Barbershop: The Next Cut

Fourteen years after “Barbershop,” Calvin and his heterogeneous team of barbers are still repairing the kitchens of their South Side Chicago business. The third installment of the franchise, subtitled “The Next Cut,” released in 2016, puts most of the original cast into the right story about gang violence and the strength of a neighborhood coming together. As Eddie, the shop’s comic relief since the first film, the barbershop is a place for people to feel safe talking about what their thinking. Odie Henderson explained in the review, “Writers Kenya Barris (“black-ish”) and Tracy Oliver extend this notion, turning Calvin’s into a gang-neutral safe zone in response to a political measure designed to wall in the neighborhood.”

That aspect is in response to how much gang violence has increased, and is being advocated by former barber, Jimmy. Henderson stated, “Jimmy has traded in his clippers for politics, a perfect match for the holier-than-thou persona we remember from the first film.” Just like everything else that gets talked about in the barbershop, Jimmy’s idea is talked about seriously, pro and con. Eventually, someone says to use the barbershop as a safe zone for a two day peace between enemy neighborhood groups. During the peace, haircuts will be free for every customer. Barber Jerrod, played by Lamorne Morris, sets up a social media hashtag, and the central focus of “Barbershop: The Next Cut” has begun.

Like the previous movies, this is an ensemble cast. The main part of the story is Calvin’s son, Jalen, played by Michael Rainey, Jr., a teenager irritating under the firm rules of his parents. He and his friend, Kenny, played by Diallo Thompson, feel the dishonestly tempting force of joining the local gang, and a good part of the film’s suspense hangs on whether the two will give in to the invitation. Calvin and his wife, Jennifer, played by Jazsmin Lewis, feel Jalen’s potential wanting into violence, and believe, like a handful of parents would, that he is being pressured by his friend rather than being followed. This brings some well-acted parts of tension between Calvin and Kenny’s dad, Rashad, played by rapper Common.

Henderson admitted, “Rashad is married to my favorite holdover characters from the original, Terri (Eve).” He’s in charge of cutting hair while she socializes with celebrities in her high-profile work. Henderson said, “Still yelling about her apple juice and swinging enough attitude to host “VH1 Divas” solo, Terri’s appearance ushers in the rowdy, no-holds-barred spirit that permeates the scenes inside the shop.” Debate topics start, and the most politically incorrect responses continue to come from Eddie, the shop’s senior barber. Henderson mentioned, “You may remember the huge controversy over Eddie’s hilariously inappropriate comments about Dr. Martin Luther King, Jr. and Rosa Parks in “Barbershop," and that was before Twitter existed. Who knows what fresh fights Eddie’s current, equally hilarious and inappropriate comments will unleash now that social media abounds?”

Though the first sequel made viewers go back in time to the history of the shop, “Barbershop: The Next Cut” gives us a look into the future. The original all-male barbershop has now turned into a unisex place to work. The female fights of the beauty salon has been combined with the tough talks of the barbershop. Now both genders get to hear the complaints that normally would not be said when they were together. Henderson credited, “This dynamic gives the back-and-forth comedy an extra dimension of humor and insight, playing to the strengths of director Malcolm D. Lee.”

Henderson admitted, “What fascinates me about Lee’s work, even in his less successful efforts, is his focus on the examination and deconstruction of the societal structures of African-American masculinity. In films like the superior “The Best Man” and its sequel “The Best Man Holiday," Lee bends his characters’ perceptions of themselves at odd angles, exposing the internal and external challenges placed upon them. Sometimes he nods in solidarity with them, and other times he calls them on their b.s. with a heaping dose of tough love that’s often issued by his female characters. His ability to funnel these explorations through a mixture of comedy and drama is his strongest directorial quality. It helps “Barbershop: The Next Cut” sail smoothly through its few unsuccessful moments.”

The original cast is added by several newbies, most of them from the Kenya Barris-Malcolm D. Lee firm of actors. Regina Hall is great as Calvin’s partner, Angie, and she’s given a nice serious scene to compliment her expected talent for comedy. Common gets a sense of style under stress to his scenes with Eve and especially Ice Cube. Cube stays a great straight man, kindly letting the comedians work off his patience. Henderson goes on to say, “He also gives some of his best dramatic scenes since his heartbreaking turn in “Boyz N the Hood." Conversely, I wish more had been done with Nicki Minaj’s character.” Hip-hop artist Nicki Minaj is fine in her role of Draya, but it was made with a one-note style that she never feels as real as everyone else.

“Barbershop: The Next Cut” belongs, as the entire series does, to Cedric the Entertainer. His Eddie the perfect example of a supporting character, and like in “Barbershop,” his performance deserves an Oscar. Henderson noted, “Convincingly playing much older than he actually is, Cedric the Entertainer infuses his character with the perfect timing of a comedian and the generosity of someone who wants to pass on life lessons to his younger colleagues. There’s a mischievous twinkle in his eyes whenever he says something horrible, but if you look closely, you’ll also see genuine concern in them when he’s not joking. In every film, there’s a scene where Eddie talks seriously about a situation, and those scenes are some the best ones in the series. As for his comedic moments, the coda in this film may be his finest one.”

For all the humor – and the film is really funny in a hysterical way – “Barbershop: The Next Cut” never loses focus of the weight of its main problem. Calvin’s fear for his son’s safety is a realistic one that any parent, regardless of race, can relate to. The threat of violence is never given a comedic treatment (a scene between the leaders of fighting gangs inside the barbershop is as stressful and scary as any drama you’ll see). Henderson said, “And even when the film threatens to get downright preachy and a bit too on-the-nose, it never loses its pull on the viewer. Sometimes we need a good sermon, and like the best of sermons, “Barbershop: The Next Cut” dispenses its message with enough humor and wisdom to inspire and linger after it’s done.”

In the end, if you liked the previous two movies, this one is definitely a must. Especially in this day-in-age, this movie came out at the right time. It’s right to educate our children about violence all over, and this film did a good job to have us look at it. This one is a must to see, because it was helpful and thankfully it came out at the right time.

Well, that concludes this year’s “Black History Month Movies.” I hope you enjoyed by reviews on the “Barbershop Franchise,” as I would be fine if they made another sequel. They might, but we’ll see. Stay tuned next month for more exciting reviews.

Air Force One

Happy President’s Day everyone! I think I will review a movie that I just finished watching last night, “Air Force One,” released in 1997.

Despite that it stars Harrison Ford and it’s also an action-thriller with political scheming, “Air Force One” is not a Tom Clancy thriller. To tell you the truth, it might have worked if it used Clancy’s help on the story.

Obviously, I’m not saying that this film is unwatchable. Actually, Ford and director Wolfgang Petersen (ironic that I’m reviewing another one of his movies on President’s Day, the other being “In the Line of Fire”) manage to put together some great work with one of the most comical plots in all of movie history. However, the plot is also tediously thin and idiotic at parts.

Jeff Vice stated in his review, “What's even more bizarre is that the story swipes bits of "Airport '75," "Star Wars," "Top Gun" and "Die Hard" — as well as a dated anti-Communism sentiment that's straight out of the John Wayne propaganda flick "The Green Berets" — and somehow makes it all work.”

Vice adds on, “In the end, how the film does financially may depend on whether Americans will buy Ford as a tough-talking, butt-kicking president — although, given the amount of lies and deception we've had to suffer through in the past 30 years, maybe we need a man of action in the White House.”

Action is all what Ford’s character, President James Marshall, is everything. When the film starts, this Medal of Honor-winning former GI is on TV giving an anti-terrorism speech in Russia. As you might have guessed, the speech makes him the primary target, along with some of Marshall’s Cabinet, who wanted him to do an easier way.

On the flight back – on board of his high-security personal plane – that speech comes back to hurt him, as the plane is hijacked by a team of Russian terrorists, led by Ivan Korshunov, played by Gary Oldman. The terrorists are wanting to trade President Marshall for their jailed leader General Radek, played by Jurgen Prochnow.

At first, you think that their kidnapping plan was a flop, as he manages to launch the plane’s escape pod. However, we find out that the president actually stayed on the plane, wanting to save his wife (Wendy Crewson) and daughter (Liesel Matthews) and everyone else.

He also has a surprise trick up his sleeve, though he doesn’t have much time – during negotiations with the vice president, played by Glenn Close, the terrorists have threatened to kill one hostage every 30 minutes until what they want is given.

Vice said, “As mentioned, both Ford and Petersen, who can craft as suspenseful a film as any director in the business today, have a heyday with the loopy tale. Petersen has given things a creepy, claustrophobic feel that only heightens the tension. After all, how many directors can make a scene about an unread fax message seem so dramatic?”

What could have helped first-time screenwriter Andrew W Marlowe’s script was really good. Not only is the dialogue as cheesy as you could expect, there are some reasonable conflicts – especially the comfort when the terrorists have captured the jet – which aren’t completely impossible.

Fortunately, the film has Ford, who’s just as awesome like he can be. There are also a pack of great supporting performances, especially from Crewson and Close – two of the more believable and strong female characters in recent film history – as well as Dean Stockwell and William H. Macy.

Vice mentioned, “As Korshunov, Oldman is a little problematic, since his Russian accent is every bit as corny as the jingoistic dialogue spoken by some of the characters. However, he does manage to be menacing nonetheless.”

The special effects team on the film is top notch, under the guidance of Richard Edlund. What is really convincing are the flight sequences and some amazing aviated fight scenes.

In case anyone didn’t know, this had the famous Ford line, “Get off my plane!” If you haven’t seen this film, and you’re a patriotic person, see it. This is actually a good movie, if you can believe that, and is also the right film to watch on President's Day. I give it a recommendation, especially to those who are fans of Harrison Ford. How can anyone not like him, he’s one of the best actors of his time. For every Harrison Ford fan, see it, if you haven’t.

Alright everyone, watch out for this coming Friday when I conclude this month with the last “Barbershop” movie.

Beauty Shop

Around the beginning of “Beauty Shop,” released in 2005, Queen Latifah’s character, Gina, asks her daughter (Paige Hurd) if her pants make her butt look big (how often have we seen people ask that question?). When she answers “yes,” Gina slaps it and says, “Good!” And means it.

Queen Latifah is greatly proud with herself, and “Beauty Shop” is proud with itself. Roger Ebert said in his review, “It isn't simply trying to turn up the heat under a "Barbershop" clone, but to be more plausible (not a lot, but a little) in the story of a woman starting her own business.” It’s more of a comedy than stand-up or slapstick.

Queen Latifah reprises her role of Gina, recently moved from Chicago to Atlanta (where she made a cameo in “Barbershop 2”). Ebert noted, “She's already the top stylist in an upscale salon run by the improbable Jorge Christophe, a streaked blond self-promoter who keeps Latifah from being the only queen in the movie.” Jorge is over the top in all the category, and you have to look closely so hard before you recognize that he’s being played by Kevin Bacon.

It’s very funny work, and it sets up Gina for a huge argument where she walks out on Jorge and starts her own beauty shop. There’s nothing completely original in the way she finds an old salon, modernizes and repaints it, and employs it with a shampoo girl (the hot Alicia Silverstone) from Jorge’s and a variety of expert and verbal hairdressers, most notably Miss Josephine (Alfre Woodard) and Darnelle (Keshia Knight Pulliam, best known for playing Rudy Huxtable). However, look at the part where Gina goes for a bank loan, and gets it after she decides to work on the loan officer’s hair.

Ebert said, “It is a convention of these movies that the shop is under threat from a landlord, a developer or another ominous menace.” This time it is former boss Jorge, bribing a crooked city inspector, played by Jim Holmes, to put Gina out of business, and later taking more dangerous methods. The movie smartly doesn’t make the threats the entire plot, and it’s nice how most of the movie is primarily about the characters, their stories, their lives.

If you look at Gina, she is a widow raising her daughter Vanessa, who desires to be a pianist. The man who lives on the top floor of the beauty shop is Joe, played by Djimon Hounsou, an African who is both an electrician and a pianist. Ebert credited, “It is a convention of these movies that the shop is under threat from a landlord, a developer or another ominous menace.”

Just like “Barbershop” having one white barber (Troy Garrity), “Beauty Shop” has one white beautician (Silverstone, promoted from shampoo girl). Andie MacDowell plays a customer from Jorge’s shop who makes a critical trip across town to follow Gina, her favorite hairdresser, and Mena Suvari is another customer from the previous business, not so nice.

Some of the other employees, including the honest Miss Josephine, came with the old shop. Others walk through the door, including Bryce Williams as James, an ex-convict truck driver who knows so much about braids that Gina hires him immediately, creating series guesses that shop is about his orientation.

The liking of this franchise is that they give a platform for energetic characters. Ebert noted, “Countless plays have been set in bars for the same reason. The format almost works like a variety show, allowing each character to get a solo, as when Woodard's Miss Josephine takes the floor for a passionate recital of Maya Angelou's "Still I Rise."”

Ebert goes on to say, “Presiding like a den mother and emcee, Queen Latifah exudes a quiet confidence that sort of hugs the movie, making it feel warmer than the "Barbershop" films.” “Beauty Shop” doesn’t shove itself in our faces, not even when trouble arises. It’s more about finding your path, being confident you can get there, and have some fun along the way.

If you enjoyed the two “Barbershop” movies, then you will love this spin-off. It’s quite enjoyable. Then again, why wouldn’t you have fun when you have Queen Latifah in the starring role? She is one of the funniest comedians we have, and she gets her spotlight in this movie. Definitely check this out if you want a good laugh, it’s a must to see.

Look out next Monday for my installment on this year’s “President’s Day review” and next Friday for the finale of the “Barbershop franchise” in “Black History Month Movie Reviews.”

13 Going on 30

I was really thinking about what Valentine’s Day Movie I would review today, and I was going back and forth on the films to review. Then, I decided to review a chick-flick that I actually find myself enjoying, “13 Going on 30,” released in 2004.

“I want to look like THOSE people,” says 13-year-old Jenna Rink, looking at photos of models on the cover of Poise magazine.

“Oh, those aren’t people, honey,” her mother (Kathy Baker) replies. “Those are models.”

Words of wisdom. That’s the start of “13 Going on 30,” a sweet, modest little comedy all about girls and self-esteem that has the beautiful Jennifer Garner as the lead actress.

The film opens in 1987. Jenna (Christa B. Allen) is an average, insecure teenager whose best friend is an obese boy named Matt (Sean Marquette). She wishes her best friends were the Six Chicks (Ashley Benson, Brittany Curran, Brie Larson, Megan Lusk and Julia Roth), the schools team of narcissist girls led by the snobby Lucy aka Tom-Tom (Alexandra Kyle). They have the common deal amongst kids around that age: Jenna does their homework for them, and they really pretend to be friends with her sometimes.

After being completely humiliated by the Six Chicks at her 13^th birthday party, Jenna eagerly wishes to be 30. She desires that so much because a Poise article says “thirty, flirty and thriving.” She wakes up the next morning to find herself 17 years into the future in 2004, where she’s a successful 30-year-old editor (Garner) of Poise magazine and best friends with the once-hated Lucy (Judy Greer). She has no memory of the skipped 17 years, and her friends and co-workers are worried that why Jenna is suddenly acting like a 13-year-old. Somehow, she is transported into her future.

Now being played by Jennifer Garner, obviously, and Garner’s girlish enthusiasm in the role is completely catching. Eric D. Snider described in his review, “She has young features — accompanied by an angular face and square, mannish shoulders, but that’s beside the point — and she bubbles with the zeal of a girl who has suddenly found that all her dreams have come true.”

Jenna finds Matt, now played by Mark Ruffalo, and is shocked to find out they stopped being friends after her 13^th birthday party. On top of that, he’s engaged, which you probably have guessed.

Snider said, “More unsettling realizations await Jenna, but I will only hint at them here.” Everyone probably knows that she must find out “how” everything she wanted came true and what type of person she turned into in the process.

Snider said, “I mention the introspection because it’s wholly unusual for a film based on a fantasy premise to even suggest that a character look within herself, much less for her to be shocked by the results. Most films would let Jenna become princess of the world, give her a mild complication with Matt, let them overcome it, and send them on their merry way. This one, directed by Gary Winick (“Tadpole”), sends us through much more interesting terrain on our way to the happy ending.”

Snider admitted, “I like the scene where Jenna’s magazine is hosting a party, which is turning out to be a dud.” Still stuck in 1987, she gets the DJ (Richard “Swoop” Whitebear) to play Michael Jackson’s Thriller, and gets everyone on the dance floor. Snider credited, “Not only is this one of filmdom’s few spontaneous dance sequences that actually make sense — it’s entirely plausible that a group of 30-somethings would, in fact, know the dance moves from the “Thriller” video — but it has the added humor of underscoring Jenna’s 1987 innocence in a 2004 world.” She doesn’t know, obviously, that Michael Jackson’s songs were just simply campy at the time.

(That part mystifies views when we see Andy Serkis, played Jenna’s boss at Poise, do the moonwalk.)

Snider credited, “Written by “What Women Want’s” Cathy Yuspa and Josh Goldsmith, with polishing by Niels Mueller (“Tadpole”), the story uses both the kid-in-a-grown-up’s-body premise and the person-from-the-past-thrust-into-the-present premise without overdoing either of them. Jenna’s confusion in the modern world is limited mostly to being frightened by cell phones, and I was grateful not to see a crazy shopping spree once Jenna realized she was an adult now. (We’ve all seen “Big”; we get it.)”

The problem is that it gets dry by the end, and puts in an unneeded subplot where Lucy stabs Jenna in the back. Garner and the silly likable Ruffalo’s on-screen charisma is nice, but that can’t keep the movie going when it starts to fall around that part. With that out of the way, it’s a nice part that the movie puts together nicely for the runtime. Just look at how big Jennifer Garner has gotten as a film actress.

Now, I know this may sound strange, but I actually recommend everyone to watch this movie, especially around the Valentines time. This is actually one of those chick-flicks that couples can watch together and enjoy. I’m not lying, everyone will enjoy this movie when watching it, and it’s really good. Seeing how I’m not really fond of chick-flicks, being a man, but there are good ones for men to watch, and this is one of them. I give this a solid recommendation.

Happy Single Awareness Day to every single person out there. Stay tuned for Friday when I talk about “Beauty Shop.”

Barbershop 2: Back in Business

“Barbershop 2: Back in Business,” released in 2004, starts off with a little history. The camera lowers through so many fireworks, lighting up the sky over a street scene with the subtitle “July 5, 1967, Southside Chicago.” An inebriated Uncle Sam walks into an alley, a funny reference to the national celebration, but also a symbol of the national havoc of the time, the dismal divides of class and race, the eruptive doubt between generations. Just then, another person walks into the scene – it’s Eddie, reprised by Cedric the Entertainer, and described by Cynthia Fuchs as “the charismatic, mush-mouthed raconteur whose opinions regarding Rosa Parks ignited minor controversy in 2002.”

Escaping from some police officers, young Eddie walks into the Uncle Sam (Fuchs mentioned, “one more comic-political swipe at the elderly emblem”), then runs into the first open door, Calvin Sr.’s (Javon Johnson) barbershop. When the manager agrees to hide him from his chasers, Eddie later explains to Calvin Jr., reprised by Ice Cube, 35 years later, he feels not only thankful to his new friend, but also like he’s found a “home.”

These first five minutes give Eddie and the barbershop some proper history, of resistance and community. They also make “Barbershop 2” look like it will be different from the first movie, which, thanks to Calvin’s occasional references to his father, is firmly positioned in the present, particularly the man’s personal fight over whether to keep or sell the barbershop that was passed down to him. However, who comes after is not very different from what came before. Calvin will encounter another version of the same problem, and he’ll come to a similarly right choice. In between, he’ll exchange jokes with the same characters and hang out in the same place: the barbershop.

Once again, the main issue is real estate. However the original had Calvin’s personal finances in mayhem, here the problems are more widespread, particularly, the improvement of the neighborhood where his barbershop has been in business for so many years. This year’s problem is introduced by the arrival of a Nappy Cutz franchise across the street, thanks to the Porsche-driving developer Quentin Leroux, played by Harry Lennix. The new barbershop has a nice-looking website advertising milk baths, shiny new appliances, and a basketball hoop. What it doesn’t have, obviously, is a sense of history, loyalty or community.

Fuchs said, “In the moral and social economy assumed by Barbershop, this lack makes Nappy Cutz the enemy.” What’s worse is part of a larger urban development problem, including the mergers of other local dealers and the political and financial progress of the slick Alderman Brown, played by Robert Wisdom. The people who are against the “progress” are firm people citizen Calvin and his barber coworkers – playful Terri (Eve), sweet Rocky (Michael Ealy), friendly “African” Dinka (Leonard Earl Howze), and the barber who is blending, Isaac (Troy Gartiy). Another returning character in here is former barber, now lawyer Jimmy, reprised by Sean Patrick Thomas, now working for Alderman Brown, and increasingly particular about the deals getting made.

Just like previously, the film has small moments to so many interactions: Isaac and Ricky fight, Jimmy and Terri argue, Calvin tries to control the fights (he goes so far as to ban profanity in the barbershop, for a minute, to create a “family” environment, just like how I do on here). Jumping from moment to moment, the movie is observant to local detail (girls jumping rope, people on the street), less concerned with plot. Calvin goes through a series of mostly separate situations during the day, visiting Miss Emma (Jackie Taylor), now in danger of losing her daycare business, caring for his own son, and talking with his noticeably patient wife (Jazsmin Lewis).

On top of that, the movie goes into the shop long enough to let Cedric talk about on President Clinton, Mike Tyson and R. Kelly. Eddie’s story is talk about repeatedly during the film’s flashbacks – he’s in love with a beautiful woman he meets on the subway, played by Garcelle Beauvais-Nilon, he’s all for the Black Panthers (at least until they talk about killing and dying to make a point), he’s a depressed watcher of the riots following Dr. King’s murder – all of that his running jokes is related in experience that’s both nostalgic and reminiscent.

Fuchs said, “While these peeks into Eddie's past grant him specificity, and situate his cynicism in some Forest Gumpian experience (as if to say, "He's been there, so he has the right to speak"), he meets his rival in the present day, in Gina, played by comedian, rapper, television producer and actress, Queen Latifah, who makes a small cameo, to keep saying insults at a barbeque-to-support-the-barbershop. Here they start in front of an excited group, Gina saying Eddie resembles to Shamu, and Eddie saying another woman resembles Chewbacca. Fuchs credited, “It's an old-school throwdown, rowdy, friendly, and good fun.”

Obviously, such moments give both “Barbershop” movies centrally charming, an appreciation of usual and chat, a generosity of spirit. To end off, along with all that comes the opposite spirit, for Queen Latifah has signed on not only to cameo this moment, but also star in her sown spin-off movie, which is titled “Beauty Shop,” featuring Gina and her own team of loquacious beauticians, in a shop next to Calvin’s barbershop. Fuchs ended her review by saying, “Ah well, it's the American Way.”

I know that this movie may not be as good as the first movie, but you should still the movie and give it a chance. It might be the same formula as the first movie, but I still think that it’s really entertaining and has some real legitimate business drama. Definitely see it if you liked the first one.

Do you want to know how “Beauty Shop” is a spin-off? Check in next week for the next installment in “Black History Month Film Reviews.” Also, Monday will be my yearly "Valentine's Day Movie Reviews."

Barbershop

Welcome everyone to this year’s installment of “Black History Movie Month.” This month, I will be looking at the “Barbershop” franchise. To start off the month, let’s take a look at the first installment that came out in 2002, “Barbershop.”

The movie takes place during one long day in a barbershop on Chicago’s South Side, where seven barbers (six men, one woman; six black, one white) are in charge. When you see those parts, the conversation goes way beyond intercourse, but is not above men discussing a girl’s derriere. Who has it, who needs it, who wants it? Roger Ebert put it best in his review, “But sex as a general topic would be far too limiting for this crowd, and the movie plays like a talk show where everyone is the host.”

The barbershop is owned by Calvin, played by one of the coolest actors, Ice Cube, who had it passed down to him by his father. It helps him out but doesn’t fill his want for something huge – like him wanting to make a recording studio in his basement and sell platinum records. One day, carelessly, he sells the barbershop for $20,000 to Lester the Loan Shark, played by Keith David, who promises the word “barbershop” will be permanently on the front, but privately is going to make it into a gentlemen’s club with the same name.

The barbers and regular customers are furious when they find out. The barbershop gives more than employment or service for them. Ebert put it best when he listed it as, “it is community, forum, friendship, camaraderie, continuity.” Figuring out his mistake, Calvin tries to buy back the barbershop, but finds the price is now $40,000. Now it looks like this will be the last day that the small barbershop is a place for every one of the regulars.

The barbers are probably a whole lot of support by this barbershop, but they give a nice cross section: Along with Calvin, there’s old Eddie (comedian Cedric the Entertainer famous for “The Steve Harvey Show”), who doesn’t look like he has a customer but is position is chief pontificator, Jimmy (Sean Patrick Thomas), a college student who tries to fascinate everyone with his information (are scallops a mollusk?), Terri (rapper Eve), who knows somebody has been drinking her apple juice from the refrigerator in the back room, Ricky (Michael Ealy), who has two strikes against him and will get life for a third, Dinka (Leonard Earl Howze), from Nigeria, who like Terri but is too fat for her standards, and Isaac (Troy Garity), the token white barber, who explains that, inside, he’s blacker than some of the other barbers.

An alternate plot shows JD (comedian and game show host Anthony Anderson, currently on “Black-ish”) and Billy (Lahmard Tate), who try a dramatically hopeless theft of an ATM machine that has been recently put in the Indian grocery story on the corner. Since they “borrowed” Ricky’s van for this job, if they get caught he gets a life sentence. Ebert noted, “The unending conversation in the shop is intercut with JD and Billy wrestling with the ATM machine, which at one point they even attempt to check in with at a motel.”

If nothing important gets done in the tedious barbershop conversations, at least many issues are mentioned, and by the end, in classic sitcom fashion, every problem has been resolved. Ebert mentioned, “The talk is lively but goes into overdrive when Eddie is onstage; Cedric the Entertainer has the confidence, the style and the volume to turn any group into an audience, and he has a rap about Rosa Parks, Rodney King and O.J. Simpson that brought down the house at the screening I attended.”

The film is awkward in structure but elegant in delivery. Ebert criticized, “I could have done without both of the subplots--the loan shark and the ATM thieves--and simply sat there in Calvin's Barbershop for the entire running time, listening to these guys talk. There is a kind of music to their conversations, now a lullaby, now a march, now a requiem, now hip-hop, and they play with one another like members of an orchestra.” The movie’s a pleasure to listen to, it would even work as an audio book.

If you haven’t seen this film, I would definitely say not to miss your chance to see this. It’s a nice little comedy that I think everyone will have an enjoyable time watching, especially since it has heart. Check it out when you get the chance.

Want to know how the sequel is? Wait until next week in the continuation of “Black History Movie Month.”