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7 of 7 people found the following review helpful:
4.0 out of 5 stars
The Hughes Brothers do it-- and do it well-- again, June 18, 2000
What do you do when your debut film is one of the top 100 movies of all time? This was the predicament the Hughes brothers faced after releasing 1993's stunning _Menace II Society_. My guess is they wanted to get away from what they were doing while still preserving the Highes style that made _Menace_ such a fantastic film, so they decided to do a flick about Black Americans' involvement in Vietnam, and its fallout. (Does anyone remember if this was based on a true story? I seem to recall hearing that...) More than anything, Dead Presidents suffered from awful marketing. Everyone flocked to the film expecting the whole thing to be about a bank heist, and instead they were treated to the story of Anthony Curtis (Larenz Tate, the actor who made O-Dog so memorable in _Menace_) and two of his high school friends in the late sixties. Fully three-quarters of this movie is setup, if you go in thinking it's about the bank heist, and I can see why a lot of people ended up panning this. However, if you realize it's a story about one person growing up, coming of age in the middle of the jungle, and his attempted reintegration into society, it suddenly gets a whole lot better. Add an ensemble cast worthy of many praises (including a young, hip, and very funny Chris Tucker as Curtis' best friend, N'Bushe Wright as his sister-in-law, and the brilliant Keith David as Kirby, the guy who originally gets Curtis involved in crime while still in high school), and it becomes an absorbing, painful meditation on life during wartime. There are still some bad things about Dead Presidents, the main one being that the Hughes Brothers didn't go anywhere near far enough away from Menace to make this into a film with its own separate identity; in some cases, they might have been using the same sets, the same props, and the same dialogue. If you've never seen Menace, it probably comes off just as fresh and original as it did there, but those who compare the two (and saw them in order of release) will probably end up finding Menace the better film. One also wonders if the Hughes brothers didn't use the Vietnam footage as an excuse for some extra gratuitous violence; the more Vietnam war films we get, the more brutal the footage becomes. We KNOW war is hell, folks, and there's something to be said for the power of suggestion. Instead, Al and Al give us every gory, and I mean that in the nicest possible way, detail. Still, I'd be wrong to not recommend this. It's good, solid work. But if you haven't encountered the Hughes brothers yet, I cannot urge you enough to go, now, today, and rent a copy of Menace II Society.
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