John Singleton

John Singleton

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"FURIOUS 7" World Premiere

John Singleton. - Premiere of 'Furious 7' at the TCL Chinese Theatre IMAX at TCL Chinese Theatre IMAX - Hollywood, California, United States - Wednesday 1st April 2015

John Singleton

Premiere Of "Furious 7" At The TCL Chinese Theatre IMAX

Guest and John Singleton - A host of stars were snapped as they attended the world premiere of "Furious 7" which was at the TCL Chinese Theatre IMAX in Hollywood, Los Angeles, California, United States - Thursday 2nd April 2015

Guest and John Singleton
Guest and John Singleton

2015 Vanity Fair Oscar Party

Guest and John Singleton - Celebrities attend 2015 Vanity Fair Oscar Party at Wallis Annenberg Center for the Performing Arts with City Hall in Beverly Hills. at Wallis Annenberg Center for the Performing Arts - Los Angeles, California, United States - Sunday 22nd February 2015

John Singleton Directing Tupac Movie. Michael B Jordan, Stand By Your Phone

John Singleton Tupac Shakur

John Singleton will direct the highly anticipated Tupac Shakur biopic after finally closing a deal to take full creative responsibility for the movie. As well as getting behind the camera, Singleton will re-write and produce the project, which has been the property of Morgan Creek for several years.

John SingletonJohn Singleton Will Direct the Tupac Shakur Movie

The movie would follow Tupac's rise to become one of the world's most popular hip-hop artist, including his murder following a boxing match in Las Vegas in 1996.

Continue reading: John Singleton Directing Tupac Movie. Michael B Jordan, Stand By Your Phone

A Special Screening Of EPIXs Documentary MILIUS

John Singleton - E[ix and The USC School of Cinematic Arts Present a special Screening of "MILIUS". Milius will premiere on Epix on Saturday January 11 at 8pm. Milius examines the life story of one of the most influential and controversial film directors in the history of Hollywood, John Milius. - LA, California, United States - Friday 10th January 2014

John Singleton
John Singleton
John Singleton

'2 Fast 2 Furious' Director John Singleton At Barney's

John Singleton - '2 Fast 2 Furious' director John Singleton shops at Barney's New York in Beverly Hills - Los Angeles, California, United States - Friday 13th December 2013

John Singleton
John Singleton
John Singleton
John Singleton
John Singleton

Abduction Trailer

Nathan Harper is a popular kid, he's on the school wrestling team and like most teenagers, knows how to party but he's also always had a feeling of doubt in his life, just something in the background telling him something wasn't right. Delving a little deeper into his past, Nathan discovers a childhood photo of him posted on a missing persons website.

Continue: Abduction Trailer

Illegal Tender Review

When the production credits that open writer/director Franc. Reyes' (we don't understand the period, either) crime drama Illegal Tender appear in gloriously cheesy '70s blaxploitation font with an equally gaudy title graphic depicting a sexy silhouette inside a dollar sign, the anticipation of either a riveting throwback or tongue-in-cheek parody appears. Either of these options would have been better than the nothing that follows.

For the first 15 minutes we're treated to the back story of '80s gangster Wilson Deleon Sr. (Manny Perez), a hard-working, merciful Bronx drug dealer just trying to make his way in this crazy world. He has a child on the way; her shrewd mother, Millie (Wanda De Jesus) has just laundered all his street earnings into a sizeable nest egg. Of course, on the night she tells him to stay in, he goes out and, of course, that's the night she delivers and, of course, that's the night his crew betrays him and two ridiculously buxom assassins gun him down.

Continue reading: Illegal Tender Review

Black Snake Moan Review

Such an unfortunate title for this interesting movie about kindred spirits on a slow, low rumble to personal salvation. Yet for Memphis-bred filmmaker Craig Brewer, Black Snake Moan represents more than your conventional character study. It is a suspension bridge stretched over the dreaded sophomore slump that swallows far too many promising young directors these days.

Brewer's debut feature Hustle and Flow took open-minded viewers on a realistic foray into the world of do-it-yourself hip-hop, proving how hard life can be out there for a pimp (unless, of course, you are a member of Three Six Mafia on Oscar night). Moan continues to bathe in Tennessee hardship and failure as it alternately convinces us that life isn't much easier for backwoods Southern skanks and the men they love but who done them wrong.

Continue reading: Black Snake Moan Review

Boyz N The Hood Review

Boyz n the Hood is a movie so fraught with cultural significance that it's hard to remember if it's any good. Upon its release, it was immediately hailed for its startling depiction of gang violence in South Central L.A. But then, in a sort of nightmarish Purple Rose of Cairo twist, the violence jumped from the screen to the audience. All around the country, at scores of theaters showing Boyz, acts of violence--shootings, stabbings, brawls--heaped gasoline on the already burning controversy surrounding the cultural influence of gangsta rap and its glorification of the gangsta lifestyle. Less than a year after Boyz' release, racial tensions boiled over and rioting swept through the very neighborhoods where the film's action is set. And while it would be absurd to claim that Boyz had anything to do with the start of the unrest, the riots made it clear that the rage and frustration depicted in the film was eerily on the money. So, more than a decade later, in a completely different racial climate, with gangsta rap now as mainstream as mac-and-cheese, does Boyz n the Hood still play? Yeah, in a very raw way, it does.

Writer-director John Singleton was only 23 when Boyz hit the big screen in 1991, and if the intervening years have brought anything into sharper focus, it's his immaturity as a writer. Boyz is a sledgehammer of a film -- powerful, but hardly subtle. Singleton centers his story on the character of Tré Styles, who's about 11 in the opening sequence. After Tré gets into a fight at school, he's taken to live with his father, Furious (Laurence Fishburne), who has a better shot at teaching him how to be a man than his mother (Angela Bassett) does. Tré's best friends are Doughboy -- a tough, pudgy, troublemaking little kid -- and Ricky -- Doughboy's good-looking, athletic younger brother. As the sequence winds to a close, Furious' paternal influence keeps Tré out of trouble while the fatherless Doughboy ends up being arrested for shoplifting.

Continue reading: Boyz N The Hood Review

Shaft (2000) Review

Who's the bad mutha -- shut yo mouth!

That's right. Just talkin' 'bout Shaft. The remake. Er, the sequel that is -- in what might very well be the first and only time a sequel has been given the same title as the original. And believe me, that's just where the stupidity of Shaft begins.

Continue reading: Shaft (2000) Review

Higher Learning Review

I first saw John Singleton's Higher Learning when I was 17. Back in 1995, my friend and I left the theater feeling like we had seen an important commentary on American society. We felt informed.

It just goes to show you how clueless teenagers are. At 23, I rented the movie again and realized that I had no idea what the hell Singleton was talking about. Certainly, a lot of big issues are broached in the movie: racism, sexuality, democracy, college education and its value. Higher Learning poses a lot of issues, but rarely does it offer any meaningful answers.

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Hustle And Flow Review

As is duly noted in the chorus of the catchiest of the songs used in Hustle & Flow: It's hard out here for a pimp. Especially when said pimp only has three girls working for him (one pregnant, all with pretty lousy attitudes), his car has no air conditioning, and he's sliding into a mid-life crisis. In Craig Brewer's hot and sticky Memphis homebrew of a film, the pimp is far from what we're used to seeing. He's not a character of impossible swagger or campy ridicule (no fur coats, it's too damn hot). He's just DJay, a guy stuck in his way of life because he came from nothing but has a gift for bullshit that lends itself to the profession. As personified by Terrence Howard, this pimp becomes far more than the sum of the job's cliches, even if the film itself doesn't always know how to be quite as original as its star.

Until recently, Howard has been one of American film's mostly unnoticed gems. A journeyman actor since the early '90s, he came into his own in Malcolm Lee's romantic comedy The Best Man, in which he served as the sleepy-eyed provocateur, wisely watching all the fools who surrounded him, goading them into fury by slyly undercutting their fantasies with his keenly observed truths. It was one of that year's great performances, but being mired in such a conventional work (not to mention being in a black film aimed at black audiences, and thus mostly invisible to the critical establishment), he never received his due. He's worked steadily since then, coming into his own with this year's Crash - turning in an open wound of a performance that stood out even in that film's excellent ensemble. In Hustle & Flow, he's found a role that puts him in the spotlight, and he grabs the role tight with both hands, though never so showily as to make you notice how hard he's really working.

Continue reading: Hustle And Flow Review

Baby Boy Review

Ten years after releasing the groundbreaking Boyz N the Hood, writer-director John Singleton revisits his "young black man in the ghetto struggling against a violent end" cautionary tale, but with more humor and realism, in his newest film Baby Boy, showing that maybe baby boy Singleton's done some growing up himself.

In the same South Central Los Angeles neighborhood, real life is about to crash down on 20-year-old Jody (model/singer/VJ Tyrese Gibson). He has two children by two different "baby mamas" -- level-headed Yvette (Taraji Henson) and too-young Peanut (Tamara LaSeon Bass) -- he's unemployed, and he's still living with his own mama Juanita (A.J. Johnson). He's also clashing with his mom's new man, an aging "O.G." named Melvin (Ving Rhames) who's looking to move in; and, he's got to keep his volatile roughneck friend Sweetpea (Cuba Jr.'s brother Omar Gooding) out of trouble, without getting dragged down into more trouble himself. And to top things off, he's seeing competition from Yvette's ex-con ex-boyfriend (the inimitable Snoop Dogg).

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Baadasssss! Review


"Baadassss!" is Mario Van Peebles' fond commemoration of his cantankerous father's bull-headed cinematic audacity. An unblinking, if slightly golden-toned, account of the making of Melvin Van Peebles' violent, dark, gritty and groundbreaking "Sweet Sweetback's Baadassss Song," it's a clear labor of love, and so much the better for it.

"Sweetback" -- a "ghetto Western" about a slick, taciturn pimp who becomes a hunted man for killing a couple thug cops who beat a black militant -- scared the hell out of Hollywood, yet its success ($15 million in limited release in 1971) gave rise to scores of shallower imitators that became the blaxploitation genre of "Coffy" and "Shaft."

Getting the divisive, patently anti-establishment film made was a nightmare of financing and bounced checks ("Baadasssss!" implies that drug money was to be used before Bill Cosby stepped in), of casting (writer-director Melvin played the lead when he couldn't find the right actor), of union problems (the industry guilds were practically all-white at the time -- and expensive), of controversy (an X rating), and of distribution (only two privately-owned theaters would touch it at first).

Continue reading: Baadasssss! Review

John Singleton

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