Dimiceo Youngblood ... Cousin #1

Directed by
Jennifer Sharp 
Writing credits
Courtney Lilly (written by)

Produced by
Chris Adams .... producer
Lia Johnson .... producer
Phyllis Johnson .... executive producer
Stefanie Pressler .... associate producer
Camilla Rantsen .... producer
Fabien Recoura .... associate producer
Devin Reeve .... co-producer
Jennifer Yee .... line producer
Cinematography by
Jacob Pinger 
Film Editing by
Tom Huang 
Jennifer Sharp 
Production Design by
Phillip Boutte Jr. 
Costume Design by
Marcia Zigler 
Makeup Department
Letty Oswald .... assistant makeup artist
Grace Phillips .... key makeup artist
Octavio Solis .... makeup artist
Second Unit Director or Assistant Director
Brinton Bryan .... first assistant director
Carey Field .... second second assistant director
Michael Kaleta .... second assistant director
Art Department
Pedro Aguilera .... property master
Sound Department
Lorita de la Cerna .... foley mixer
Michael Farnan .... sound re-recording mixer
Evan Freeman .... sound mixer
Rick Owens .... foley artist
Mark Patino .... sound mixer
Andy Theiss .... boom operator
Visual Effects by
Chris Adams .... post production supervisor
Camera and Electrical Department
Jay Aebi .... grip
Tiffany Aug .... first assistant camera
Christopher Chambers .... cinematographer: second unit (as Chris Chambers)
Christopher Chambers .... gaffer (as Chris Chambers)
Beth Charlesworth .... assistant camera
Brian Fletcher .... best boy electric
Joey Levy .... grip
Robert McFall .... grip
David Thomas .... second assistant camera
Gregg Thompson .... key grip
Editorial Department
Patrick Woodard .... colorist
Music Department
Travis Moore .... composer: additional music
Mike Savage .... music supervisor
Other crew
Shelley Marie Brown .... promotions
Brian Corpuz .... production assistant
Scott Covington .... production assistant
Ryan Mead .... production assistant
Elizabeth Rypel .... production assistant

Production CompaniesDistributorsOther Companies

Additional Details

Rated R for language, including some sexual references
USA:93 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Jay Brooks:[trying to get Catherine to go out with him] What you want me to beg?
Catherine Williamson:Yea well ok. Let's hear some begging.
Jay Brooks:Are you serious. I'll play along. What you want Mars Blackmon or James Brown?
Catherine Williamson:Ah a man of genre. I don't know you well enough for James Brown so Mars Blackmon.
Jay Brooks:Please baby baby please.
See more »
Movie Connections:
References She's Gotta Have It (1986)See more »
License PlatesSee more »


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7 out of 9 people found the following review useful.
Met Absurdly High Expectations, 8 January 2009
Author: bashe from United States

I saw I'm Through With White Girls last night, and liked it a whole lot. And I had absurdly high expectations, too; so for me to say that means something, since whenever I head into an encounter with art possessing absurdly high expectations, I usually come away disappointed. Not this time.

I'd say this is easily the purest, most self-consciously post-soul film I've ever seen (I would say "ever made" instead of "ever seen," but obviously there could be another one out there). Actually, I'd have to put Afro-Punk right up there with it, except that the latter is a documentary, and this is an absolutely delightful romantic comedy.

It's got all the PSA aspects one could want: non-traditional representations of blackness in conflict with---and in connection with---traditional representations of blackness; social class issues; the way cultural blackness plays out among white characters, particularly white men (and the great thing about it is that these black-culture-influenced white characters never descend into caricature, as do, sadly, the working class black characters); the tension between stereotypical black behaviors and individuality (and that tension plays out on both white and black cultural planes, of course); bi-raciality and the question of blackness (not only is the female lead bi-racial, she's not even a native of the United States). Oh, there's all sorts of great, symbolic, contextual stuff in the mix.

But the wonderful thing is that the film stands on its own as a plot-driven romantic comedy that skillfully moves along the boy-meets-girl, boy-loses-girl, boy-regains-girl, happy-ending format. (I get impatient, quite frankly, with people who get impatient with the romantic comedy format---to me, that just means [1] that person just doesn't like romantic comedies---because the format is what it is, or [2] that person doesn't realize that the romantic comedy form is just another form, and it's what you do with it, how funny it is, how the pacing works, what it tells you, culturally, about the world the characters inhabit, that informs how well or poorly one deals with that form.) In any case, I thought it was a successful film on the PSA level, for sure, but also on the pure filmic level, as well.

I liked, as well, the persistent references to Paul Beatty's novel The White Boy Shuffle: [1] there is a moment in the film when the specific words "the white boy shuffle" come out of the male lead's mouth; [2] when the female lead is reading from her novel at a bookstore, you can jusssst barely hear her describe HER male lead as being named "Gunnar," echoing Beatty's hero's first name; and [3] one of the running gags throughout the film is that Jay Brooks can't dance!---yet another Gunnar-esquire gesture. In addition, there's an explicit reference to a memorable scene in Spike Lee's "She's Gotta Have It" that also becomes a running gag. Like I said, the film sure seemed, in more ways than one, a self-conscious post-soul aesthetic document, even if they don't use that term on their website.

Very, very enjoyable film. The only shame is that it didn't get the theatrical release it deserved. I wish Will Smith had the courage to star in something like this. I thought Anthony Montgomery was great, but with Smith it would have had the eyeballs on it that the film deserved. Woulda had to change that unfortunate title, though, and that would have been all to the good; it's the only thing I didn't like about the movie.

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i tried to watch, but was dissapointed. chrisstallworth
Race Baiting christopher-brenn
To The Real-Life 'Jays' + 'Catherines' Mocha_Bella
What a charming film! murray-undefined
Title doesn't do movie justice Cameosis
Why do people THINK they know what the movie is about by its title? lefthand87
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