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Samuel L. Jackson makes a gleefully updated John Shaft in John Singleton's homage to (not remake of) the early '70s action classic, picking up where Richard Roundtree's legendary Shaft left off. The Manhattan-set film is highlighted by excellent performances, dynamic action scenes, and witty one-liners (Jackson's Shaft: "It's my duty to please the booty"--although the line's deceptive: there's a surprising lack of sex in the film). Unfortunately, it's offset by a surprisingly uninspired, predictable, one-dimensional story, penned by Singleton, Richard Price, and Shane Salerno. The story, in which Shaft investigates the murder of a young African American, is without suspense, since from the start the audience knows that rich white boy Walter Wade (Christian Bale) did the deed, and that Shaft is going to kick his ass, big time. That said, charismatic performances--from Jackson (who, in keeping with the times, is more volatile and fiery than his predecessor), Toni Collette (as a frightened witness), the villainous Bale, and the utterly amazing Jeffrey Wright (Basquiat)--make the film enticing and watchable. Look for a cameo by the original Shaft's director, the legendary Gordon Parks, and fans of the original should note that a still stunningly handsome Roundtree briefly appears as Jackson's uncle. --N.F. Mendoza

Product Reviews
I actually cringed when I saw the trailer to this movie. It didn't show much except shot after shot of Samuel L. Jackson removing his designer sunglasses and staring at the camera. I thought it had the potential to be awful. I was very wrong. The movie is not without plot holes and implausibility, but it still works thanks to great acting and solid direction. John Singleton takes on a genre film with this almost-sequel to the famous blaxploitation series of the 1970s. Jackson plays John Shaft--nephew of the original Shaft who appears here as the wise old uncle. It's Richard Roundtree himself doing the honors, getting screen time in a theatrical release for the first time in decades. The story concerns a cold murder of a young black man by rich and twisted Walter Wade, son of wealthy New York society. Christian Bale comes right off the set of American Pyscho and plays the demented Wade with a more outwardly tough guy persona. Think Bateman and the Preppie Murderer, and you get the idea. (Even the faux-Brooklyn accent is funny.) There's not a whole lot of mystery around here. Shaft basically swears to get this guy, and we know he will, no matter no long or how many people he has to shoot. Things get complicated when Wade hires a Dominican drug lord to whack out the sole witness to the murder. The drug lord is then linked to dirty cops who get contracted to kill Shaft and the girl. In the end, a lot of people die. Shaft has the best marksmanship of any cop in the country as he guns down countless low-rent drug dealers and various minions. And clad in Armani, the coat alone costing half a cop's yearly salary, Jackson is the ultimate in cool. Why does it work? For one, the writing is slick, even if it's (trouble sign) done by a literal team of writers. However, it all comes together once we realize who was hired for what. Richard Price, author of Clockers and Freedomland, clearly lends some street credibility to the dialogue, although apparent on-set tensions meants Jackson was unwilling to read everyone's lines. Also, the main difference between the old and new Shaft is the decided absence of sex. Jackson is a man of action. Matter of fact, the lone sexual encounter (implied and not seen) is forced, as if the audience needs a reminder that Shaft can, ahem, deliver. Also, the strangely blue-lit title sequence features quick flashes of nudity and implied sex, though we never see who with. Again, inserted by the filmmakers after production. (They couldn't get Jackson back for reshoots.) But it doesn't matter. Shaft has the best lines, the steely stare, and a fast Glock. The other highlight is Jeffrey Wright as Peoples Hernandez, the drug lord who longs to be able to travel out of his neighborhood and still get respect. This has a very New York feel to it, and there are tons of Manhattan locations. David Arnold, who updated the James Bond scores so well in the Brosnan films, does a very nice job of supplying detective music. (Issac Hayes' original Shaft is redone by Hayes himself, though hardly different.) Too bad the score is not widely available on CD. You have to hunt for the limited edition disc that contains the entire score plus tracks not used in the final film. The DVD is competent, including interviews, featurette, and music videos. Highly recommended for those who like foul-mouthed tough cop movies where bad guys pay in the end.