Black Dynamite

Michael Jai White (of Spawn fame) stars as Black Dynamite, crime fighter, Kung Fu expert, ladies man and neighborhood protector of children, in this pastiche of 1970’s-era blaxploitation films.

References abound to po’k chops, collard greens, and astrological signs; there’s a hilarious scene an hour into the film, corroborating the big plan by way of the zodiac, numerology and other tenuous beliefs that gained popularity in the 1970’s. We even encounter a character named Cream Corn (Tommy Davidson), a pimp Dynamite chases in a sequence accompanied by the requisite horns, funk guitars and analog synthesizer riffs in an astonishingly accurate reproduction of classic action themes by first-timer Adrian Younge. The plot, involving a hit on Dynamite’s brother, is largely irrelevant. The film exists purely to entertain.

Some degree of authenticity is owed to casting a combination of contemporary and classic black film actors, save Mario Van Peebles whose father Melvin defined the genre with Sweet Sweetback’s Baadasssss Song (made for $150,000 and grossed $15.2 million; unfortunately this film’s numbers are the other way around so far). Included is John Kerry (no, not that one), incidentally appearing as Richard Nixon. Mr. Kerry played Mitchell in Dolemite (1975). Mykelti Williamson and Bokeem Woodbine make appearances, as well as Arsenio Hall as sub-pimp Tasty Freeze.

The movie works largely because its humor lies mostly in-character rather than outside the fourth wall—going a step beyond Quentin Tarantino who frequently takes his subjects too seriously, relying exclusively on self-aware dialogue. “My mamma said my daddy’s name is Black Dynamite,” says a neighborhood girl. “So did my mamma,” says the other girl. The music abruptly stops. “Aw, hush up little girl. Lot of cats have that name,” Dynamite immediately deflects. A beat, then the music starts up again, as Dynamite’s friend Gloria (Salli Richardson) looks at one girl, then the other, as if checking for genetic similarities.

Earlier in the film, Black Dynamite has a flashback to Vietnam (among other things) that, as far as I can tell, has absolutely nothing to do with the plot. The detectives recruiting his services are probably puzzled, as well. “We’re a long way from ‘Nam,” drops one detective after a beat.

Writer/director Scott Sanders, whose credits include TV series such as Roc and the lauded, Afro-centric academic comedy A Different World, has fashioned a genre film that Mr. Tarantino always seems to only replicate—not very well. Here, the acting, framing, focus, blocking, editing, sound and film processing all nail down the period so perfectly, the film, shot in 16mm resulting in wide depth of field and color banding, is indiscernible from its forebears. It looks, sounds and feels as if it were shot in 1972. Split-screen sequences aid transitions, close-ups are framed without any regard to the Rule of Thirds and cameras trail the action, always a beat behind. A fake Rolex couldn’t have better timing.

Black Dynamite is screening at midnight at the Landmark Theatres Inwood, Dallas, Friday, January 15, and Saturday, January 16.

Black Dynamite • Dolby® Digital surround sound in select theatres • Aspect Ratio: 1.85:1 • Running Time: 90 minutes • MPAA Rating: R for sexuality/nudity, language, some violence and drug content. • Distributed by Apparition