Debbie and Howard are celebrating their wedding anniversary. Or so Debbie thought. A special night together turns into a nightmare when Howard lets a man into the house to use the phone. ...
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Once famous football player must rent part of his house in order to support himself. A single mother and her two kids are the latest tenants. He also owns a sports clinic that he barely manages to run with a little help from his friends.
Based on Bizet's classic opera and its all African American musical counterpart Carmen Jones, Carmen a Hiphopera is a modern retelling of the story of the tragic gypsy Carmen. The setting ... See full summary »
Alyssa moves into a luxury apartment complex but is unaware she is being watched by her disturbed landlord, Robert, via hidden cameras. Robert will do anything to fill the void left by his ... See full summary »
In the 1940s South, an African-American man is wrongly accused of the killing of a white store owner. In his defense, his white attorney equates him with a lowly hog, to indicate that he ... See full summary »
Debbie and Howard are celebrating their wedding anniversary. Or so Debbie thought. A special night together turns into a nightmare when Howard lets a man into the house to use the phone. Who is the smooth stranger who immediately takes to Debbie? And what does he really want? Debbie and Howard soon find out the answer to the question, and when they do, their lives will never be the same again. Be careful who you let into the house. Especially the Uninvited Guest.Written by
Mekhi Phifer And Mel Jackson Previously Worked Together In Soul Food As Enemies. See more »
When Debbie gets out of the Jacuzzi after seeing Howard tied up, her hair is soaking wet. But when she is shown a minute later in the basement, her hair is dry, appearing to have never been wet to begin with. See more »
In the tradition of "Deathtrap," this script is well crafted and believable. Admittedly it needs cutting, but then so does real life. The acting is smooth (especially Mekhi Phifer as "Silk"--no pun intended) and the direction could have been a bit faster paced, but interesting none the less.
If the viewer comes to this film unbiased by box office receipts as the ridiculous yard stick by which a "product's" worth is currently measured, he or she will appreciate the twists and turns, the depth of the characters of, "Silk," and even the seriously neglected and scarred-by-loss, "Debbie," well played by the stunning Mari Morrow.
I enjoyed the skillful manipulation of my feelings toward Silk (the bad guy) and truly cared about Debbie. Identifying with characters and coming away from a film not feeling tricked but, instead, feeling like a "fly on the wall," with a sense of Hollywood reality (an oxymoron, I realize) is always a hoot.
I think Timothy Wayne Folsome, perhaps was ahead of his time, in that in the few short years since this was filmed, it has become shamelessly apparent that everyone's desire (even in the fly-over states) is to claim the fifteen minutes. Indeed now, any other behavior seems abnormal. Who is more apt to reach out and devise a plan than Howard, the ambitious, coked-up, married-for-money would-be script writer?
Malinda Williams turns in her usual solid performance. William Christopher Stephens in his only credit, is just right, and Wanya Morris, "Mo," formerly of, "Boyz II Men," is a find.
Bottom line: A very good little film with no loose ends, a question of love (as it always is), and even a bit of beauty thrown in the bargain by way of the thread in the form of a painting entitled, "Life."
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