Directed by Director X
Starring – Trevor Jackson, Michael Kenneth Williams, Jason Mitchell
The Plot – Based on the 70’s remake of the same name, the film revolves around career criminal Youngblood Priest (Jackson), who wants out of the Atlanta drug scene. But as he ramps up sales, one little slip up threatens to bring the whole operation down before he can make his exit, in turn setting him up as the desired target for those who he cost.
Rated R for violence and adult language throughout, strong sexuality, nudity, and drug content
– The very essence of Atlanta becomes a prominent character throughout the film. For all of its trials and tribulations, lies an after dark kind of city that beats with prominence throughout, and in X’s eyes lies a metropolis of drugs, laundering, and dirty cops that values location more than the original film did tenfold.
– Because this comes from the mind of a music video director, the ideal of all style no substance is hard to run away from. However, within that neon nightclub atmosphere, we get a lot of transfixing visuals that not only seduce us into this world, but pull us in completely to the live fast directive that our characters embrace. Usually the music video style of directing does more harm than good for films, but within Director X we find the perfect candidate to bring these lavish lifestyles to the forefront of the frame.
– When they decide to pop up, the action sequences are shot with such confidence and flare to appreciate in many forms. The chase scene sequence in particular offers a wide variety of in-your-face camera angles that never settle for repeats between cuts. Aside from this, the tight-knit editing keeps each transition in frame fast with the adrenaline that compliment the burning of screeching tires.
– This remake of Superfly takes itself a bit too seriously, refusing to acknowledge the cult side of its 70’s Blaxdploitation roots. Throughout the film, I couldn’t escape this overwhelming feeling of boredom from a story that should be enveloped in the near bad-mother character that Priest is supposed to embrace, and for my money I could’ve used more definition in the term Superfly in expanding his personality.
– Pointless narration from Priest that only exists for the first half of the film. I’ve always believed that narration should serve a purpose in either further developing a plot, but the audio here only repeats what we already learned in a previous scene.
– There’s such a thirst for slow motion action sequence effects that died after The Matrix perfected the craft in 1998. In Superfly, this effect only adds unnecessary length to scenes and fight choreography that only captures five actual seconds of film. Once or twice for your most impressive blows is cool, but to do this tired cliche each and every time only soils its charms
– Bad performances for an array of reasons. First of all, Jackson never embodies the cool or the intimidating nature of Priest in a way that we comprehend the trouble coming to anyone who crosses him. He has the look, but never the it factor, and I was underwhelmed every time he tries to be cool because a scene asked for it. Worse even more than Jackson though, is Kaalan Walker’s laughably bad portrayal of Juju, an intense rival of Priest’s in the drug business. To say that this kid overacts in every scene is the understatement of the decade. I compare it to Tevin Campbell on steroids, for his results of unintentional laughter to every line of dialogue that he screams through. It’s a shame this cast lets down in the majority, because Jennifer Morrison’s surprise appearance as a corrupt police officer dazzled the screen every time she pops up. This was not only a new side to her that I have previously never seen, but Morrison knows what the film demands of her character, something the entirety of the ensemble just never come to grips with.
– Misogynistic and morally vapid to a tee. Besides the fact that the film wants us so terribly to root for Priest, despite the fact that he poisons the streets with the very same things that his antagonists do, the film ultimately has no strong, powerful female leads to fight back against thoughts that this franchise hasn’t aged very well since the 70’s. The very few actresses that are involved are left nothing to do but be in these forcefully cold threesome sex scenes that add nothing of sizzle or steak to audiences hungry for substance.
– The screenplay takes far too long to get to the heart of the conflict, and when it does it doesn’t even feel like the same direction we’ve been building towards. Priest’s opposition comes in the form of three different groups of antagonists. None of which are given the time they deserve, and all of which feel tightly shoved into a script that obviously doesn’t have confidence that it will be getting a sequel.
– As for the ending, it’s as neat and tidy as you can ask for. This film wraps up every conflict for better or worse in the span of five minutes of one another, and even worse our protagonist doesn’t seem like he has learned anything because of it. This would normally be a spoiler that I am revealing, but this remake took roughly 90% of the original ending, and just added some light tweaks that I won’t spoil here. It’s every bit as unsatisfying as it is uninspiring.