Though it's been about twenty years since they have spoken with one another, two estranged soul-singing legends agree to participate in a reunion performance at the Apollo Theater to honor their recently deceased band leader.
As Carl Black gets the opportunity to move his family out of Chicago in hope of a better life, their arrival in Beverly Hills is timed with that city's annual purge, where all crime is legal for twelve hours.
Nick's wife's in bed with his boss. He later gets a gun to his head by a carjacker but steps on the gas pedal. They end up friends after adventures together - holdups, burglary, reckless driving, revenge etc. Twists follow.
John C. McGinley
An aimless young man who is scalping tickets, gambling, and drinking, agrees to coach a Little League team from the Cabrini Green housing project in Chicago as a condition of getting a loan from a friend.
This romantic comedy centers on a romance between an A&R exec, Dre, at a hip-hop label and a magazine editor, Sidney, who have known each other since childhood.. They find themselves drifting towards being more than friends, even as Dre is engaged, and Sidney starts being wooed by a handsome basketball player.Written by
Both "De La Soul" and "Method Man" are credited in the opening credits and not in the end credits. Therefore, the IMDb ordering uses the opening credits first and fills in the rest with the end credits. See more »
A hip-hop culture/romantic comedy that avoids the gags of both genres
Brown Sugar (2002) could have been retitled Love & Hip-hop if only to simplify matters. Like Love & Basketball, it marries the tried-and-true romantic flick formula to the emergence of mainstream "black" culture. Because of these similarities and the presence of Sanaa Lathan, most viewers will quickly lump Brown Sugar into one of two pools. They will either see it as yet another "black" film about a lifestyle that was once counter-cultural and is now, thanks to MTV, cliched or as one more in a long line of romantic comedies.
This film fits into both categories but is far better than most of its fellow films. The hip-hop culture is a childhood background that has turned into a profitable lifestyle for Dre and Sid, the two main characters. Their careers are products of the American craze for pop culture but their love for hip-hop is strong enough to allow them the hope that they can somehow make a difference in the business. Films with black stars tend either to drown them with imagery of the ghetto (a la Menace II Society, Baby Boy, etc) or completely ignore the African-American element, dress the characters in business suits, and absorb them into the "white" corporate world of success. Brown Sugar does neither. Hip-hop is natural to Dre and Sid and is present in their conversations without being obtrusive. Writer Michael Elliot is wise to let them lead their lives in the corporate world without ever losing their childhood backgrounds.
In the other camp, romantic comedies generally sacrifice character development and plausibility to accomodate the dreaded near-misses, love misunderstandings, and the climatic scene where the man publicly confesses his undying love. For the most part, Brown Sugar steers clear of these pitfalls and remains true to its characters. The movie never pretends that any of its characters are perfect or indeed that any of them are ever sure of any of their emotions. This is not a fairy tale movie where characters have sex because they are in love. This film is more realistic. The characters are young and romantic at heart and for one reason or another, they find sex first. That then leads them to at least the misguided pretense of love. As one character explains it, "put a man and a woman together for long enough and something's bound to happen." Infidelity is shown as a sign of emotional uncertainty not of villainy. Even the best of the characters eventually considers it. But neither Famuyiwa's camera or Elliot's script vilify them for it. The characters earn the viewer's sympathy despite their mistakes and when confronted by their angry spouses, they do try their best to be honest and direct.
The script also avoids the kinds of contrived jealousy traps that most romantic comedies rely on. When one character finally falls for another and acts on his feelings, he is not lead astray by a misunderstanding. He arrives early enough to realize that she has managed to find love elsewhere while he was making up his mind, but too late to do anything about it. Even the public pronouncement of love is cleverly flipped. All in all, this movie should be watched by anyone who has seen one too many weak romantic or African-American comedies and needs to be reminded that a string of bad movies does not ruin a genre.
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