John Singleton's films can be so gutsy. He does not 'pussyfoot' around the storyline, nor the language/spoken words involved. He stands by the character of the characters. (Boyz N the Hood 1991; Poetic Justice 1993; Rosewood 1996.) The story has genuine substance and no frills. In "Baby Boy", Tyrese Gibson's Jody is surely one who pussyfoots around life, living at his mother's house, driving his girlfriend Yvette's car, certainly a Mama's boy without himself realizing he's not behaving quite yet like a (grown/mature) man at 20. Ving Rhames as his mother's lover man around the house is the contrasting model of a mature man next to Jody. It's a hard, up-front and honest look at the love-hate, tug-of-war relationship between Jody and Yvette, the young man and the young woman, the macho and the overly sensitive aspects that young couples have.
As we are wrapped up in the ups and downs of Jody and Yvette, the arguments between them, it may not be immediately obvious what a powerful social statement the director is making. There are frank languages, and bold, intimate scenes on screen. NFE (Not for everyone.) It's good for 20 something's and above. For parents, too. Respect on both sides are required in a family where the young and the grownups need to live with each other - actively listen and understand each other, together.
Very strong casting besides Tyrese as Jody and Ving Rhames as Melvin. There's Taraji P. Henson as Jody's woman Yvette; A.J. Johnson as Jody's Mom Juanita; and Omar Gooding as Jody's buddy Sweetpea.
For a while, it may seem nothing much is happening other than the back and forth following Jody: at home with Mom, at Yvette's lazing around and playing with his son, bantering with buddy Sweetpea and trying to sell stuff on the streets to no avail but when conflict arises and sparks action in motion, the film's rhythm changes and you're 'jolted' back into conscious reality of the scheme of things. Life changes inevitably, whether you like it or not. Jody definitely has to shape up and cross over to grownup land.
Singleton is truly skillful and sensitive at his art of depicting on film the various aspects of life in the Hood. Bravo to his efforts of "Baby Boy."
As we are wrapped up in the ups and downs of Jody and Yvette, the arguments between them, it may not be immediately obvious what a powerful social statement the director is making. There are frank languages, and bold, intimate scenes on screen. NFE (Not for everyone.) It's good for 20 something's and above. For parents, too. Respect on both sides are required in a family where the young and the grownups need to live with each other - actively listen and understand each other, together.
Very strong casting besides Tyrese as Jody and Ving Rhames as Melvin. There's Taraji P. Henson as Jody's woman Yvette; A.J. Johnson as Jody's Mom Juanita; and Omar Gooding as Jody's buddy Sweetpea.
For a while, it may seem nothing much is happening other than the back and forth following Jody: at home with Mom, at Yvette's lazing around and playing with his son, bantering with buddy Sweetpea and trying to sell stuff on the streets to no avail but when conflict arises and sparks action in motion, the film's rhythm changes and you're 'jolted' back into conscious reality of the scheme of things. Life changes inevitably, whether you like it or not. Jody definitely has to shape up and cross over to grownup land.
Singleton is truly skillful and sensitive at his art of depicting on film the various aspects of life in the Hood. Bravo to his efforts of "Baby Boy."