Brimming with crucial social and political issues, the canvas of the ‘hood film’ has provided film directors with a vast array of meaning for decades, ever since Colors and Do the Right Thing were released to critical acclaim in the 1980s. Almost always bleak, the ‘hood film’, which predominantly deals with African-American and Hispanic-American populated neighbourhoods, may not be one of the most frequented film genres of the 21st century, but it remains one of the most important, and when it’s done right the results are impactful, emotional, and eye-opening, conveying the human condition in a cycle of gang culture, drug culture, racism, broken families, and more.
Australian cinemas are currently screening two films which fall into this genre, one a biopic about the most notorious and influential hip hop group of all time (Straight Outta Compton), and the other a light comedy dealing with the weight – literally – drug culture can put on black youth in the streets of L.A (Dope). Two very different projects dealing with two very different eras, and yet many of the motifs from both films intersect, putting them in the same realm as the greatest of hood films like Boyz n the Hood (1991) and Menace II Society (1993).
In celebration of both films, we are taking a look back at some hood films (aside from Straight Outta Compton and Dope) which really stand out to us, most of which deal with such aforementioned issues with reverence, originality, and lucidity while telling some of the most engrossing and emotional stories seen in cinema. Check the ranked list below.
15. ATL (2006)
Chris Robinson navigates the grittier zones of Atlanta with a great sense of style in ATL, working with an excellent cast led by rapper T.I (as Rashad) who shares an explosive on-screen chemistry with antagonist Marcus (Big Boi) while he tries his hardest to look out for his drug pushing little brother Ant (Evan Ross). While inconsistent in the middle, the strong cast and production in the film are much too strong to deny. It’s also fun watching small cameos from the likes of Jazze Phae, Killer Mike, Bone Crusher, Big Gipp, and Monica.
14. Hustle & Flow (2005)
Terrance Howard (as DJay) is an out-of-depth amateur rapper really trying his hardest to better a life that has so far been taken up by managing prostitutes (that is, being a pimp). A hopeful career in hip hop with his school friend Key (Anthony Anderson) looks like the best way to pursue this, leading to a story that could have easily flopped into tropes-ville but instead focuses on context and avoids reducing any of it’s characters to stereotypes with a focus on complexity, helped along by some really great acting; in particular by Howard and Taraji P. Henson (as Suge). It’s no wonder that their current roles opposite each other on TV series Empire recapture that magical chemistry the two actors share.
13. Colors (1988)
There’s no room for sugar-coating in Colors, with it’s very real, unfettered depiction of gang violence in South Central from the perspective of two cops (Sean Penn and Robert DuVal). The explosive tension between the Bloods and Crips give the film plenty of grueling material, resulting in something that was groundbreaking at the time and eye-opening for the rest of the world.
12. Fresh (1994)
Boaz Yakin delivered a very impactful, and often underrated, film with Fresh, taking his time with thoughtful direction to mirror the solemn, careful performance from 12 year Sean Nelson (who plays Fresh). The central character is a drug runner with a good head on his shoulders, his bright future dimmed by the context of violence he deals with daily. This is Yakin’s way of exploring the issue of guns and their ridiculous accessibility in America, all through the eyes of a 12 year old who has much more sense, even when he is committing crime, than those who tote them in the drug-riddled neighbourhoods of NYC circa mid-90s.
11. House Party (1990)
Dramatically different from any other film on this list (maybe except Friday) this energetic 1990 classic has a frenetic pace that keeps things entertaining as coming-of-age is given something commercial cinema never saw up until that date: a black American twist. It’s made even more entertaining by unique, idiosyncratic duo Kid n Play, and a young Martin Lawrence, who casually roll with the comedic punches with a slick sense of rhythm and a laid-back delivery.
10. Clockers (1995)
Gritty and absolutely memorable, Clockers is unpolished but just as well put together as the rest of the film’s higher up on this list. The Spike Lee directed film never got as much attention as some of his other works, but through following low-level drug pushers (“clockers”) around the projects of NYC with an unflinching, brutal touch of realism, mostly embodied in protagonist Strike (Mekhi Phifer) – who gives one of the early stand-outs of his career – the Director added another classic to his portfolio. The film also features some appropriately grimey work by Onyx – Sticky Fingaz and Fredro Starr – who both have smaller roles.
9. 8 Mile (2002)
Eminem’s come-up is intense and well paced, channeling Eminem’s wit into a mash of battle rap and underdog glory. It’s powerful stuff, avoiding cliche to capture the essence of street-level hip hop. The release was also perfectly timed, delivered while Eminem was still coming up in the world. The most striking thing about 8 Mile is the time and care taken with the storyline to make this a real movie and not just a rap biopic capitalising on the emcee’s success, focusing on humanising the intriguing artist.
8. Friday (1995)
The Seinfeld of hood films; Ice Cube (Craig) and Chris Tucker (Smokey) have a surprisingly classic chemistry as they sit around and smoke their way through a day in South Central with highly strung characters heightened by an energetic and memorable screenplay. The dialogue is some of the best seen in a buddy comedy film, and debuting Director F. Gary Gray grounds it all real well, leaving the punch to Tucker’s exaggerated persona. This also marks the first collaboration between Gray, Director of Straight Outta Compton, and Cube.
7. City of God (2002)
City of God, much like Clockers, is a relentless look at violence that goes a step further than any other film listed here. It’s shocking and genuinely terrifying as it navigates a favela in Rio de Janeiro with tough direction by Fernando Meirelles and Kátia Lund. A look under the picturesque hood of Rio, City of God is most definitely an unmissable film with a complete loss of humanity juxtaposed against a soulful coming of age story.
6. Set It Off (1996)
Set It Off is a well-acted, well-scripted action-drama about four young women who get sucked into the roles of professional bank robbers. Director F. Gary Gray pulls out his more dramatic side here and shoots much of it like an action flick, with birds eye views of city streets turned police-swamped war zones and straight-shooting car chases. Queen Latifah (as Cleo) is the most memorable character here, but Jada Pinkett Smith (as Stony) often steals the show with her considered portrayal of sense versus desperate stupidity.
5. Do The Right Thing (1989)
Do The Right Thing is the reference point for Spike Lee and cinematic portrayals of racial tension. The seminal film was groundbreaking at the time, and you can certainly see why, as it immerses you into it’s era, making you feel the full range of emotions, with anger coming out on top. Rather than skirt around issues of racism, Lee tackles things directly with a sharp screenplay, a perfectly timed soundtrack, and clever symbolism with cultural references throughout.
4. Juice (1992)
Juice is a powerful film with an on-the-nose message about the dangers of being power hungry (and impatient) in the hood. Tupac Shakur’s Bishop was his best movie role in his short film career, playing antagonist to a very strong Omar Epps. Director Ernest R. Dickerson and his gradual build up of intensity, as he thrusts power (in the form of a gun) into a group of four friends, is remarkable and helps hold the film together up until the abrupt ending. It’s the cinematic form of Gangstarr classic “Just To Get A Rep” and it remains one of the most important films for those in that context.
3. New Jack City (1991)
Wesley Snipes could never really recapture the energy of Nino Brown, neither could Ice-T ever match up to Detective Scotty Appleton (he really loves playing cops, doesn’t he?). Though it isn’t the performances that make New Jack City one of the best hood films of all time; Thomas Lee Wright’s story and Mario Van Peebles direction help move this fast-paced action-drama along, exploring in-depth a world built on suffering and greed during the crack-cocaine epidemic.
2. Menace II Society (1993)
Menace II Society isn’t as careful and delicate as Boyz N The Hood, jacking up the pace of it’s closest comparison and giving us one wildly exciting, unforgiving drama about how scarily common death can be in the hood. For The Hughes Brothers – the films creators – movie-making was a way of escaping this dreary cycle of violence, but for Caine (Tyrin Turner) and O-Dog (the underrated Larenz Tate) choices are limited when you’re stuck in such an environment for so long, only realising you need to get out when it already has you pinned down. The blunt fatalism in the film is depressing, making it all the more impactful when the story comes to a grizzly end.
1. Boyz N The Hood (1991)
Not just the best hood film of all time, but one of the greatest and most powerful dramas, period. Career-defining for all involved, particularly Ice Cube and John Singleton, this coming-of-age drama is everything that defines the genre, using the ghetto to tell some really strong messages about senseless violence and wasted youth. It’s also one of those films where even though you know what’s coming on subsequent viewings, it’s still so powerful and emotional that crying your eyes out is entirely understandable (at least we hope it is).
Honourable Mentions
In Too Deep (1999)
Everything about In Too Deep is underrated, from it’s soundtrack to some great performance by both LL Cool J (as kingpin “God) and Omar Epps (as undercover cop Jeffrey Cole). The story is paced well with some really tense scenes, handled with proficiency by Director Michael Rymer and though predictable with hollow characters, In Too Deep is still a guilty pleasure.
Don’t Be A Menace to South Central While Drinking your Juice in the Hood (1996)
The Wayans family go to town on the popular hood films of the 90’s – namely Do the Right Thing, Menace II Society, Poetic Justice, and Boyz N The Hood – stretching out the messages in each film to both satirise and recreate your now typical cinematic experience of South Central L.A. Unlike some of their subsequent films, this one hits all the right beats and though it was mostly trashed by critics, it’s a fun watch if you aren’t actively looking for offense.
New Jersey Drive (1995)
This low-budget production about joy riding in Jersey is one of the more interesting offerings from Nick Gomez, who wrote and directed the film. Exploring the dangers of an aimless, and reckless life in an especially disenfranchised neighborhood, Gomez resists the temptation to rely too heavily on racial tension by giving us intriguing characters despite the eventual drift.
Belly (1998)
DMX and Nas hold this stylish film together while Hype Williams is more concerned with throwing the tone all over the place. It’s certainly a unique film, and while not as powerful as it seems to think it is, it’s a very entertaining watch with some great dialogue and an endearingly dark sense of humour. The thought of DMX watching Gummo on repeat is also kind of hilarious.
—
Straight Outta Compton and Dope are both currently screening in Australian cinemas.
For Straight Outta Compton review click HERE
For Dope review click HERE
———-
