"Once upon a time in South Central L.A... It ain't no fairy tale."
In the middle of the Los Angeles ghetto, drugs, robberies and shootings dominate everyday life. During these times, Furious tries to raise his son Tre to be a decent person. Tre's friends, on the other hand, have little regard for the law and drag the entire neighborhood into a street war...
Cuba Gooding Jr.
Tré Styles
Laurence Fishburne
Furious Styles
Ice Cube
Doughboy
Morris Chestnut
Ricky Baker
Angela Bassett
Reva Styles
Nia Long
Brandi
Tyra Ferrell
Mrs. Baker
Regina King
Shalika
Meta King
Brandi's Mom
In the middle of the Los Angeles ghetto, drugs, robberies and shootings dominate everyday life. During these times, Furious tries to raise his son Tre to be a decent person. Tre's friends, on the other hand, have little regard for the law and drag the entire neighborhood into a street war...
Rick, it's the Nineties. Can't afford to be afraid of our own people anymore, man. 1991 "One out of every twenty-one Black American males will be murdered in their lifetime" "Most will die at the hands of another Black male" "Increase The Peace" is the closing message of John Singleton's powerful, intelligent and affecting call for calm in South Central Los Angeles. Often mistakenly presumed by those who haven't seen it to be a film that glamorises violence, Singleton's debut film takes us into South Central and holds us there by just shooting the story. No trickery or overtly moralistic posturing from the director (and writer), just an unpretentious look at life in a modern ghetto. The story follows three black teenagers as they ponder on what life holds for them as adulthood lurches from around the corner. Brothers Doughboy (Ice Cube) and Ricky Baker (Morris Chestnut) and best friend Tre Styles (Cuba Gooding Jr), each have the usual worries that come with leaving the teenage years behind. Parents, girls, careers, not returning to the pen! But this is no ordinary coming of age drama, we have been party to this neighbourhood that these boys live in. This is a place where a trip to the store can get you killed in a drive by shooting. A place where those keen to learn and do their homework have their muse shattered by the frequent sound of gunshots and sirens filling the South Central night. Though Singleton can be accused of painting some of his characters as too saintly, he should be forgiven since this is after all, a message movie. Besides which his portrait of this particular neighbourhood is done from honest memory since he himself be a former youth of South Central LA. There in lies one of Boyz's trump cards, Singleton, through his own observations, asks of those in "The Hood" to take responsibility for what they do. Something that is potently given narrative credence courtesy of Tre's father's (a fabulous understated Laurence Fishburne) deep musings. Once the built up tension explodes with the inevitable tragedy that all should be ready for, the impact is like a sledgehammer hitting bone. Not in a blood letting for impact sake, but with the aftermath as a family soaks up the situation. It gives 90s cinema one of its most affecting and damning scenes, one that once viewed is hard to fully shake out of the memory bank. Here Singleton could possibly have bowed out of the story, but he goes further, expanding the aftermath and taking us, along with the characters, to the final "Increase The Peace" dénouement. It's been called everything from an After School Special to the most important Black American movie made thus far. I agree with the last assessment. 9/10
John Singleton really isn't my thing. I mean, the movie came out in '91 but didn't get much exposure out in the country where I grew up until it was on HBO. However "Poetic Justice" DID and when I finally came around to watching "Boyz n the Hood" I had extremely low expectations. I honestly thought it was going to be as absolutely pointless as "Poetic Justice" was. And, yeah, I did kind of like "Higher Learning," which I also saw before this, but I still kind of feel that he was pointing the finger at white people and telling the viewers that we are all evil and the cause of all the problems in the world. So I went in here thinking it was going to be a talented racist mess. However, it wasn't. The fact is the film was absolutely amazing. And, honestly, it was the first film I saw about gangs, from a non-police POV, that didn't glorify them. And it remains one of the few gangland movies I've seen that doesn't glorify the lifestyle. And I understand that they are two completely different beasts, but the film felt like it was taking the issue of gangs and giving it a "The Godfather" treatment...and it worked. It worked brilliantly. You can both relate to the characters--although I'm probably not supposed to say that--and see that the gang culture is a horrible thing. Unlike "Poetic Justice" it has a point. And unlike "Higher Learning," it doesn't cast as racist of a finger. It actually deals with issues and tells a story and, honestly, to watch it is to love it.
instant Classic . . . One of the Most Convincing Roles EVER Played, it was 100% Authentic about South Central Los Angeles California in The 1990's
![Boyz n the Hood (1991) Original Trailer [FHD]](https://i.ytimg.com/vi_webp/OJ_qAPj0Tkk/hqdefault.webp)
A young street hustler attempts to escape the rigors and temptations of the ghetto in a quest for a better life.
Based on the true life experiences of poet Jimmy Santiago Baca, the film focuses on half-brothers Paco and Cruz, and their bi-racial cousin Miklo. It opens in 1972, as the three are members of an East L.A. gang known as the "Vatos Locos", and the story focuses on how a violent crime and the influence of narcotics alter their lives. Miklo is incarcerated and sent to San Quentin, where he makes a "home" for himself. Cruz becomes an exceptional artist, but a heroin addiction overcomes him with tragic results. Paco becomes a cop and an enemy to his "carnal", Miklo.
A confident young cop is shown the ropes by a veteran partner in the dangerous gang-controlled barrios of Los Angeles, where the gang culture is enforced by the colors the members wear.
Set during the Rodney King riots, a robbery homicide investigation triggers a series of events that will cause a corrupt LAPD officer to question his tactics.
Ace is an impressionable young man working for a dry cleaning business. His friend, drug dealer Mitch, goes to prison. In an unrelated incident, he finds some cocaine in a pants pocket. Soon, Ace finds himself dealing cocaine for Lulu. Via lucky breaks and solid interpersonal skills, Ace moves to the top of the Harlem drug world. Of course, unfaithful employees and/or rivals conspire to bring about Ace's fall.
During his 18 years in Folsom Prison, street-gang leader Santana rules over all the drug-and-murder activities behind bars. Upon his release, Santana goes back to his old neighborhood, intending to lead a peaceful, crime-free life. But his old gang buddies force him back into his old habits.
Raised in a poverty-stricken slum, a 16-year-old girl named Starr now attends a suburban prep school. After she witnesses a police officer shoot her unarmed best friend, she's torn between her two very different worlds as she tries to speak her truth.
In 1992, Mercer is desperately trying to rebuild his life and his relationship with his son amidst the turbulent Los Angeles uprising following the Rodney King verdict. Across town, another father and son put their own strained relationship to the test as they plot a dangerous heist to steal catalytic converters, which contain valuable platinum from the factory where Mercer works. As tensions rise and chaos erupts, both families reach their boiling points when their worlds collide.
Tommy Bundy and Sincere are best friends as well as infamous and ruthless criminals and shot-callers in the hood. Respected by many but feared by all. As the police are closing in on them and new players are looking for a come up, will their reign last?
Los Angeles, 1949. Ruthless, Brooklyn-born mob king Mickey Cohen runs the show in this town, reaping the ill-gotten gains from the drugs, the guns, the prostitutes and — if he has his way — every wire bet placed west of Chicago. And he does it all with the protection of not only his own paid goons, but also the police and the politicians who are under his control. It’s enough to intimidate even the bravest, street-hardened cop… except, perhaps, for the small, secret crew of LAPD outsiders led by Sgt. John O’Mara and Jerry Wooters who come together to try to tear Cohen’s world apart.