![]() It’s odd that a 72-year-old Long Island classic rocker would loom so large in her life. But Rodrigo is a cool teenager from California. Those choices align with these middle-aged East Coast men. ![]() There is the matter of what I’ll call “character integrity.” I get - to cite other recent Joel references - why the compulsive liar Howard Ratner would play “The Stranger,” a song about hiding your true self, in the movie “Uncut Gems,” and I buy that the self-martyring Kendall Roy, from HBO’s “Succession,” would enjoy “Honesty,” an anthem about how everyone else is less principled than you. Initially, the reference to “Uptown Girl” confounded me. Including this one: “I’ll bet that she knows Billy Joel/’Cause you played her “Uptown Girl”/You’re singing it together/Now I bet you even tell her/How you love her/In between the chorus and the verse.” Directed by: John Singleton.In “Déjà Vu,” Rodrigo imagines her ex with a new girlfriend and speculates that the unnamed cad is using the same moves he used on her. Starring: Janet Jackson, Tupac Shakur, Regina King, Joe Torry, Tyra Ferrell. It describes redemption for one's previous actions, the character herself in the film, and what the slick writing achieves in this picture. Poetic Justice has three meanings when I look at it. And Tupac Shakur's acting talents are definitely the strongest point in the film. It feels like real discussions being had by real human beings. John Singleton manages to squeeze the premise dry in terms of character dialog. But this can all be overlooked by two things the writing and the acting. Same with the ending being a little perplexing and open for explanation. But in Poetic Justice, about a chunk of Janet Jackson's personality is almost snatched away. In Baby Boy, Omar Gooding was extremely developed. was extremely developed to the point of almost going overboard. Maybe it's because the characters aren't as well developed and dripping with charisma, maybe because each one of the characters can be bitter and selfish at points in the film struggling socially, or maybe it's just because. I can't quite figure out why this one is inferior to them. Poetic Justice is very distant from its predecessor, with the only similarities being the setting and the fact that Lucky's uncle, seen in the end of the film, looks a lot like Laurence Fishburne's character in Boyz N The Hood. Some of these situations feel genuine, but others feel contrived and meant to happen only so the film can advance. These characters must tolerate each other to survive the trip, but social and emotional conflicts continue to get in their way. From then on, the film plays like a buddy road-trip film lacking the buddies. Justice needs to go for a hair show, so reluctantly agrees to hitch a ride in Lucky's mail-truck. Karma has its way of reuniting the mailman and the stylist when Justice's friend Iesha (King) forces her to come along on a trip to Oakland with her boyfriend Chicago (Torry) and his coworker Lucky. Justice works as a hairstylist, and one day, a mailman named Lucky (Shakur) waltzes in one day trying to flirt with several women, when Justice and her friend play a mean joke on him. The actual poem were written by writer Maya Angelou, but the authenticity of the writing is the least of our concerns. Justice writes numerous poems, and narrates them throughout the film. The plot: Justice (Jackson) is a young woman who lives in South Central, Los Angeles, and is still grieving over the loss of her boyfriend who was murdered during a silly confrontation. ![]() It is the second film in what Singleton has branded his "Hood trilogy," but yet, it is definitely the weakest of them all. While this one is significantly different from that masterpiece, it still has its perks and a solid message to add to its formula of an urban-drama. After making the effective tear-jerker Boyz N The Hood, John Singleton returns to the field of film with Poetic Justice.
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