187
2/4
Starring: Samuel L. Jackson, Kelly Rowan, Clifton Collins Jr., John Heard, Karina Arroyave
Rated R for Violence, Strong Language, Drug Use and Brief Nudity
"187" is a depressing movie. That's to be expected, I guess, from a movie that takes its title from the police code for homicide. Unfortunately, the film has little to recommend it. Depressing movies aren't bad per se. Many are very powerful, in fact ("The War Zone," "Boys Don't Cry," "Precious: Based on the novel 'Push' by Sapphire" are three examples). Kevin Reynolds' urban high school drama cannot be placed among those elite films. Despite some effective performances, the film is largely unfocused and only moderately engaging.
At least it has its heart in the right place, which is more than can be said for many films. "187" has something important to say, but it's presented in an unconvincing and occasionally melodramatic way. In fact, what it actually says is unclear, period.
John Garfield (Jackson) is a teacher in New York City. Despite being at a school where metal detectors are a necessity and the students could care less, he remains devoted to his job of bettering his students. One day he finds that his textbook has the number "187" written on each page. After taking it to the principal (character actor Richard Riehle), who doesn't take him seriously, he finds himself on the wrong end of a vicious attack from one of his students (hip hop star Method Man in a cameo). Traumatized by the incident, he packs up and moves across the country to Los Angeles, where he finds himself in a similar, if not worse, situation.
The performances help a lot. With less talented actors, the film would have been unwatchable. But Samuel L. Jackson is magnetic in every film he's in. Even in awful drek like "Do the Right Thing," he's always wonderful to watch. John Garfield isn't an especially well-written character, but Jackson's carefully modulated performance helps a lot. Despite everything, he believes in teaching, and is fighting his way back to the way he was before the attack. He begins to realize that there's no way back from something like this.
The supporting cast isn't as good, but they're adequate. Kelly Rowan is lovely as the fellow teacher who looks to him for support and inspiration; their romance, while underdeveloped (even though it has far too much screentime), is endearing because they have chemistry. Clifton Collins Jr. (going, at the time, by Clifton Gonzales-Gonzales as a tribute to his grandfather) has his stiff moments early on, but soon finds his groove and makes Cesar into a chilling adversary for Garfield. John Heard is good as Dave Childress, a fellow teacher who has given up hope of accomplishing anything other than earning a small paycheck, but his character is essentially superfluous.
The film was directed by Kevin Reynolds, the one-time best friend of ex-matinee idol Kevin Costner. This was their first movie after their relationship soured over the "Waterworld" debacle. To say it's a change of pace is to understate matters tremendously, although it's not any more successful. The film is too long and it drags. It may have been Reynolds intention to make this a character study of Garfield, but, despite Jackson's efforts (this is not his best performance nor is it his strongest attempt), the character remains two-dimensional.
The film was written by a teacher. I believe it. The film has a clear ax to grind, and it knows its subject. Unfortunately, passion doesn't always translate to skill. This isn't a well written film, and it goes on and on in many scenes. Whether it was due to bad editing or lack of experience (the screenwriter's only previous credits are two reality TV shows from the 70s and early 80s, neither of which lasted long), the film isn't sure what it's about.
The ending is particularly problematic. It features plot developments that are absurd and unbelievable, plot holes, and sermonizing to the point where any tension in the film is replaced with eye-rolling. The climax, which could have been hugely powerful had the film set it up correctly and afforded the characters to speak intelligently, is ridiculous and almost unintentionally funny. The "big emotional aftermath" is similarly preachy.
So this movie doesn't get a recommendation from me. I admire its message, but not the way it goes about saying it.
Starring: Samuel L. Jackson, Kelly Rowan, Clifton Collins Jr., John Heard, Karina Arroyave
Rated R for Violence, Strong Language, Drug Use and Brief Nudity
"187" is a depressing movie. That's to be expected, I guess, from a movie that takes its title from the police code for homicide. Unfortunately, the film has little to recommend it. Depressing movies aren't bad per se. Many are very powerful, in fact ("The War Zone," "Boys Don't Cry," "Precious: Based on the novel 'Push' by Sapphire" are three examples). Kevin Reynolds' urban high school drama cannot be placed among those elite films. Despite some effective performances, the film is largely unfocused and only moderately engaging.
At least it has its heart in the right place, which is more than can be said for many films. "187" has something important to say, but it's presented in an unconvincing and occasionally melodramatic way. In fact, what it actually says is unclear, period.
John Garfield (Jackson) is a teacher in New York City. Despite being at a school where metal detectors are a necessity and the students could care less, he remains devoted to his job of bettering his students. One day he finds that his textbook has the number "187" written on each page. After taking it to the principal (character actor Richard Riehle), who doesn't take him seriously, he finds himself on the wrong end of a vicious attack from one of his students (hip hop star Method Man in a cameo). Traumatized by the incident, he packs up and moves across the country to Los Angeles, where he finds himself in a similar, if not worse, situation.
The performances help a lot. With less talented actors, the film would have been unwatchable. But Samuel L. Jackson is magnetic in every film he's in. Even in awful drek like "Do the Right Thing," he's always wonderful to watch. John Garfield isn't an especially well-written character, but Jackson's carefully modulated performance helps a lot. Despite everything, he believes in teaching, and is fighting his way back to the way he was before the attack. He begins to realize that there's no way back from something like this.
The supporting cast isn't as good, but they're adequate. Kelly Rowan is lovely as the fellow teacher who looks to him for support and inspiration; their romance, while underdeveloped (even though it has far too much screentime), is endearing because they have chemistry. Clifton Collins Jr. (going, at the time, by Clifton Gonzales-Gonzales as a tribute to his grandfather) has his stiff moments early on, but soon finds his groove and makes Cesar into a chilling adversary for Garfield. John Heard is good as Dave Childress, a fellow teacher who has given up hope of accomplishing anything other than earning a small paycheck, but his character is essentially superfluous.
The film was directed by Kevin Reynolds, the one-time best friend of ex-matinee idol Kevin Costner. This was their first movie after their relationship soured over the "Waterworld" debacle. To say it's a change of pace is to understate matters tremendously, although it's not any more successful. The film is too long and it drags. It may have been Reynolds intention to make this a character study of Garfield, but, despite Jackson's efforts (this is not his best performance nor is it his strongest attempt), the character remains two-dimensional.
The film was written by a teacher. I believe it. The film has a clear ax to grind, and it knows its subject. Unfortunately, passion doesn't always translate to skill. This isn't a well written film, and it goes on and on in many scenes. Whether it was due to bad editing or lack of experience (the screenwriter's only previous credits are two reality TV shows from the 70s and early 80s, neither of which lasted long), the film isn't sure what it's about.
The ending is particularly problematic. It features plot developments that are absurd and unbelievable, plot holes, and sermonizing to the point where any tension in the film is replaced with eye-rolling. The climax, which could have been hugely powerful had the film set it up correctly and afforded the characters to speak intelligently, is ridiculous and almost unintentionally funny. The "big emotional aftermath" is similarly preachy.
So this movie doesn't get a recommendation from me. I admire its message, but not the way it goes about saying it.
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