4 ART S The Michigan Daily - -Wednesday, October 16, 2002 - 9A 'Sugar' sweet and full of spice Magic of 'Tuck' doesn't translate By Tara Billik For the Daily Rick Famuyiwa's "Brown Sugar" kicks off with frenetic rhythm as influential hip-hop figures such as De la Soul, Big Daddy Kane and Russell Simmons respond to an interview question, "When did you first fall in love with hip-hop?" Yet what begins as a sequence of cameos resembling a documen- tary soon shifts its energy to an overriding love story. On one hand, "Brown Sugar" pursues the development of hip-hop in pop culture. On the other, this commentary's purpose is to trace the development of the film's characters and their relationship. It all starts in 1984 when the two main characters, Dre (Taye Diggs, "The Wood") and Sidney (Sanaa Lathan, "The Wood"), reveal when they "first fell in love with hip-hop." They are two BROWN little kids on the Brooklyn streets, enchanted with the spell of break dancing and freestyle At Show rhymes. However, their innocence is destined Qual to be lost, along with that of hip-hop as it Fox Se unites with the mainstream. The present setting finds an almost 30 year-old Sidney working as a successful hip-hop journalist. In an equally high-class position, Dre works as a talent scout for Millennium records. The two best friends reunite in New York City where their passion for hip-hop first ignited. They are repeatedly obliged to tell others that they are "just friends" as they undoubtedly look like the perfect couple. Even the sweet kisses Sid and Dre exchange on the night before his wedding aren't enough to halt his exchange of vows with his fiance, Reese (Nicole Ari Parker, "Boogie Nights"). Meanwhile, a handsome basketball player, Kelby (Boris Kodjoe, "Love and Basketball"), sweeps Sidney of her feet. When Dre's job requires him to support an embar- rassing excuse for a rap group (one white guy and one black guy as The Dalmatian Duo), he finally reaches for his digni- ty and decides to start his own label. Sid supports him whole-heartedly and financially (unlike his own wife). When Kelby proposes to Sidney, it's enough to let Dre know that he can't let her go. The "friends" just have to admit it 'Birds' is a twis isn't platonic anymore so the happily ever after ending can fall into place. This formulaic best-friends-falling-in-love narrative gets stale rather quickly. The hip-hop parallel is an interesting vehicle, yet subtlety would become it. As Dre's name becomes heavy-handedly interchangeable with hip-hop, Famuyiwa teeters dangerously over the edge of sentimental mushiness. Yet the sweet romance is masterfully spiced up with a hearty helping of humor. Queen Latifah has a minor role as Sidney's friend, but large enough to deliver a lot of laughs. Mos Def, as Dre's target client for his new label is hilarious. His witty advice to Dre concerning the ending of "Casablanca" has the whole audience laughing out loud, not only the cinema savvy. Diggs is sizzling as usual. He is always dressed to impress, and flashing that gorgeous SUGAR smile. His character evolves tremendously from Millennium's paid off pawn to a penni- case and less entrepreneur following his heart. Lathan's ty 16 role is worthy of recognition. She spealks with rchlight conviction, and proves that her alluring femi- ninity is no restriction for being one of the guys. She embodies Dre's definition of brown By John Laughlin Daily Arts Writer The Tuck family, according to Jay Russell's ("My Dog Skip") latest film, "Tuck Everlasting," guards the fountain of youth. Based on Natalie Babbit's novel, the film takes place toward the end of the Victorian era and centers on young Winnie Foster (Alexis Biedel, "Gilmore Girls") whose search for freedom in a world of restriction and refinement that the Tuck's are not "really livin', but just are." The film finally comes to a head when "The Man in Yellow" finally tracks the Tucks and Winnie down and threatens to kill Win- nie if the Tucks do not show him where the spring is. "Tuck Everlasting" is a magical film that centers on a rather unorthodox teen-love relationship. One begins to real- ize that Jesse and Winnie ending up together is an impossi- bility and one that involves decisions of the most complicated in nature. leads her to discover what only before existed in her dreams. Upon hearing her parents' intentions to send her away to a finishing school, Winnie takes off for the woods that surround her home. She becomes lost, but stumbles upon a young boy - Jesse (Jonathan Jackson, "Insomnia") - drinking from a small pool of water beneath a large tree. Jesse tries to get Winnie to leave, but when his brother Miles (Scott Bairstow, " White Fang 2") sees the two of them, he snatches Winnie up onto his horse and whisks her away to the Tuck family home. w lit ,ar TUCK EVERLASTING At Showcase and Quality 16 Walt Disney Pictures The film boasts a fantastic ensemble cast and all of the actors deliver first-rate perform- ances. In this way the film does not suffer, but it is strengthened. However, whether inten- tionally slow to give the illusion of stopped time or just a directorial error, the film does not move swiftly and its explication seems to take an unreasonable amount of time. This Disney film is definitely aimed toward a younger age bracket. While enjoyable to some extent by alt the film lacks the sophisti- cation, complication and necessary breadth that older audiences require. Like a story- sugar, "Fine. Smart. Classy without being a snob ... hella sexy, but not a ho." Also stirring up the drama is Famuyiwa's elegant visual style. The creative interludes of split screens and freeze frames linger on an image, contributing to the nostalgic tone. These techniques are noticeable but never intrusive. Appropri- ately, an accompanying soundtrack features music by Erykah Badu, Mary J. Blige, Mos Def and more. "Brown Sugar" is flawed by its reluctancy to go deeper. Famuyiwa, too timidly, pokes around at sub-plots just yearn- ing to explode. The piece cleverly touches on nuances of socio-political themes and the destruction of hip-hop culture into commodity. In a film so littered with themes about "selling out," this is where Famuyiwa did his "selling out." These sub-themes could have been explored to their full potential and produced a more interesting and provocative tone. What arises instead is a more typical romantic comedy with universal appeal. : on DC classic The family is enigmatic and Winnie is unable to compre- hend why they will not simply let her go home. Soon taken in by the freedom these people have and the generosity they exude, Winnie begins to lose track of time and grow quite at home amongst the Tucks. All the while, "The Man in the Yellow Suit" (Ben Kings- ley, "Searching for Bobby Fischer") is tracking the Tucks in search or their secret resource, the fountain of youth. The Fosters are also searching endlessly for their missing daugh- ter and come to suspect that "The Man in Yellow" has some- thing to do with her mysterious disappearance. Eventually, around a campfire, Jesse tells Winnie their family secret and Miles is all too happy to offer a different perspective on everlasting life. It is finally the boys' father (William Hurt, "Dark City") who makes Winnie fully aware book, a narrator leads the audience in and out of the tale, but this adaptation (like most done for the screen) may leave older audience members thinking, "That was it?" Courtesy of Disney I Jackson and Biedel re-enact a scene from 'Commando.' - Change the World of Healthcare....Become a Doctor or t By Jaya Soni For the Daily Take the inspiration of DC Comics' Batman series and mix in a "Buffy the " Vampire Slayer"-like attitude of teenage * chivalry in modern day America. The result is BIRDS the WB's new teen Wednesda drama, "Birds of Prey." Much like WB's last season newcomer "Smallville," "Birds of Prey" takes a DC Comics classic and adds a con- temporary twist. In fact, the WB uses the same tactics to entice its youthful audience. As in "Smallville," "Birds of Prey" stars a sexy and youthful cast to portray the principles of superhero comics. "Birds of Prey" is based on the premise of a new generation, the legacy to Batman. Who knew that Batman and Catwoman had enough animal instinct to consort and create another meta-human? More surpris- ingly, Catwoman refused to inform Batman of their superhero accident and began to raise their daughter Helena (Ashley Scott, "Dark Angel") alone. Seems like a scandalous situa- tion for a duo of superheroes. Obvi- ously, Bruce Wayne's devilish good looks and immense bank account did- n't appeal to the independent and powerful Catwoman. Unfortunately, as in any traditional superhero scheme, evildoing inter- feres. After a fierce battle against Bat- man and his sidekicks, the Joker barely escapes and manages to have his henchman attack those that assist Batman. Catwoman and Batgirl, a.k.a. Barbara Gordon (Dina Meyer, "Star- ship Troopers") are the prey of Joker's retaliation. Barbara Gordon is left paralyzed from the waist down and Helena is left motherless. However, the most astonishing result is that Bat- man hangs up his black jock strap and flees Gotham city for a "normal" life. Left to defend the "New Gotham City," Barbara Gordon raises Helena and the two become a crime-fighting duo known as Oracle and Huntress. The episode commences seven years later as a small town girl leaves home to find the stars of her clairvoy- ant dreams. As another meta-human character, Dina (Rachel Skarsten) is the only one that can see the past and future through the perspective of peo- ple she physically touches. As a child, Dina awoke most nights confused and scared. With her abilities, she per- ceived the intense images of Joker's attacks on Batgirl and Catwoman. Dina finally meets the victims within her dreams after being attacked in the dark streets of NewGotham city and saved by Huntress. Dina follows Huntress home to find the highly equipped secret lair (fund- ed by Bruce Wayne's trust fund). Huntress is uneager to have the new- comer stay but allows for it as she was once a child with no place to go, just like Dina. The remainder of the episode includes the aid of Dina * as she helps Oracle and Huntress track down the F PREY killer of three business at 9 p.m. related mupders. The plot thickens as the B _ nemesis implicates evil reliable Alfred Pennyworth and the notorious Batman nemesis Dr. Harley Quinn, a.k.a. Dr. Harleen Quinzel (Mia Sara, "Ferris Bueller's Day Off"). "Birds of Prey" has definite potential if the program premise holds true to your DC Comic beliefs. Dr. Quinzel appears to play a reoccurring role as Helena's therapist and both are unaware of the other's dual identities. Also notable and unforgettable is Detective Reese (SheMar Moore, "Young and the Restless"). His per- sistent search for truth and justice leads him into some unexplainable situations with Huntress. 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