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“Deep Cover” is many things at once, including a quasi-male love story between Russell and David, a heated denunciation of capitalism and American imperialism, and ultimately a bitter critique of policing’s impact on Black cops once Russell begins resorting to murderous underworld practices. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled genre picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows plus the Sunshine, and keeps its unerring gaze focused about the intersection between noir and Blackness — is about the duality of identity more than anything else.
Yang’s typically mounted nonetheless unfussy gaze watches the events unfold across the backdrop of fifties and early-‘60s Taipei, a time of encroaching democratic reform when Taiwan still remained under martial regulation as well as the shadow of Chinese Communism looms over all. The currents of Si’r’s soul — sullied by gang life but also stirred by a romance with Ming, the girlfriend of 1 of its lifeless leaders — feel nationwide in scale.
Other fissures emerge along the family’s fault lines from there as being the legends and superstitions of their earlier once again become as viscerally powerful and alive as their complicated love for each other. —RD
Manufactured in 1994, but taking place about the eve of Y2K, the film – set within an apocalyptic Los Angeles – is actually a clear commentary within the police assault of Rodney King, and a mirrored image to the days when the grainy tape played over a loop for white and Black audiences alike. The friction in “Peculiar Days,” however, partly stems from Mace hoping that her white friend, Lenny, will make the right selection, only to check out him continually fail by trying to save his troubled, white ex-girlfriend Faith (Juliette Lewis).
The result is our humble attempt at curating the best of ten years that was bursting with new ideas, fresh Strength, and much too many damn fine films than any major a hundred list could hope to have.
William Munny was a thief and murderer of “notoriously vicious and intemperate disposition.” But he reformed and settled into a life of peace. He takes just one last task: to avenge a woman who’d been assaulted and mutilated. Her attacker has been given cover by the tyrannical sheriff of a small town (Gene Hackman), who’s so established to “civilize” the untamed landscape in his have way (“I’m building a house,” he repeatedly declares) he lets all kinds of injustices happen on his watch, so long as his possess power is secure. What is always to be done about someone like that?
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