I recently saw a very funny interview with the increasingly popular, very talented comedian, Kevin Hart in which he talks about not wanting to make Black movies, just good movies. He brings up a great point.

Will there ever be a time when a film is taken on it’s artistic merit alone and not pigeon-holed, kicking and screaming into a nice, neat, genre-compartment for the studio execs and marketing department?

This film has all of the four leads played by actors who may be in the non-white/black casting bracket. Ok, so the four leads are not white but they speak English in the film, so it should be categorized as an American movie, as that is what it is.
It’s a gripe of mine, the whole genr-ification of EVERYTHING.

Art is art is art, ladies and gentlemen.

Here is his interview in full for those of you interested:


The film is entertaining, everyone in it is great and it is filled with charm and comedy. Based on David Mamet’s brilliant play from 1974 and taking its title from the adaptation of this play made in 1986 starring Rob Lowe, Demi Moore, James Belushi and Elizabeth Perkins this version has been adapted by Leslye Headland and directed by Steve Pink (High Fidelity, Hot Tub Time Machine), this is updated and relocated to New York.

Kevin Hart (Bernie), Michael Ealy (Danny), Regina Hall (Joan) and Joy Bryant (Debbie) play the foursome, each bringing their skills and talent to telling this story of 2 couples trying to walk the precarious relationship tightrope that many have to deal with in this day and age. The comedy comes from Hart and Hall who have great chemistry and clearly make each other laugh.

Christopher McDonald plays an old friend of Danny’s father and owns a bar that is in trouble, the always funny Joe Lo Truglio plays Danny and Bernie’s boss. David Greenman and Bryan Callen play Danny and Bernie’s mates.

This film is as relevant now as the source ever was and although it isn’t amazing, there is a valid place for it.




HEIST (2001)


“Everybody needs money. That’s why they call it money”

David Mamet directs and writes this thriller with whip-smart dialogue, some of his usual repertory of actors and invokes the American crime films of the 70’s. Gene Hackman, Rebecca Pidgeon, Delroy Lindo, Sam Rockwell, Danny De Vito and magician extraordinaire, Ricky Jay, star and have a ball with the dialogue. Fast paced and witty, the writing is the strongest part of the film.

As usual, Mamet sets this in the world of conmen and capers and uses sleight of hand techniques to tell his story. A crew whose leader, Joe Moore played by the always excellent Gene Hackman, undertakes one last job and it isn’t as straightforward as it seems to be, mostly down to the people around him.

The film itself is an average thriller that’s strength lies in the screenplay and the acting but doesn’t manage to elevate itself to greatness. Maybe it’s in the composition, something is not quite right. On paper it should be great but the end result leaves the piece a little flat. It’s hard to know why it doesn’t work, it just doesn’t deliver the goods and remains mediocre, setting aside the dialogue, which is tight.

Sam Rockwell (Jimmy Silk) is on form for a change (sarcasm) playing Mickey Bergman’s (Danny de Vito on sleazy duties for a change ;0)) nephew, the kind of guy who is the loosest of canons, and is, again, brilliant. Rebecca Pidgeon plays Fran, Joe Moore’s wife and continues to deliver her real life husband’s (David Mamet) dialogue with the perfect timing. Bobby Blane (Delroy Lindo) and Pinky Pinkus (Ricky Jay) make up the rest of Moore’s crew. The double-cross is at play here and the fun is trying to work out what’s what.