In my week of films available on Amazon (or which I watched on Amazon anyway), there will probably be some fairly strange choices, because I’ve already featured a lot of the stuff I’ve seen there during other themed weeks. This means we’re left with stuff I watched that I haven’t yet written up, and as I haven’t done a week on basketball movies yet, have Uncle Drew, which is exactly the kind of thing you think you’ll hate — and look, I don’t know you, maybe you will — but maybe also it might be quite enjoyable for all that. It’s hardly a taxing film in any case.
A genuinely very odd film which is also, oddly, quite likeable I think. It’s a basketball story (so already that means I have no idea what’s going on or what half the jokes are) based on a series of commercials (that I obviously haven’t seen), but developed into a classic narrative of the underdog trying to win the big competition. In this case, it focuses on a bunch of elderly former basketball players trying to win a street basketball tournament in which Nick Kroll is the bad guy (because of course he is; does he ever play nice guys?), with the avuncular title character (Kyrie Irving) along the way teaching the “young bloods” his elderly team are up against, how to play the game properly. The old guys are all (so I gather) well-known basketball players, albeit in a lot of ageing make-up and prosthetics, so the athleticism somewhat strains credulity, but it remains broadly fun and pleasing for most of its running time, with the lead actor (Lil Rel Howery) firmly in the Kevin Hart mould, and a fairly underwritten role for Tiffany Haddish to just do her thing for a bit, which is always fun. Now that I’ve seen this and High Flying Bird (a Netflix film), though, I reckon I must be an expert at the game.
Director Charles Stone III; Writer Jay Longino; Cinematographer Karsten Gopinath [as “Crash”]; Starring Lil Rel Howery, Kyrie Irving, Nick Kroll; Length 103 minutes.
Seen at home (Amazon streaming), London, Saturday 16 February 2019.
The 1990s and 2000s were a fertile time for films about a very specific strand of Black American urban experience, specifically around gangs, drugs and violent crime. It is beyond the scope of my own lived experience to suggest how this media portrayal might have made an impact on society itself and the perception of African-American lives in the United States, but it is unquestionably the case that these are the topics which were getting funding by the studios, and so filmmakers used it to make some hard-hitting dramas about people living at edges of society. There were of course also a number of rather patchy, exploitative films that just gloried in the drugs and the guns, the hookers and the blow, but occasionally even in this crowded field, a film would have a more nuanced point of view, with expressive acting and a stronger screenplay than often required by those with the money.
There have never been any shortage of filmic depictions of the Black experience of inner city crime, both as victims of it and perpetrators, and there’s already a deep and troubling lexicon of terms to describe these experiences. It feels like the 90s were a particularly prolific era of films about hustlers and thugs in the ghetto, but Paid in Full rises above a lot of the sub-par efforts by telling a story that has sweep and a certain operatic trajectory, without succumbing to some of the mythologisation and worn tropes: in short, it feels rooted in real experiences. The acting is all excellent too, an early pre-The Wire role for Wood Davis as Ace, who sort of brings the whole story together, with more showy turns from Mekhi Phifer and Cam’ron as people more inured to this world. I’ll obviously never really be able to judge its accuracy, but I certainly enjoyed the compelling way it played out on screen.
Director Charles Stone III; Writers Matthew Cirulnick and Thulani Davis; Cinematographer Paul Sarossy; Starring Wood Harris, Mekhi Phifer, Cam’ron; Length 97 minutes.
Seen at home (Netflix streaming), London, Friday 4 January 2019.