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Following the phenomenal success of his directional debut, Boyz N' the Hood (1991), director John Singleton would return two years later to helm the second installment in his trilogy about South Central Los Angeles, Poetic Justice. The heroine of the film, Justice (Janet Jackson) is a young woman in mourning of her late boyfriend, whom she lost to gang violence. After this incident, she becomes distraught, swearing off men so that she may concentrate upon her poetry (actually written by Maya Angelou) and her job at a local hair/nail salon. However, when Justice is scheduled to attend a hair show in Oakland, her car stalls. Left with no other option, she takes up the offer made by her friend Iesha (Regina King) to car-pool along with her, her husband Chicago (Joe Torry) and Chicago's friend Lucky (Tupac Shakur). However when Justice and Lucky meet, neither is exceptionally pleased to have due to the fact Justice turned down Lucky when he made a pass at her in the salon. However, during the journey, they begin to establish a relationship even as that of Iesha and Chicago's degrades.

The main problem with Poetic Justice is that the above plot synopsis is far too uninspired and unimaginative, which is in direct opposition to Boyz N' the Hood. That film was raw and gritty. Uncompromising in its approach, it attained John Singelton well deserved recognition and praise. Poetic Justice however is not. While violence in south central L.A. is still present, it serves as background, not the entire story, one that is ordinary. However, Poetic Justice is not a terrible film. In fact, it's quite good for the most part. As the film progresses, Singelton captures the viewer's attention by presenting the audience with the contrast of the quartet's relationships. As Justice and Lucky become closer, Iesha and Chicago become further distanced. In addition to this aspect is the dialogue (also scripted by Singleton) which is consistently truthful. As Lucky, Tupac Shakur is excellent. He provides a thoroughly convincing performance throughout without effort. Opposite him, Janet Jackson is not on par. She's fine when not required to display any immense emotion, but when that time comes, she feels somewhat amateurish. Unfortunately, the film concludes with a very weak ending. Once our party arrives in Oakland, the film unravels and becomes deprived of its focus and solidity. From John Singelton, director of Boyz N' the Hood, I was expecting far more. However, I remained entertained throughout if not entirely satisfied. It's not as brilliant as Boyz (which I advise you see first), but Poetic Justice is still recommended.

Grade: B-

Stageright is possibly one of the greatest slasher/horror films virtually no one has ever seen, which is why I so strongly reccomend you do some searching for a copy. Stagefright tells a simplistic tale (one which verges on cliche, but fortunately manages to avoid the pratfalls of the formulaic slasher film) of a group of thespians whom are currently working on a theatrical production, a musical about a serial murderer. As this occurs, so does the escape of a crazed actor/murderer from the local insane asylum whom happened to brutally kill his co-star several years back in the same theater. He returns to wreak his vengeance upon the cavernous rehearsal hall's new inhabitants, donning an owl mask and weilding a variety of lethal impliments of destruction.

As you can see, there really isn't much to Stagefright in terms of plot, but this aspect does not work against Stagefright, it proves to be an asset. Due to the lack of contrived subplots and red herrings, director Michele Soavi (this film was his debut, proving just how strong of a director he is) can concentrate on the magnificent atmosphere and carnage that ensues. Speaking of carnage, Stagefright not only offers some marvelous suspense/tension , but some great gore. The score only helps to accenutate the mood of the movie and while the characters may be two-dimensional, the aformentioned aspects of Stagefright surpass them. Stagefright is recommended definitively.

Grade: A

Visceral. Powerful. Kinetic. Compelling. These are a few of the adjectives one could use to describe David Fincher's Fight Club, arguably one of the best films of the year 1999. Fincher's theatrical adaptation of Chuck Palahniuk's novel is a an absurd and satirical thriller that never ceases to amaze me due to its superb plot, acting, and direction. Edward Norton, the narrator is a pessimist, a fed-up modern day adult who trudges through his mundane existence deprived of an outlet to express his feelings, which results in his insomnia. To assuage his disorder, be begins to attend support groups for victims of cancer that provides him with an emotional release that allows him to sleep until he confronts another faker, Marla Singer (Helena Boham-Carter), an even greater cynic than he. While on a business trip, he meets Tyler Durden (Brad Pitt), a soap manufacturer and salesman, whose outlook on life inspires him. They form a fight club, where men can disperse their rage by viciously pummeling eachother. Doesn't seem too much or appealing to the average viewer, right? Wrong. Fight Club has far more to offer than that plot synopsis, which really doesn't do it justice. I won't elaborate any further upon this. I wouldn't want to spoil it for you. Fight Club boasts five impressive performances, especially from the three leads: Norton, Pitt, and Bonham-Carter as well as two supporting actors, singer-turned-actor Meat Loaf and Jared Leto. Fincher's direction is characteristically flashy without being overbearing, as displayed in his other efforts such as Alien 3, Seven, and Panic Room. One especially memorable sequence was when he depicts the furniture in Norton's apartment as magazine clipouts, including dotted-line frames and captions. There is so much more I could compliment this movie upon, but it is so outstanding, I recommend you stop reading this and see this movie. Right now!

Grade: A+