Acting: Some actors performed brilliantly. Others were shockingly bad!

Filming: Some scenes were shot brilliantly. Other scenes were shockingly bad!

And so would go the rest of my review were I to continue.

To make a long review short. Do what I did, if you don't have anything else to watch, buy, or rent, check this movie out. Otherwise, look elsewhere for your entertainment. And one more thing: If you don't like watching young boys spewing foul language every few seconds - I also suggest you pass on this flick.

G.B.

www.therunninggirl.com


THIS WAS KINDA UNCALLED FOR   February 16, 2004
MICHAEL TAYLOR (RICHMOND, VA USA)
0 out of 5 found this review helpful

A GROUP OF Y0UNG BOYS FROM WEST OAKLAND FEUD WITH A TEENAGE DRUG DEALER. NOT AS GOOD AS I THOUGHT IT WOULD BE, BUT AT LEAST IT IS WELL INTENDED. BUT, THE FILMAKERS MUST NOT TAKE THIS MOVIE THAT SERIOUSLY, BEING THAT THE CAST ISN'T EVEN LISTED ON THE COVER! I GUESS IT SHOULD APPEAL TO MOST FANS OF GANGSTA MOVIES.


'Way Past Cool' is too hard for Hollywood   January 31, 2004
Submitted by Donald Evans:

Way Past Cool, based on West Oakland author Jess Mowry's scarifying collection of tales from the 'hood. Predictably, this adaptation's been finessed a little. It's been gentled by narration, and it's hardly as harrowing as the book, possibly because the film was shepherded into production by Milos Forman and Norman Lear (who was executive producer of The Jeffersons, cited here ironically). The slant of Adam Davidson's direction: to see Mowry's apprentice gangstas as The Little Rascals - only with drive by shootings. This odd metaphor mostly works, especially thanks to Jonathan Roger Neal's acting as Gordon, the Spanky of the gang.

"If you don't take the street, you have to take the alley," says the narrator of his life in the Oakland ghetto. We meet the five kids in a gang called The Friends. Though Gordon's the largest and most quarrelsome, the young shaman, Lyon (Wes Charles, Jr.), is the one we follow. Lyon's good enough with his hands to remove a bullet or perform magic tricks. A driveby shooting interrupts The Friends' day, and then the film cuts away to follow the reason for the shooting. It was the scheme of the powerdrunk shakedown artist Deek (Wayne Collins) who likes to take Polaroid photographs of his victims after he kills them. We contrast The Friends' problems with that of Deek's bodyguard, Ty (Terence Williams, Jr.) who is pressured by his boss's increasing viciousness. Ty's also lured into a more peaceful life by his girlfriend Markita (Luchisa Evans). Deek's latest hustle is to pit a rival babygang The Crew against The Friends, hoping they'll kill each other and make more room for him. Exploited and threatened by Deek, The Friends are in the position of the mice trying to bell the cat.

Director Adam Davidson won the Oscar for 1990's short film Lunch Date. He's discovered a lot of virgin locations - the refineries, the freeway frontage roads, the huge white cranes that inspired George Lucas to make the tenstory walkingtanks in The Empire Strikes Back. Even if softened by narration, as it stands, Way Past Cool is still too intense a film for Hollywood. It features kids not quite 13 carrying pistols and drinking 40 ouncers - one, the Jamaican kid Curtis, played by Partap Khalsa, is seen pouring sugar into his bottle of Olde English 800 to sweeten it. Watching moments like these, you can just imagine the conversations of moviebusiness executives fretting over the problem of whether showing something means endorsing it ... as if it weren't clear that children placed in hopeless life or death situations wasn't a tragedy, or that it wasn't our tragedy, in fact, as well as our responsibility.

Richard von Busack


Today's Little Rascals   January 25, 2004
Phyllis McPhearson (Santa Cruz, CA)
3 out of 3 found this review helpful

Submitted by Phyllis:

Imagine Spanky, Alfalfa and the rest of the Little Rascals waving guns, sucking down 40s of malt liquor and using language that would set Miss Crabtree's hair on fire: That's the unsettling tone Adam Davidson brings to his adaptation of Jess Mowry's award-winning 1994 novel about a group of seventh graders growing up too fast on the mean streets of Oakland. Pudgy Gordon (Jonathan Roger Neal), goofy twins Ric and Rac (D'andre and D'esmond Jenkin), sensitive rasta-boy Curtis (Partap Khalsa) and wise-beyond-his-years Lyon (Wes Charles Jr.) have grown up watching each other's backs in a neighborhood where walking to school can be a life-or-death adventure. On the first day of class, they're the targets of a drive-by shooting Gordon suspects was ordered by 16-year-old Deek (Wayne Collins), an ambitious drug dealer who's trying to recruit "The Friends," as the boys call themselves, to push dope. Gordon knows through the grapevine that baby-faced sociopath Deek has made the same offer to a rival group of kids, "The Crew," and suspects that Deek is trying to goad them into killing each other, eliminating potential competition. Deek never goes anywhere without his bodyguard, Ty (Terrance Williams), who just wants out; he doesn't have the stomach for murder and wants to get back together with his responsible junior-high sweetheart, Markita (Luchisha Evans), and keep his little brother, Danny (Kareem Woods), from repeating his mistakes. Gordon and The Crew's leader, Wesley (Dejuan D. Turrentine), decide to join forces to solve the Deek problem, and Danny tags along with his own agenda - making sure that Ty doesn't get hurt. The shocker isn't so much that the film is about is 12-year-olds with handguns as it is that they can be such kids, laughing at Our Gang shorts on TV and worrying that mom will know they've been jumping on the couch. They're capable of plotting like military strategists to defend their turf, yet their story isn't so much about coming of age as trying not to. Gordon, Wesley and the others don't want to grow up and be like Deek. They know "you don't get to be 16 by being a fool," but they've seen enough of growing up to know they should hold onto the threads of childhood. Davidson's young cast is remarkable, engaging and guilelessly funny without being so cute that their calculated actions ring false.


Land of the lost boys   January 21, 2004
4 out of 4 found this review helpful

Based on the 1993 novel by Jess Mowry (who co-adapted his own work) and executive produced by Norman Lear and Milos Forman in 1997, Way Past Cool should now be remembered as one of the more prominent examples of the African-American urban-crime genre that followed John Singleton's seminal Boyz N the Hood. For reasons that aren't entirely clear... along with some that are... the film hasn't seen release until now. One could assume that the sight of 12-year-old gangstas swearing a blue streak, slugging malt liquor, packing heat and blowing away each other like a post-modern Little Rascals in a nightmare landscape (a vision made all too clear when one young thug adds sugar to his beer while watching the old serial on TV) was simply too much for Hollywood studio execs. Way Past Cool is also problematic on less controversial levels. The acting is uneven, the narrative is hard to follow. and the sometimes almost folksy soundtrack is jarringly inappropriate at times (though maybe intentionally so) issues which might be the fault of a first-time director. The film, however, is carried along by effectively moody cinematography that adds a dreamlike edge to its disturbing atmosphere. Despite some problems, Way Past Cool is still far better than the exploitation-driven, video premiere fare that populates the genre. Well worth seeing.