Joy Road

I worked with Harry Davis on a shoot in NYC and he's a funny character. Anyway, he showed me a cut of MVP that screened at Sundance and I was floored. I'm shocked that this hasn't been distributed yet. What I saw were actually just scenes and not a linear piece, but the acting was great as was the writing and directing. This film is a great legal thriller. Not BS Hollywood glam like John Grisham stuff, but REAL inner city courtroom drama and crime. I'm telling you, this film is worthy of winning awards. The only reason I can think that this hasn't gotten out yet, is the stars aren't big and let's be real, black films are a hard sell, unless it's got hip hop stars or Will Smith. Look out for MVP!

Gripping multi-faceted tale filmed with all the grittiness that contemporary Detroit can offer. It's a courtroom drama, following the reluctant legal hero as he honors his family and the neighborhood that rejected him in his youth. But it's also a street justice flick, making use of Detroit's desolate setting as a backdrop for the double-crossing warlords. Moreover, it's a tale of corporate intrigue, uncovering the distanced puppeteer that draws in the big bucks while its impoverished, unknowing victims struggle. This corporate robber-baron facet is a delightful twist that would have benefited from expansion in the film, particularly if it had been highlighted in the riveting final courtroom scene. Director-writer Harry Davis delivers this marvelous film deftly, nuancing the unblinking ruthlessness of Training Day or Goodfellas with the character- driven narrative of New Jack City or A Few Good Men. Although the bumpin' musical soundtrack is apt for most every scene, the film's only technical shortcoming is the wavering, whispering sound that relegates some characters' lines to oblique mutterings. Further, the sinewy storyline nearly loses itself in a large number of characters who probably could have been consolidated. Still, AfroPixFlix plants seven joyful-roadie fork tines in this film. Looking forward to more films from this gifted filmmaker. See it!

I wanted to like this movie for a number of reasons; first off, it was shot, and about, my hometown Detroit, Michigan, second it stars the delectable and underrated N'Bushe Wright. Unfortunately, despite a very gritty Motor City feel, the film fails to reel in the audience with it's characters, led by Wood Harris (The Wire, Remember the Titans), in a stoic performance. Harris plays Tony Smalls, a successful Detroit lawyer, primed to make the move to the more lucrative side of law practice, that is, until his sister Nia (Wright) recruits him to save her street thug boyfriend Big Boy, from a murder charge. What follows is a generally captivating journey through the seedy and corrupt world of Detroit politics and street crime. Director and Detroit native Harry A. Davis, manages to capture the natural ambiance and general "scariness" of inner-city Detroit. Where he, and the film falls short is in the unevenness of the story, and the general lack of character depth. We know that Tony and Nia, while brother and sister, were given unequal chances on making it out the hood, but we never get a pulse on just who they are. Why Tony and Nia are at odds, why Nia is so driven to "dangerous" guys like her boyfriend Big Boy (a strong performance by Christian Mathis). N'Bushe Wright gives another solid performance, but is highly misused. The film would have benefited from having her on the screen more, and developing her character more evenly. Kevin Jackson as Ray, Tony's investigator steals every scene he's in. The cinematography by David Phillips is at times surreal, but at some points seems overindulgent. Overall, the film is worth watching (for native Detroiters, it's a looking glass into the hood, the true hood), the political corruption is right out of the headlines of today's Detroit; however, it misses the mark as an action-drama, with a sluggish pace, and undefined characters.

Before I go further let me say that I watched the 2010 re-make of this movie on Netflix. This version has Wood Harris (Avon Barksdale in the Wire) as the main character, whereas in the original shooting of the film Roger Smith was the main character.

That being said this was an amazing movie. As far as the theme, I'd sum it up like this...

By portraying the guy who escaped the hood through his law career only to forget who he was - Harry Davis (the director) was able to make the point that no matter how successful you become you never forget your family or your community.

I enjoyed about the film is that it was gritty without going overboard. Besides that the movie was thought provoking. Not sure if they won any awards for the film, but if they didn't the movie is certainly worthy of several rewards.

In fact the only reason I gave this movie a nine instead of a ten is that you can't watch it in a family setting - due to the language and adult situations.

Of course, if you take the strong language out the movie probably loses it's realness so it's almost a catch-22.

So if you haven't watched this movie yet, do yourself a favor and check it out!

I'll definitely file this flick under "films I REALLY wanted to like, but couldn't." Non-linear narrative structures are great for implying stress and confusion, even ones that have no real outcome, but this movie falls apart in the last act of it's narrative in an attempt to wrap up it's hyper-kinetic pace that it wasn't comfortable running at in the first place. It relies heavily on lowest-common-denominator visual language to satisfy this odd and forced pace to set an easily digestible plot, but forgot whether to be a courtroom drama, street flick or suspense thriller.

I guess you could also say it was a matter of style over substance, bnt I would counter with, not all low-budget flicks have to be all flash and performance to sacrifice what would be a very under-told story, a story of family dynamics around poverty, a story of a scene so rotten, that no one who benefits from it has anything resembling clean hands. Yeah, you might have The Wire, but little else beyond that. Character arcs just kind of happen with no thought of motivations. Scenarios have no pretext for the plot, just a showcase of great talent canned within a scene. It also doesn't help that this movie seems to have languished in post-production hell for almost 9 years.

It definitely wasn't the star power, there's a serious amount of talent (indeed aforementioned show The Wire boosted Wood Harris' profile and Jamie Hector's career,) in this film, but the relegation to tell the story in incomplete vignettes gobbles up Obba Babtunde's character, N'Bush Wright's unfortunate fade away from the spotlight is all too prescient here, and Trick Trick kind of steals the spotlight (too bad this didn't go nowhere for him, but I guess Detroit's his home and he's content.)

Hack editing leaves much to be desired in the overall arc of the story, so we see a contrived movie that was probably nothing more than a demo reel for anyone involved that already had a career on the rise, whilst leaving everyone else. Which is also how this movie's plot kind of worked as well. Much ventured, hardly gained, this film deserved better and got shivved in the guts on the way to the bank.