Focusing on the growth of one bright black boy, Tre (Cuba Gooding Jr.), by tracing his growth from elementary school to his senior year in high school in 1991, Boyz is a portrait of minute-by-minute struggle as Tre must endure not only the common adolescent hangups but - this is where it really hits - keep from getting gunned down.
In this raw-nerve piece, Singleton takes us to the darkest part of South Central, Crenshaw and Century, the meanest home streets of L.A., where only liquor stores and gun shops thrive as legitimate business. Black viewers, especially those fed up with being “New Jack” -ed around and not attuned to the marginal, eccentric outbursts of black voices in mainstream movies, should embrace this furiously gentle film. No mere studio genre piece preening as social significance because its characters are black, Boyz is straight from the neighborhood - Singleton grew up in South Central - and straight from the heart.Īs such, Boyzcould cross cultural bounds for Columbia, something sensitive and responsible that Middle American white viewers may be curious to see. Receiving its premiere at the Cannes Film Festival, Boyz n the Hood is a knockdown assault on the senses, a joltingly sad story told with power, dignity and humor. Written and directed by 23-year-old, first-time filmmaker John Singleton, Boyz n the Hood is a booming, heart slam of a film. One in 21 black American males will be murdered at the hands of fellow black American males: That’s the grim social frame of this turf-tough depiction of young black male survival in South Central Los Angeles. The Hollywood Reporter’s original review is below: On July 12, 1991, Columbia brought John Singleton’s R-rated drama Boyz n the Hood to theaters, with Ice Cube and Cuba Gooding Jr.
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