Boyz n the Hood was a landmark film in its realistic depiction of gang violence and its effect on families in urban America. Its novice director, John Singleton, has languished in relative obscurity since then and revisits a similar turf with his revenge drama, Four Brothers. While it reconfirms Singleton's talents, it is an imperfect action drama that leans too heavily on its mean spirited revenge theme.
A middle aged woman, Evelyn Mercer (Fionnula Flanagan), is known for taking wayward boys off the streets and finding them foster homes. Yet, over time, only four boys could not be placed, and she adopted them herself. Years later, when a liquor store robbery goes awry, Evelyn is murdered. This reunites the four brothers who are now grown (Mark Wahlberg, Tyrese Gibson, Andre Benjamin, and Garrett Hedlund). What seems to be a simple crime gone wrong is only the beginning of a tale of conspiracy and betrayal. With police detectives (Terrence Howard and Josh Charles) seemingly a step behind the clues, the brothers decide to find the answers and punish all those involved even if it leads to corrupt officials, crooked cops, or the top crime boss in town. This causes violent confrontations and retribution until the brothers must attempt a daring plan to avenge their family and bring the murderers to their form of justice.
As portrayed by Singleton, this is a tough, violent neighborhood, a sort of distant cousin to the one in Boyz n the Hood. There are some similarities with New Jack City with its family of gangsters and a ruthless leader. The film does contain well directed scenes. The pool hall scene between Howard and Charles is quite good and the dialogue makes this a mini-gem. At times Singleton knows enough to reel back his characters from a pure revenge tale to one of family and connection. There is a good early scene during Thanksgiving at the dinner table where each brother looks upon the memory and visage of his deceased mother in an empty chair and remembers the lessons she instilled in them. It is a clever moment and speaks volumes on what she meant to each son. Perhaps a bit more of this would have balanced the film and kept it from turning into the overwhelmingly vengeful tale it ultimately becomes.
The film feels tough and gritty, and its characters are real people with real conflicts and emotions. The relationship of these brothers forms the backbone of the film no matter what they endure. They stick up for each other and watch each other's back. These brothers in arms love each other and fight amongst themselves. We anguish when they suffer and cheer when they triumph. There are humorous moments sprinkled throughout the film and some funny lines spoken at the expense of each character.
The story, written by David Elliot and Paul Lovett, works on a couple of levels. On one level, it is a detective story with twists and turns and some surprises. There are some clues and red herrings along the way, and you don't quite know the whole story until the end. On another level it functions as a kind of urban western with its revenge tale. In fact the film is essentially structured similarly to fraternal, revenge westerns as The Sons of Katie Elder and Gunfight at the OK Corral. It's also about the love given by a selfless mother who gave comfort and hope to four wayward rejects when no one wanted them.
The ending is a little like an urban Mission Impossible with its elaborate ruse. Some of it is implausible but on the whole the sequence works marginally. We don't know much about Jeremiah Mercer's family which would have added to our attachment to his character.
Mark Wahlberg is an imposing figure who will stop at nothing to find his mother's killer.
In fact all four leads are quite strong and well cast. Terrence Howard (who has starred in a number of strong films this year and is a star on the rise for sure) has an effective role as a good cop although his character leaves too early as the conspiracy widens. Fionnula Flanagan is seen too briefly and should have been used more which would have grounded the film morally.
The soundtrack is a good mixture of oldies and serves as the pulse of the kinetic action scenes in the Motown setting. Technical credits for what is essentially a low budget film are solid especially in the cinematography and film editing.
It is entirely possible to be shell shocked by the hard hitting nature of this violent melodrama by film's end. It's certainly a crowd pleaser and almost manipulative in the way it generates deep feelings. The film succeeds in terms of sheer energy and force. It's a little rough around the edges but still a welcome return to Singleton's roots. While Four Brothers proves that his previous abilities were no fluke, he has yet to exceed let alone match the promise of his first film.
A middle aged woman, Evelyn Mercer (Fionnula Flanagan), is known for taking wayward boys off the streets and finding them foster homes. Yet, over time, only four boys could not be placed, and she adopted them herself. Years later, when a liquor store robbery goes awry, Evelyn is murdered. This reunites the four brothers who are now grown (Mark Wahlberg, Tyrese Gibson, Andre Benjamin, and Garrett Hedlund). What seems to be a simple crime gone wrong is only the beginning of a tale of conspiracy and betrayal. With police detectives (Terrence Howard and Josh Charles) seemingly a step behind the clues, the brothers decide to find the answers and punish all those involved even if it leads to corrupt officials, crooked cops, or the top crime boss in town. This causes violent confrontations and retribution until the brothers must attempt a daring plan to avenge their family and bring the murderers to their form of justice.
As portrayed by Singleton, this is a tough, violent neighborhood, a sort of distant cousin to the one in Boyz n the Hood. There are some similarities with New Jack City with its family of gangsters and a ruthless leader. The film does contain well directed scenes. The pool hall scene between Howard and Charles is quite good and the dialogue makes this a mini-gem. At times Singleton knows enough to reel back his characters from a pure revenge tale to one of family and connection. There is a good early scene during Thanksgiving at the dinner table where each brother looks upon the memory and visage of his deceased mother in an empty chair and remembers the lessons she instilled in them. It is a clever moment and speaks volumes on what she meant to each son. Perhaps a bit more of this would have balanced the film and kept it from turning into the overwhelmingly vengeful tale it ultimately becomes.
The film feels tough and gritty, and its characters are real people with real conflicts and emotions. The relationship of these brothers forms the backbone of the film no matter what they endure. They stick up for each other and watch each other's back. These brothers in arms love each other and fight amongst themselves. We anguish when they suffer and cheer when they triumph. There are humorous moments sprinkled throughout the film and some funny lines spoken at the expense of each character.
The story, written by David Elliot and Paul Lovett, works on a couple of levels. On one level, it is a detective story with twists and turns and some surprises. There are some clues and red herrings along the way, and you don't quite know the whole story until the end. On another level it functions as a kind of urban western with its revenge tale. In fact the film is essentially structured similarly to fraternal, revenge westerns as The Sons of Katie Elder and Gunfight at the OK Corral. It's also about the love given by a selfless mother who gave comfort and hope to four wayward rejects when no one wanted them.
The ending is a little like an urban Mission Impossible with its elaborate ruse. Some of it is implausible but on the whole the sequence works marginally. We don't know much about Jeremiah Mercer's family which would have added to our attachment to his character.
Mark Wahlberg is an imposing figure who will stop at nothing to find his mother's killer.
In fact all four leads are quite strong and well cast. Terrence Howard (who has starred in a number of strong films this year and is a star on the rise for sure) has an effective role as a good cop although his character leaves too early as the conspiracy widens. Fionnula Flanagan is seen too briefly and should have been used more which would have grounded the film morally.
The soundtrack is a good mixture of oldies and serves as the pulse of the kinetic action scenes in the Motown setting. Technical credits for what is essentially a low budget film are solid especially in the cinematography and film editing.
It is entirely possible to be shell shocked by the hard hitting nature of this violent melodrama by film's end. It's certainly a crowd pleaser and almost manipulative in the way it generates deep feelings. The film succeeds in terms of sheer energy and force. It's a little rough around the edges but still a welcome return to Singleton's roots. While Four Brothers proves that his previous abilities were no fluke, he has yet to exceed let alone match the promise of his first film.