Also known as: Son of Shaft (Germany) Release Date: June 14th, 2019 Directed by: Tim Story Written by: Kenya Barris, Alex Barnow Based on:Shaft by Ernest Tidyman Music by: Christopher Lennertz Cast: Samuel L. Jackson, Jessie T. Usher, Richard Roundtree, Regina Hall, Alexandra Shipp, Titus Welliver, Method Man, Lauren Velez
Davis Entertainment, Khalabo Ink Society, Netflix, 111 Minutes
“You’re the one being misogynistic, I never even mentioned her gender! I’m an equal-opportunity ass-whooper!” – John Shaft II
I put this off for awhile, especially after revisiting the 2000 Shaft film, as I found that one to be really lackluster and not as good as my memories of it were.
However, this one was definitely better than the 2000 film and I think that had a lot to do with this installment being more comedic and lighthearted, even though it dealt with some serious stuff.
Overall, this plays more like a Bad Boys film where the buddy cop formula is played out by a father-son duo. The grandfather, the original John Shaft, joins them for the climax.
Sam Jackson is back on his A-game for this one but I’m sure it’ll rub sensitive, cancel culture Millennials the wrong way because he puts them on blast, repeatedly.
In fact, I give the filmmakers and the studio immense props for not taking the bitch route and making this an overly “woke” movie and instead, allowed it to be critical of this generation’s young adults, as seen through the eyes of the older generation.
Weirdly, though, this Shaft film seems to be a lot less obsessed with race and social politics. While I like that these issues have been at the forefront of the other four films in the franchise, it was actually kind of refreshing to see these characters just be badass and not just fighting for some sort of racial injustice.
With that, though, it sort of loses the long-lasting blaxploitation vibe that the name Shaft has carried since 1971. But maybe this was trying to convey that we were starting to enter a post-racial era before 2020 happened and fucked everything up again.
For the most part, I liked everyone in this film. Jessie T. Usher’s John Shaft Jr. was annoying but his character was supposed to be, as part of the story dealt with him being kind of a pussy and overly concerned with how society sees him. He’s a “woke” Millennial that has a grudge against his uber-masculine father, who wasn’t around when he grew up.
These character traits allowed for some great criticism of his generation, though, and Sam Jackson delivers his punches without remorse or worry that his snowflake son wants to hear it or not. In a lot of ways, it felt like the writers and Tim Story, the film’s directors, were trying to send a message to the kids of today that think they’ve got the world figured out.
It also felt that it was trying to convey the importance of fathers, which Hollywood seems to hate.
Honestly, this Shaft film felt like it was really trying to be anti-“woke”.
As far as the crime story goes, it’s a bit weak but in films like this, that stuff doesn’t matter too much. This is more of a film about three generations of men coming together, in spite of their personal issues, in an effort to force justice down the throats of some shitty scumbags.
In the end, this was a better movie than I thought it could be. I don’t think it necessarily needs a sequel but I’d be much more willing to check one out if the same creative team stayed on.
Rating: 7.25/10 Pairs well with: 2000’s Shaft, as well as the original ’70s Shaft trilogy.
Original Run: March 21st, 2004 – August 27th, 2006 Created by: David Milch Directed by: various Written by: various Music by: David Schwartz Cast: Timothy Olyphant, Ian McShane, Molly Parker, Jim Beaver, W. Earl Brown, Dayton Callie, Kim Dickens, Brad Dourif, Anna Gunn, John Hawkes, Jeffrey Jones, Paula Malcomson, Leon Rippy, William Sanderson, Robin Weigert, Sean Bridgers, Garret Dillahunt, Titus Welliver, Brent Sexton, Bree Seanna Wall, Josh Eriksson, Powers Boothe, Keith Carradine, Gerald McRaney, Keone Young, Ray McKinnon, Brian Cox, Sarah Paulson, Zach Grenier, Cleo King, Stephen Tobolowsky, Richard Gant, Alice Krige, Fiona Dourif, Kristen Bell
HBO’s Deadwood was ahead of its time. It only lasted for three seasons but luckily it stuck around that long. It also ended on sort of a cliffhanger and left you wanting to know what would happen after its final moments at the end of its stellar third season. Well, apparently HBO has announced that, ten years later, there is a movie on the way.
As for the show itself, it is really the first gritty and brutally realistic showcase of frontier life I had ever seen on television up to that point. It pulled no punches and went all out.
Now it did take some time to fall in love with. The first season moves a bit slow but by the time you get to the final episode of that season and see how the characters are changing and how they’ve evolved in a short time, it gets pretty compelling.
Timothy Olyphant and Ian McShane are perfect and their relationship is one of the most dynamic in television history. This was also both men at their absolute best. While Olyphant is the first billed star, Ian McShane seems to get more actual screen time and overall, is the more interesting character.
The rest of the cast is full of several well known and great actors. And every one of these characters has a great story surrounding them. Most shows with large ensemble casts suffer from questionable quality with certain characters, as there is always someone wedged into large shows that either doesn’t fit or has an awful plot thread going on. This doesn’t happen in Deadwood. In fact, as far as a character driven drama, it has some of the best character development I have ever seen in a show. Even the characters, who at first, feel somewhat generic, end up having a lot of layers to explore.
Now the show isn’t as beautiful and as vast feeling as the AMC’s big western show Hell On Wheels but it edges it out in regards to its large ensemble cast, all of whom are more interesting and complex than most of the characters on Hell On Wheels. Deadwood lacks in not being as visually epic as Hell On Wheels but it has more to sink your teeth into overall and it also takes place in a small camp and not an endless wide-open frontier. I like these shows pretty much the same but Hell On Wheels is a wee bit ahead simply because the rivalry between Bohannon and the Swede was incredible.
At the end of the day, Deadwood is one of the two best western shows I have ever seen. It is also one of the best HBO shows ever produced. It’s short run was unfortunate but the fact that this got on television to begin with is pretty awesome.
Rating: 9.5/10 Pairs well with:Hell On Wheels and because it shares a lot of actors with these shows, Fear the Walking Dead and Sons of Anarchy.
Also known as: Forever Sam Crow (working title) Original Run: September 3rd, 2008-December 9th, 2014 Directed by: various Written by: various Music by: Bob Thiele, Dave Kushner, Curtis Stigers Cast: Charlie Hunnam, Katey Sagal, Mark Boone Junior, Kim Coates, Tommy Flanagan, Johnny Lewis, Maggie Siff, Ron Perlman, Ryan Hurst, William Lucking, Theo Rossi, Dayton Callie, Jimmy Smits, Drea De Matteo, David Labrava, Niko Nicotera, Glenn Plummer, Taryn Manning, Emilio Rivera, Ally Walker, Mitch Pileggi, Kenneth Choi, Kurt Sutter, Titus Welliver, Walton Goggins, Henry Rollins, Hal Holbrook, Malcolm-Jamal Warner, Marilyn Manson, Kim Dickens, Chuck Zito, Ray McKinnon, Jeff Kober
Linson The Company, Sutter Ink, Fox 21, FX, 92 Episodes, 41-81 Minutes (per episode)
*Written in 2015.
This is one of those reviews that will probably turn a lot of my friends against me. I care not. I must tell it like it is from my point-of-view.
Sons of Anarchy is a show that I have developed a like/hate relationship with. I don’t say “love” because I’m not that enthralled with the positive aspects of it. It does however, have some positives amidst a sea of negatives. And I guess that makes me go against the popular opinion, as nearly everyone that I have talked to, has loved this show.
But I guess this isn’t a show for me. Where I expected something more like The Sopranos on motorcycles, this was more like a mindless action flick full of an overabundance of violence, bad CGI, bad acting, bad writing, bad music and really stupid and unlikable characters. Sons of Anarchy is geared more towards the male millennial crowd than it is for people who want good and groundbreaking television or at the very least, some sort of coherent plot.
This show is a mess. It is a moderately enjoyable mess at times but it is a show that constantly tries too hard and falls short. Yes, there are shocking and intense moments but they lose their meaning and significance almost immediately. For one, it is hard to care about any of these horrible characters. Also, with the show trying to constantly outdo itself and escalating further and further from episode to episode, things eventually get so over the top that it becomes unintentionally ludicrous.
The premise of the show also changes as it goes on and it loses sight of itself just a few seasons in. Maybe this is intentional but it really just feels like the weight of this ratings beast forced the showrunners to make quick, big decisions, which may have increased ratings further but sacrificed whatever integrity and soul the show may have had early on.
For instance, the show’s main drive in the beginning is the main character Jax’s obsession with his dead father’s writings. The writings talked about what the motorcycle club was supposed to be, how it got away from itself and how butt hurt Jax’s dad was about it. Jax then makes it his mission to right the wrongs and make the motorcycle club respectable. Maybe he would’ve been more inspired and followed through had he actually read more than two paragraphs of his father’s writings at a time. Maybe Jax has a bad attention span. Maybe that is why he couldn’t follow through because he got distracted by doing really stupid shit every episode.
In any event, the show evolves away from the club’s redemption through Jax’s leadership and instead shows the club fall on hard times and then even harder times. It just gets worse and worse, Jax stops reading his dad’s journals and pretty much turns into the asshole his stepfather Clay is. He actually turns out worse than Clay by the end of it all.
I could write a book about how much of an idiot Jax is but I’m not going to waste my time. I could also write a book about how much of an idiot his mother Gemma is.
All the characters really suck and all of them, for the most part, are stupid morons. They are the dumbest criminals I’ve ever seen. Darkwing Duck had smarter bad guys than the members of the Sons of Anarchy.
As far as likable characters, there are really only five. There is Wayne, who is on a tragic journey that ultimately ends up sucking really bad for him. Also, he had terminal cancer “eating away” at him in season one but somehow survived seven seasons. There is Jax’s ex-heroin addict wife who goes on to redeem herself and she’s about the only character you are happy for in the end. Then we have Nero, the pimp and tragic lover of Gemma. I really liked Nero but Jimmy Smits is awesome in every role. There’s Piney, who saw the bullshit for what it was and tried to hold everyone accountable. Since he was the voice of reason in a sea of shitty people, he was killed off. This brings me to my favorite character: Juice.
Juice is most likely the most tragic character in television history. Juice was a positive on this show even though his end was horrible. You couldn’t not like Juice and feel for him every step of the way. He truly cared about the club and doing the right thing but continually got fucked (literally) and lost his life and stature because the people he invested his love and loyalty in were pieces of garbage. Juice’s journey is one of the redeeming factors of this show. I don’t like how it ended but this show is one big tragedy.
In regards to the show’s music, it is terrible. The main theme is awful but somehow was nominated for an Emmy by some tone deaf Hollywood types. The songs throughout the show are even worse. More often than not, we are treated to some poor slowed down roots rock cover song of a known pop hit. It always feels bizarre, out of place and makes the show come off as generic and cheesy. At least once per season, we get some crappy song sung by Katey Sagal, who probably shouldn’t sing but is most likely encouraged by her husband, who is the show’s creator. That’s probably also why she was cast as Gemma. Lastly, the music selections are almost racist. When the biker gang fights another biker gang there is rock music. When they fight Mexicans: Spanish language gangsta rap. When they fight blacks: generic crappy English language gangsta rap. Asians: make sure to add in some Asian stringed instruments and gongs in over the soundtrack. Irish: Celtic shit. Persians: grab the sitar – hey wait, that’s Hindi you racist bastards! It’s sad and predictable and becomes a distraction.
This show was not The Sopranos on motorcycles, it was a Shakespearean tragedy on motorcycles. Which is perfectly fine. The problem is that the execution was shit and it tried to convince the viewer that it was clever while beating you over the head with its Shakespeareanism. After the tragic, pointless and retarded ending of the show, it even gives the viewer a Shakespeare quote before rolling its final credits. I’m sure dumb ass college students for years to come will write papers about how fantastic this modern Shakespearean saga is after just skimming over the Cliff Notes of Shakespeare’s work to make them feel the connection.
I don’t hate this show, even though it probably comes across like that. I had a hard time getting through segments of it but I enjoyed it enough to finish it. Granted, the ending was one of the worst in television history but really crappy endings to long-running shows is the trend lately. And maybe that ending just enhanced whatever bitterness I’m feeling.
Rating: 5.25/10 Pairs well with:The Sopranos, Breaking Bad, Fear the Walking Dead and Justified but these are all better shows. Well, maybe not Justified, I’ll post my review for that soon.