What “Superfly” succeeds is showing us the unholy portrayal of crime in the streets of Atlanta, and the performances that brings it to life. Some of the characters have crucifix tattoos, while others have guns, sexy women, and rap music (provided by Future). And you add some dirty cops in the mix.
But what doesn’t work at all is the story. It goes all over the place with characters yammering on, using street dialogue, and one liners. I had to rely on one liners to help clarify things and that’s not fly.
This remake of a 1970s African American film stars Trevor Jackson as Youngblood Priest, a hustler, who’s skilled in martial arts, and wants to get out of the game. He decides that because of how he survived a gun fight brought upon by the rival gang Snow Patrol, who almost cost the life of an innocent woman. So he and his homey Eddie (Jason Mitchell) decide to pull off one last score: selling cocaine for his Mexican supplier (Esai Morales).
The cast also includes Michael Kenneth Williams as Priest’s former karate instructor, who refuses to help him with the score; and Jennifer Morrison and Brian F. Durkin as dirty cops, who find out about Priest and Eddie’s score, and want the money.
The movie was directed by Director X, and produced by Joel Silver and Future. They give this remake a modern look with the music, dialogue, gun, and score. The performances from Jackson and Mitchell are spot on, in the ways they represent hustlers trying to go straight, while dealing with the demons in Atlanta. And I especially thought the final car chase, involving the hero and a goon, was cool.
But I didn’t care about the storyline, because it goes all over the place. The characters say one thing; they say another. And again, I had to rely on one liners and scenes to explain some things. The movie just relies on the glamour and bullets to keep things rolling, and that’s not enough to save the show.
This is a well made, but aimless project.