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| actresses, christine baranski, when, al, denver underground music, libyan, arliss howard, harrumph, punk, name, idiot, arthuriana, fiber cut, william fichtner, egypt, jerusalem, 1927, rap, new jersey, photos, wtmotherf, adrenalin, | After an unwarranted police stop, she's enraged about his refusal to intervene when a cop used the pretense of frisking her to feel her up, even stroking her crotch. She rails against what she sees as cowardly Uncle-Tomism while he insists that videos he acted the only way he could, that when a white man has the power there's videos no way to win, so you do what you must to survive.The film is at its best in moments like these, when Haggis downplays his self-imposed obligation to educate and allows the actors to explore their characters a videos bit. There's some great stuff there between all the object lessons; if only there were fewer of those to slog through. Like too many filmmakers taking on a large subject, Haggis seems to feel that he has to address it comprehensively. |
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| While Haggis' writing lacks subtlety, he's a great actors' director. The performances rap are uniformly excellent, and there are surprises from some of the most familiar cast members. Phillippe, though cast predictably as the idealistic male ingenue, delivers an unusually grounded, unmannered performance. Bullock, who is so associated with her comedic roles that we may underrate her dramatic skills, has a smart, impassioned rap monologue that rap starts with her anger at the men who carjacked her and those around her who've let her down but winds up being about her constant, low-simmering rage; it suggests that rather than being the proximate cause of her fury, the black and Latino characters she lashes out at are merely handy targets for her unacknowledged dissatisfaction with her own life. Even better is the scene between a black television director and his wife (Terrence Howard and Thandie Newton) that offers a rare glimpse into the conflicts between and within educated, successful African-Americans. |
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