DJay (Howard) is a reluctant pimp and dealer in Memphis, with three hookers in his "family": sparky Nola (Manning), heavily pregnant Shug (Henson) and hothead Lex (Parker). His long-buried dreams of being a musician are sparked when he runs into old buddy Key (Anderson), also engulfed by unexpected life responsibilities. They know homeboy-made-good Skinny Black (Ludacris) is coming home soon, so they decide to get a demo tape together, with the help of a skinny white keyboardist (Qualls).

Brewer harks back to the look and tone of 1970s Blaxploitation. That it's set in the home of the blues gives the film a strong emotional essence, capturing local rhythms to examine broken dreams and the embers of hope. DJay's music is crunk, expressive Memphis rap reminiscent of Eminem (the story itself echoes 8 Mile). Although the lyrical anger and the glamorisation of crime are a bit wearing; how can we sympathise when Shug soulfully croons that "it's hard out there for a pimp"?

Fortunately the characters are strong enough to carry us along, even if we don't support everything they do. Howard shines as this complex, meaty, not altogether likeable character. We really root for him as his street hustle gives way to musical flow. Anderson and Qualls are both excellent in rare non-comical roles. And Henson and Manning hold the film's heart, opening up their characters' fragility and strength in unexpected, transparent ways. Nothing is simple about any of these people, and that fact alone makes the film worth seeing.

It's also one of those rare movies that can make us see deep within ourselves even though we're looking at people and places far removed from our own reality. Earthy humour, honest yearning, intelligent dialog, complicated relationships--even when the plot wobbles at the end, it's compelling filmmaking.

themes, language, sexuality, drugs, violence

23.Aug.05