Word: hoodã
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...implication that Jones can. Yet what we find in the tracks of this mixtape is not a window into the world of an American gangster from Harlem but a rehashing of trite gangsta-isms that anyone with a copy of the film “Boyz n the Hood?? could have easily conjured. Each track vaguely covers all of the following topics: selling crack, making money, snorting coke, getting hoes, and of course, ballin’ in a fly car. The worst part is that Jones doesn’t even take the time to represent these topics...
...however, lies in the foregone conclusion that Anwar is innocent. From the start, it is clear that the CIA has abducted the wrong man; consequently, Anwar’s explicitly unfair torture leaves no gray area to explore. If he had ties to terrorists in even an accidental way, Hood??s depiction of torture—and the question of its use—would raise interest and spark debate. As it is, the only statement the movie makes is that torturing innocent citizens is wrong: Hardly a revolutionary assertion...
...heavy-handed scene, Hood splices shots of CIA torturers stripping Anwar of his clothes with scenes from a radical religious service where attendees are commanded to destroy the infidels. The abundantly clear parallel between the two extremes provides one example of Hood??s reluctance to probe into complex issues...
...write the letter was made a few days after the reunion. One of the signatories, Barbara C. Moses of New York, said that the attorney general’s appearance—which drew a small group of protesters, including one who donned an orange jumpsuit and black hood??motivated some of her classmates to go public with their criticism of Gonzales...
...same name. Both Hood and Fugard cling tightly to literary motifs, using themes of “decency” and “identity” to develop the protagonist from a street-hardened boy to a compassionate man with whom an audience can empathize. If not for Hood??s unique investigation into the nuances of life, Tsotsi’s complex psyche and troubled human interactions could have overwhelmed the film’s slow dramatization. Tsotsi’s often awkward interactions with the kidnapped baby parallel his painstaking personal development...