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GOOD HAIR Like most odysseys, Good Hair begins with a single question. "Daddy, why don't I have good hair?" the little girl asks of her celebrity pop. And armed with that query, Chris Rock sets off to make a movie that turns out to be endlessly fascinating and funny. Along with director Jeff Stilson, Rock uses his documentary to examine the complex relationship that African-American women – and many men (Prince is the target of a well-timed jibe) – have with their hair. And for a movie that runs just over 90 minutes, the pair cover an extraordinary amount of ground. Interviewing both celebrities and ordinary citizens alike, Rock manages to engage participants in discussions on the dangers of hair relaxers (aka "creamy crack"), the high cost of weaves, the distribution of the wealth earned by hair products created specifically for blacks (Asians and caucasians benefit the most), the idiocy of straightening the hair of little girls (some as young as three), and, tying it all together, the cultural significance of hairstyles for black women and the drive among many to blend in (i.e. look more white) by any means necessary. On top of all this, Rock also manages to squeeze in a trip to India, home to the vast majority of hair purchased by African-American women. Good Hair is such a marvelous movie for most of its running time that it's a shame several missteps are taken toward the end. One bit finds Rock trying to sell – to no avail – bags of black women's hair, a silly stunt that smacks of Michael Moore grandstanding. The movie's climactic set piece revolves around a gaudy show in which various oddballs compete for the honor of being deemed the best hairstylist by a panel of supercilious judges – an amusing sequence that's nevertheless too trite to anchor the home stretch. And, most jarringly, Rock unwisely chooses to end the picture with a rude remark by Ice-T, an insulting selection considering the movie is packed with choice quotes by the (female) likes of Maya Angelou and Tracie Thoms. On balance, though, Good Hair stands as an informative and entertaining documentary, and one that's pulled off with no small measure of style. ***
LAW ABIDING CITIZEN Vigilante justice in real life is, to put it mildly, highly problematic, but when it comes to cinema, who doesn't occasionally feel some measure of catharsis in watching a sympathetic protagonist skirt around a deeply flawed legal system and exact his revenge on his own terms? Law Abiding Citizen initially appears as if it will be a modern rendition of the black-and-white Death Wish, as loving family man Clyde Shelton (Gerard Butler) must watch helplessly as his wife and little girl are murdered right in front of him. The killer (Christian Stolte) and his accomplice (Josh Stewart) are apprehended, but while Clyde wants them to pay for their crime, his lawyer Nick Rice (Jamie Foxx), who's only interested in maintaining his high conviction-rate percentage, negotiates a deal. Cut to 10 years later, and Clyde sets out to get his revenge – not only on the criminals but also on the whole judicial system that failed them. Initially, Law Abiding Citizen makes all the right moves, and it's fun to watch Clyde punch holes in the whole manner in which this country handles its criminal cases. It soon becomes clear that the film is going past the simple morality of Death Wish, which is fine had it continued to offer viewers thought-provoking scenarios. Instead, this turns into an ugly, sordid affair, a gruesome melodrama that, too afraid to tackle the issues it brings up, instead elects to transform into a ridiculous thriller about a psychopath terrorizing a city. Foxx's character is ostensibly supposed to be the hero – or at least turn into one before the end – but Nick Rice remains a shallow, unrepentant lout whose final act is designed to earn audience approval but instead goes down about as easy as spoiled milk. By the end, the murdered wife and daughter are all but forgotten, and Clyde Shelton's pain has been trivialized to an offensive degree. Justice may be blind, but it's got 20/20 vision when compared to this movie that stumbles around in the dark with no hope of providing illumination. *1/2