Diane Martel shook the cinematic landscape until the microphone trees fell with her frankly unbelievable choreography in the triumphant Life with Mikey, but now she has decided to open up the game.
Martel flips the "hood" genre on its nappy head by reworking the simplification of real lives that the media (and indeed directors like John Simpleton) has imposed on all forms of art from the "urban" sector. By placing these two semi-violent icons into an environment and plot which mirror the caricature nature of their "rap" personas, she places the impetus to laugh and to ridicule "thug life" firmly with us. "Laugh at Method Man," she says "laugh at Redman".
That said, this film looks like a Hype Williams video on crank. Messy costumes and over the top special effects (especially in the falling from a window scene) contribute to a blurring of the real issues. Without giving too much away, it goes without saying that the iron lungster and the funk doc blaze up some serious trees before the credits roll.
Martel flips the "hood" genre on its nappy head by reworking the simplification of real lives that the media (and indeed directors like John Simpleton) has imposed on all forms of art from the "urban" sector. By placing these two semi-violent icons into an environment and plot which mirror the caricature nature of their "rap" personas, she places the impetus to laugh and to ridicule "thug life" firmly with us. "Laugh at Method Man," she says "laugh at Redman".
That said, this film looks like a Hype Williams video on crank. Messy costumes and over the top special effects (especially in the falling from a window scene) contribute to a blurring of the real issues. Without giving too much away, it goes without saying that the iron lungster and the funk doc blaze up some serious trees before the credits roll.
