Black & White

Well, at least that's what this movie becomes in the end. Actually, I couldn't finish the movie. I got 90 minutes into it, and gave up hope that the movie would return to its beginning. The movie starts out good, with a nice angry premise. It seemed so full of venom and froth that the movie would turn out to become a great statement about white culture, black culture, inner city culture, middle class culture, etc.

The movie begins with a black man and two white girls having sex. Then jumps to show that one is middle class. Then, in one of its greatest moments, it has a white guy explore the difference between N-a and

N-r. That was a priceless moment. It adds to the fun with Brooks Shields, and Downey (unnecessarily, but fun). And it keeps going with brutality.

However (There's that nasty word), the movie loses itself fairly quickly. It gets caught up with a basketball player being bribe to lose a game, then blackmailed for accepting it. It goes on, and the movie begins to have a plot instead of a theme, which has nothing to do with the theme. Its like, the movie lost its way, and had nothing left to say. I think I knew where it was going to go with it, but it didn't go there. Maybe it was still on its way, I dunno.

But, in the end, the movie would have made a better episode of "Strangers With Candy" than anything else. It lost its way, and I wonder how it ever got greenlighted, nevertheless had all the big stars in it. Well, we all make bad choices (check "Ready to wear (Pret-a-porter)"), but this one should never have been made.

3/10 (for the beginning)

Black & White: a documentary director and her husband follows several upper middle class high school kids to try and comprehend why they have chosen to emulate black inner city hip-hop rappers.

What is intended to be an avante-garde-in-your-face mockumentary addressing serious sociological issues is a weak series of loosely interconnecting stories with poorly developed and uninteresting characters. The credits tout many big names - Robert Downey Jr., Ben Stiller, Brooke Shields among them - but the performances are lackluster at best: while Downey's stereotypical fey gay character borders on offensive, he can't compare with Mike Tyson's ludicrous attempts at philosophizing.

At least there are no shades of grey here - it is all bad.

I just don't understand how some people can comment on this film saying that it had little structure yet can comment about Independance Day being good!!!! This film is realistic and quite humerous. It doesn't depict Blacks as wanting a quick lay and it doesn't potray White as trying to be bling!!

It just depicts the characters we see do what they want to do... And besides, if you hated the film so much, you should have turned it off. The fact the very vast majority did not suggests you are not at all being honest in your opinions of this film.

Get a life people and carry on watching your Hollywood Superflicks!!

My verdict: 7/10

Watching Robert Downey Jr. try to seduce Mike Tyson is worth the ticket price alone, but only just. The appropriation of black hip-hop culture by privileged white teenagers should prove interesting ground for storytelling, but James Toback's film is undermined by the lack of even one likeable character. It's very hard to care about the motivations or destinies of people you hate. Two pleasant surprises amongst the vignettes: Ben Stiller can be convincing outside of trash comedy; and Claudia Schiffer can actually act.

It's the one Tobackonists have been waiting for since the thrill of his debut movie FINGERS--a movie with the soar and rush of obsession that also has the sanity and craft of a grown man. This movie about the uneasy millennium-era relationship of black and white people in America is not, as many people have said, a work of moony White Negroism. It resembles one of Godard's mid-sixties essay-movies like MASCULINE FEMININE or TWO OR THREE THINGS I KNOW ABOUT HER, but with race substituted for sexual politics, and with a heavy dose of pornography and melodramatic pulp. Toback keeps cranking up the heat as the cast--a conceptual-art demonstration of stunt casting--leaves the audience openmouthed.

Bijou Phillips is a wonder as the wigga-talkin' Upper East Side chiclet who proclaims, "I wanna be black--I'm a kid in America." Ben Stiller, as a tormented dirty cop, gives the performance of his life in a high-speed monologue of self-analysis that's like a speed freak's channeling the essence of Robert Downey, Jr. The great man himself appears here as well, as a gay artist who comes on to Mike Tyson (playing himself) at a party. The scene of violence that ensues should have James Toback clinking a glass in celebration in the mirror: he managed to top the Jim Brown/Tisa Farrow head-smashing sequence in FINGERS. Brooke Shields is an amazement as a fervent, sincere documentarian with dredlocks--she's like a deadpan version of the Geraldine Chaplin character in NASHVILLE, and Shields astonishes.

Toback wants to cram everything into this bird's eye view of race--sexual fantasies, money machinations, the class strata of New York City. That none of the scenes is a dud, that the movie is beautifully shot and edited, that nothing feels merely "excessive," is a testament to the passion behind the camera. BLACK AND WHITE is a miracle to this viewer: it renewed my excitement and faith in movies at a moment when I felt it falling down.