The star director's lethal kicks land, though other elements are variably accurate, in a brilliant reimagining of '70s blaxploitation clichés, which benefits from the comedic chops of his partner Method Man.
Michael Jai White has participated in numerous film and television projects over the past 35 years or so. But probably the most beloved by his fans is "Black Dynamite," the 2009 parody of '70s blaxploitation films that he conceived, co-wrote, and starred in. That it remains a favorite is also evident in "Trouble Man," which isn't a parody but a relatively serious reinterpretation of the classic genre's conventions, with White (also currently a director) as the super-cool hero who constantly defeats bad guys through martial arts and gunplay, while simultaneously avoiding the attention of several beautiful women.
Director: Michael Jai White
Writer: Michael Stradford
Stars: Michael Jai White, Method Man, Noah Fleder
With no formal connection to the 1972 blaxploitation film of the same name, remembered for its Marvin Gaye soundtrack, White's "Trouble Man" is full of nods to classic African-American pop culture. But referentiality is the only way this semi-ironic work achieves its goals; it name-drops without descending into the parody of "Dynamite." It also doesn't take itself seriously in ways it should, such as attention to plot, pacing, and style.
The new "Trouble Man" ends up feeling too much like its inspirational predecessors, both for better and worse. Like most of the original blaxploitation wave, it feels hastily and somewhat sloppily put together. Yet one suspects everyone had a good time making it, and that fun is contagious. This is disposable entertainment with no pretensions of being anything more, whose 90 minutes may be unmemorable but pass as pleasantly as a casual reunion with old friends.
Upon getting out of bed at the beginning, we immediately notice the 57-year-old star's toned torso. Moments later, he's lustfully observed by an unknown receptionist: Jaxen (White), a former Atlanta cop and former law student, now head of security at his friend Ree Ree's (Mike Epps) nightclub. It's in this latter position that he runs into his former flame, Gina (Gillian White), an event planner, and both immediately wonder why their passion died down. A new reunion occurs when the night ends at his apartment: the foreplay takes an unusual form, proving that these participants have maintained their kickboxing skills in the decades since their last encounter.
Jaxen also does "odd jobs," which he vaguely describes as "helping people out of tough situations." Before their unexpected date night, we learn that one of those jobs involves pressuring a burly, gym-loving doctor (Steven Shelby) into agreeing to never abuse his wife again. Later, he reluctantly accepts another assignment from a local figure he dislikes, record label expert Barnes Holland (Orlando Jones). Singer Jahari (La La Anthony) has disappeared at an inopportune moment, with a new album to promote and the label about to go public. Having once been the woman's bodyguard, Jaxen is concerned enough about her well-being to accept the mission.
Tracing her whereabouts first leads to her current boyfriend Money (Method Man), who joins Jaxen in the search. Among the main characters entangled in what gradually becomes a kidnapping and extortion scheme is globetrotting businesswoman Yuen Song (Levy Tran), who goes nowhere without the company of her two contemptuous bodyguards (Noah Fleder, Theodore Park). Soon, our heroes are dodging would-be assassins at every turn. Jaxen complains, "I've had five fights in two days," when Gina chides him for his post-coital negligence. Hey, it's not to be taken lightly; being distracted by death threats is no excuse not to send flowers, at least.
The dialogue in Michael Stradford's script alternates between funny and perfunctory. The situation becomes increasingly absurd, in a rather carefree way, and credibility takes a backseat to the action and jokes, which in and of themselves aren't particularly inspiring. "Trouble Man" has a small-screen look that remains indistinguishable even in scenes of intense physical combat. And its mediocre execution is crowned by the most ridiculous final fade-out, an Easter egg, hinting at a sequel in recent memory.
Nonetheless, White's fourth feature as a director is fun, and its almost arbitrary progression sometimes achieves a zany takeoff, as when Jaxen casually bounces against a truck.
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