The film centers on yet another over-achieving career woman Kenya McQueen (Sanaa Lathan) who is beautiful stylish and successful but can’t find the right man to save her life. You know the type. She would have given up by now if it weren’t for her three close girlfriends (Wendy Raquel Robinson Taraji P. Henson Golden Brooks) who exact a fair amount of peer pressure to keep her in the game. Kenya finally agrees to go on a blind date with Brian Kelly (Simon Baker) a sexy landscape architect who turns out to be not exactly what she'd pictured for herself. You know because she’s an uptight black woman and he’s a free-spirited white man. And there's our conflict. Should Kenya stay the straight and narrow path or follow her heart--no matter where it takes her? That’s a rhetorical question of course. Lathan has had a nice steady career making likable urban romantic comedies (Love and Basketball Brown Sugar) so she fits easily into Something New’s milieu. As Kenya the actress is effectively professional and whip-smart at work but also does a nice job playing up the character’s insecurities in her personal life. By being so very high maintenance one wonders why the almost-too-good-to-be-true Brian would even fall for her. But that’s what Something New has going for it--Baker (The Ring Two) and Lathan make their connection seem palpable and genuine. The movie really steams up when these two are on screen together. As for the rest they add flavor wherever necessary especially Donald Faison (TV’s Scrubs) as Kenya’s womanizing brother and Alfre Woodard who does a surprising turn as Kenya’s materialistic snobbish mother. Written directed and produced by women of color Something New wants to make a statement about the pressures professional women--in this case black women--have trying to find love and commitment in their lives. Successful producer Stephanie Allain (Hustle & Flow) and screenwriter Kriss Turner were both inspired by an article they read in the Detroit Free Press about how 42.4 percent of black women have never been married which then lead them to the idea that if you’re in your 30s and single are you going to open things up and look outside your race? This delicate subject matter in Something New’s is skillfully handled by first-time director Sanaa Hamri who adequately shows the fine line. But despite its sweet temperament the film ultimately lapses into ordinary and predictable rom-com fare. After all you got to have the Hollywood ending right?
January 31, 2003 5:02am EST
Described as "a contemporary Western on wheels " Biker Boyz tells the tale of underground motorcycle clubs in California one specifically called the Black Knights. The group's leader is a tough undefeated racer named Smoke (Laurence Fishburne) also known as the "King of Cali." Kid (Derek Luke) meanwhile is a young rider trying to work his way up the Black Knight ladder. But when his father (Eriq La Salle) Smoke's mechanic gets killed in a race Kid's ambition is to start a rival gang and become the new King of Cali. One "burn rubber not your soul" tattoo later Kid and his pals Stuntman (Brendan Fehr) and Primo (Rick Gonzalez) start the Biker Boyz gang and the world better look out because they make their own rules. Good grief--this story couldn't be less gripping if it tried. Despite throwing in a paternal plot twist Biker Boyz fails to engage because its protagonists Smoke and Kid are so damn unlikeable. Moviegoers expecting great crotch-rocket action sequences will instead be bombarded with lots of T&A.
The most staggering thing about Biker Boyz is how they managed to get so many stars to sign on. We're talking Fishburne Luke Orlando Jones and Djimon Hounsou all of whom seem to have gorged themselves at the all-you-can-eat testosterone buffet prior to filming. Fishburne (The Matrix) plays his character Smoke so stiffly his more tender scenes come off as absurd. A post-coital cuddle with onscreen lover Queenie (former Cosby Show kid Lisa Bonet) for example plays out coldly rather than passionately. Luke (Antwone Fisher) doesn't fare any better as Kid who is so angry and venomous that his tear-shedding scenes lose all their effect. Orlando Jones manages to churn out a good performance as Black Knight member Soul Train. A lawyer by day Jones' character is the only one that doesn't seem to have a massive chip on his shoulder--or a bone to pick with the rest of the universe.
Biker Boyz is based on an article written by freelance journalist Michael Gougis for the now-defunct Los Angeles New Times. While Gougis' factual feature probably made for a riveting read director/writer Reggie Rock Bythewood (Dancing in September) fails to transform it into an engaging fictionalized screenplay. In fact not even the film's eye candy--all those Japanese sport bikes and chromed-out American cruisers--make this film entertaining. For the triple-digit-speed street racing sequences Bythewood uses special effects straight out of the Japanese animated cartoon Speed Racer including blurry tunnel vision scenes and tons of speedometer shots. There are a couple of really flashy stunt scenes but there aren't enough of them to carry the flick forcing moviegoers to focus on the lame story and its sad sack of disconnected characters. In fact the story and its characters' plights are so insubstantial that the audience at the screening I attended laughed out loud at what were supposed to be some of the film's more poignant moments.