Word: duked
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Dates: during 1990-1999
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...Deep cover, Bill Duke's first release since A Rage in Harlem, serves the genre well. Duke develops his theme--the classic struggle between obligation to the community and obligation to the self--while painting a realistic and vivid picture of the ghetto. In the drug-steeped world of Deep Cover, salvation as well as justice, is at stake...
...Duke paints his picture of the inner city in angry colors. As the violence of a mad world unfolds on the screen, the power of an angrier sound track envelops us. The bleakness of the ghetto, reflected in the poignancy of the characters' lives, overpowers the audience...
...Duke and screenwriters Henry Bean and Michael Tolkin have made only minimal concessions to Hollywood. They tell a story of drug life without glorifications. A dealer's life is short and sweet; the existence is one in which killing a man is "liberating...
...Duke, Bean and Tolkin don't hesitate to expose anything--from gore-soaked violence to blatantly racist language. Deep Cover is at time offensive, but its hard-core realism lends enormous credibility . Even an occasional use of stereotype, employed to humanize characters, becomes effective...
...issues that challenge inner city communities and lays them out, intelligently and with brutal honesty. As Stevens reflects on his actions, he turns to the audience with a compelling challenge: "what would you do?" he asks. Although it's a formidable question to ponder, the viewers have no choice. Duke's film makes Stevens' dilemma remarkably immediate...