First off, welcome to HQ10. Your movie is on the upper level, enjoy the show.
I've decided to run my review of Craig Brewer's new film, BLACK SNAKE MOAN, in part because the film is now screening at Sundance (with some tickets going for $345!) but in part also because it doesn't open for another month and I'm a firm believer in bragging rights. But more importantly, I do so as a tribute to my friend in L.A. who told me "You should really start a blog", not because she said she admired my writing or anything but because it's a good way to showcase said writing to potential employers. Smart woman. Anyway, she's been obsessing over this thing for a while now, and not wanting to rub her face in it (she knows I've seen the film), but I figured that a full scale review of some kind is in order, before the Sundance hordes (and whores) weigh in.
I saw BLACK SNAKE MOAN at Harry Knowles' annual Butt-Numb-A-Thon event in Austin last month and I feel the need to mention that in part because it was easily one of the better films to screen that day, but also because, unlike most of the other films shown (and don't ask me to get into some long rant against Harry and the AICN crowd because I'm not going to), it displayed more real human emotion than pretty much anything else screened. While it certainly looks better in hindsight it looked pretty damn good then, too, and I expect it to get a solid critical and audience reaction when it comes out. I don't know if this is going to be a mainstream hit, but I have the feeling that those who see it will probably like it quite a bit.
BLACK SNAKE MOAN may sound like it has an incendiary premise (Memphis farmer Jackson, hurting from a recent divorce, finds local nymphomaniac Christina Ricci beaten up on the road outside his house and decides to cure her of her wonton ways by chaining her to his radiator) but what's most surprising is how Brewer infuses his story with generous amounts of, well, soul. For a film set and shot in Memphis this would seemingly be second nature, but BLACK SNAKE is more of a blues-styled film and that music becomes something like a third lead to Jackson and Ricci. It's vital to the film and I have to give Brewer an amazing amount of credit for picking just the right music, which is not something I say lightly. I must confess that I'm really not a blues fan, you see. So much of it feels phony to me that I just want to leave the room, but here, it's riveting. There's a scene where Jackson takes out his steel guitar and plays a number for Ricci and you can see that the character is getting out a lot of repressed emotions by playing the blues. It's such an amazing moment that the audience applauded and what's even more impressive is that Jacskon himself sang and played the song. It's a great scene, not just for the music but also for Jackson, who is BLACK SNAKE MOAN's true saving grace.
Many have said that after SNAKES ON A PLANE (come on, it wasn't that bad) Jackson's career has gone downhill and that he's probably just a step away from direct-to-video titles. They're going to have to take that back, as this is probably the best performance Jackson has given to date, more so than PULP FICTION or JUNGLE FEVER. For the record, Jackson has never lost it: he's never given a performance that was bad or second rate, but he has appeared in some bad movies, that's for sure. However, his work in BLACK SNAKE MOAN is something completely different altogether and it's something that truly needs to be seen. I don't want to get too much into it because I feel it's a performance to savor and, more importantly, just watch, so I'll let my comments stand. Ricci is also fine, I suppose Justin Timberlake wasn't that bad, and the always-welcome S. Epatha Merkerson provides excellent support. And I'm told that 70s child star Kim Richards of the WITCH MOUNTIAN movies and "Hello, Larry" fame is in here somewhere, but I can't recall where. If it's in the role I think it is, then Brewer must be a big fan.
One other thing to mention about the film: Despite all the cussin' and nudity (sure to please all of Ms. Ricci's fans) this is also a surprisingly Christian-based film. I wouldn't quite say "holy", but this film respects Christian values more than most mainstream major studio films these days do, and that's something. No doubt many in the Focus on the Family crowd will not see past these elements, but for those who can, I think they will be pleasantly surprised.
I have a feeling that certain friends of mine will likewise not be disappointed.
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