Reviews of 'We Don't Die, We Multiply,'
'Death of a Dynasty' and, in Brief,
'XXX: State of the Union' and
'Hitchhiker's Guide to the Galaxy.'

By Esther Iverem
SeeingBlack.com Editor and Film Critic

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In Brief: XXX: State of the Union: This sequel to the 2002 "XXX" has gone straight-up ghetto. And, in this case, that's a good thing. Rather than the old special agent, played by Vin Diesel, literally wrapping himself in the American flag, the new special agent, played by Ice Cube, is "not feeling very patriotic these days" and is more likely to burn the flag. As Cube and the other good guys, including Samuel L. Jackson, untangle a scheme by right-wing military men to overthrow a peace-seeking U.S. president, this story speaks frankly about war, the internal dangers to U.S. democracy and the ability of folks in the hood to fight the power. Sure, the notion of a bunch of self-serving hustlers summoning the will to take on the U.S. military takes some imagination, but it beats the tired jingoistic stories of evil foreign powers and hypocritical American self righteousness. —Iverem Hitchhiker's Guide to the Galaxy: The fact that the human species is so ridiculous, and treats the earth so destructively, is the subtext of this stupidly funny and original space flick, which offers surprises from the beginning to the end. You know you're in some sort of alter film world when the end of earth as we know it is a very matter-of-fact affair, is heralded by the skyward departure of dolphins, and one hip alien, played by Mos Def, downing pints of beer in an English pub. Based on the book by Douglas Adams, who also wrote the screenplay, this movie is just as mocking of the science fiction and space film genres as it is of humans. And despite its easy dismissal of earth, is one of the most earth-loving films that I have ever seen. —Iverem

"We Don't Die, We Multiply"

Robin Harris cast such a spell during his explosion onto the comedy scene that, 15 years after his death, there are those of us who still revere him as the funniest man ever, and as the progenitor of a new generation of comics that stand in his fading shadow.

His friend and one-time manager, Topper Carew, was determined that our memory of Harris would not fade, so he has produced the poignant documentary, "We Don't Die, We Multiply," a 92-minute movie that explores Harris's life and legacy. This is a labor of love, foremost, and not fancy movie-making, which brings us behind the scenes of Harris's short life and deepens our understanding of his tremendous influence.

Comedian Cedric the Entertainer, certainly one of the beneficiaries of the road paved by Harris, says it best in the film when he describes how Harris changed the nature of the stand-up routine, from a basic set-up-joke-punchline format, to one that allowed for improvisation, including Harris's famous riffs on those in the audience. Harris's steady gig at what was the Comedy Act Theater in South-Central Los Angeles became not only a magnet for the Benz and Bentley crew from Hollywood, but was also a school for emerging comedians on the scene. It was, for these young comics, "the last great university and Robin Harris was the last professor," says comedian Louis Dix in the film. Bernie Mac adds, "If you call yourself a comedian, you need to know the essence—of what Robin Harris is."

Harris's essence, as he describes it in an interview included in the film, is that of "the average Black man." With his paunchy gait, midnight complexion and wino eyes, he was the ultimate, unpretentious "pops," older brother or corner sage. He talked about everyday occurrences and events and turned them into hilarious routines—about obesity, street beggers, the police, relationships and, of course, the superbad "Bebe's Kids."

Every Harris fan has their favorite routine, and many are included here in one of his signature performances in Chicago, which serves as a refrain throughout the movie. Raw footage from some of his few interviews is included, as well as interviews with his wife, Exetta, and other family members. From them we get to know something about Harris as a child and young man, which is really all he would ever be. He died from sleep apnea at age 36.

Aside from its rich narrative about Harris, which has its excesses toward the end, one of the most valuable contributions of the movie is its evocation of Black Los Angeles in the late 80's–not only the magic of the Comedy Act Theater, but also other haunts, such as the Blueberry Hill nightclub and Aunt Kizzy's Back Porch restaurant. It also captures that particular era in Black film when directors like Robert Townsend were creating and presenting new voices for their generation. Harris brought his "average Black man" flavor to a few films, including "Do the Right Thing" and "House Party," excerpts from which are, strangely, missing from this movie. His career, cut short just as it was starting to take off, was emblematic of that striving of a new generation to create art, movies–and comedy–on its own terms.

"We Don't Die, We Multiply," screened at Filmfest DC, will be available on DVD through www.toppercarew.com.

"Death of a Dynasty"

The latest hip hop insider lifestyle flick, "Death of a Dynasty" is a fictionalized account of the goings on at Roc-a-Fella Records, the real life music empire of rapper Jay-Z and the CEO Damon Dash, who has also, of late, morphed into fairly prolific film producer. In recent months, Dash's credits include "State Property 2," "The Woodsman" starring Kevin Bacon, and now this flick, apparently completed in 2003 and dusted off in time for this year's spring movie season.

"Death of a Dynasty" is all about the hustle and games played in the hip hop world, where the dollar is king, and people do all manner of ill things to get that paper. In the story, we follow David Katz (Ebon Moss-Bachrach), a cub hip hop journalist who has just landed a dream job at The Mic magazine, which is modeled after The Source hip hop magazine. David's first assignment, a plum one that other staffers would kill for, is to spend three weeks inside Roc-a-Fella Records, with up close and personal access to worlds of Dash and Jay-Z.

Through Katz's entry into this world of late-night dinners, parties and hanging at the club, we get a glimpse of both the comical and superficial aspects of this new world and Katz's own egotistical ambitions. Despite Dash's real-life affiliation with this movie, he is depicted in it, by rapper Capone, as loud, uncouth, and easily led along by lust. Jay-Z, in contrast, is depicted as low-key, smooth and self-confident. In the story, these two both develop serious beef with each other over a woman, and that leads to speculation over whether there will be a "death' of this particular record industry dynasty.

There is obvious ridicule here of hip hop impresario P. Diddy and his competitive Bad Boy Records. There is less obvious ridicule of the lifestyle, glorified in videos, that include scores of model-thin women always clad in bikinis, as well as flowing expensive liquor. The script does not allow us to really feel any of the characters, and perhaps that is by design. The overall effect, however, is like watching people at a nightclub, where illusion and posturing are key, and where it takes some effort to discern what, if anything, is of substance.

And that puzzle includes our young, hapless journalist, who decides to take juicy bits of his story assignment and parlay them into better career opportunities, first at a New York City daily newspaper, and then on hip hop radio. The vibe of "Death of a Dynasty" is that of lighthearted predator and prey. Though released for the general public, we general public may sense that there are music industry insider jokes lurking between the lines and frames. We get the sense that music industry types will know best how much this depiction of a world without scruples or ethics, is true to real life.

Iverem's reviews of "We Don't Die, We Multiply" and "Death of a Dynasty" also appeared on www.BET.com.

— April 29, 2005

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