Welcome II the Terrordome

One should not read the film as a simplistic endorsement of violence. The film presents an interesting take on womanhood, making two mothers (Anjela and

Jodie) the centerpiece of the movie, and pointing out how violence damages

both women and leaves both alone at the end. However, the film does

represent Onwurah's frustration, anger, and apparent feeling that reasonable

options and immigrant dreams are impossible. It's interesting to examine this film along with Onwurah's own meditations about her childhood (Coffee Colored Children) and her white mother's sexuality (The Body Beautiful). Onwurah's

most recent work, Hang Time, also explores the lack of options available to the urban poor.

Just saw this this movie as part of my cinema studies class. Very much a film ahead of its time. This probably accounts for some of the negative reviews it got back in the day. With hindsight it makes so much sense. The cinematography by Alwin Kuchler is outstanding. And it brings to mind the look and feel of Blade Runner. Sometimes, it's hard to like, but I just can't stop thinking about it. It's very visceral,visual and urgent. In the context of current events now it's a film worth your time to reconsider. Great, if dated soundtrack. Director Onwurah's look at the subject of race is unblinking - Makes a change from all the bland African-American films that are out there now. Go see it if you can.

It was interesting, very interesting. It's not a comedy, but the references to things from the hip-hop culture from the late 80s-early 90s were pretty hilarious. I think people should see it if they like watching "different" things like I do.

If you Care, with an uppercase C, and love great cinema, ignore the negative reviews. They are way off the mark. Those people either do not understand this movie or do not care to understand it.

Highly affecting, distressing, and, ultimately beautiful work of Afrofuturism (I had tears in my eyes more than once). The film opens with a stylized depiction of the Igbo Landing and moves into a narrative consisting of both a semi-traditional plot and a symbolic depiction of the nightmare brutality of racism, and the resultant physical, psychological, emotional, social, and cultural destruction. It is both astounding and sadly easy to believe that this film was the first "theatrically distributed British feature directed by a Black woman" (Criterion).

Highly recommended, but note that the film depicts graphic acts of physical brutality, including against Black bodies. At the same time it overflows with beautiful imagery, dynamic camera work, and moving performances. Superbly written and directed.

This film bases itself on a dark (no pun intended) future of African-Americans, as they have been forced into the Terrordome, a "city" surrounded by barbed fences, a "city" where drugs, violence, and police corruption run rampant, and a rapidly depleting ozone layer bakes the city.

This British film is gritty and hardcore, portraying the negative aspects of "ghetto" life, a life that is often glorified in modern hip-hop culture. The acting is very well done, particularly during scenes of tension between Spike and his brother-in-law concerning Jodie and, aside from a couple of references which, whether done out of respect or as an inside joke, are rather silly (e.g. Spike's grandmother's name is Rosa Parkson), is very well done. The movie's setting is based on a bleak future as portrayed in black-conscious hip-hop groups such as Public Enemy ("Welcome To The Terrordome" is a Public Enemy song), and the soundtrack (mostly by the groups Sense of Sound and Black Radical MKII), broadcast throughout the movie's scenes from Terrordome's pirate radio station, is reminiscent of these groups and is also well done. This film is worth watching if you are a fan of these groups, or would like to see a different portrayal of bleak futures of oppression, since most films of this type, such as "Blade Runner", focus only on white or robotic characters.