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The first half flows in a mostly standard manner. An assassination attempt on Frank triggers a citywide drug war with Frank’s private army, an African nationalist version of King Arthur’s Round Table, systematically attacking rivaling crack houses. After Sugarpop attends a French restaurant where Frank is killed for the last time and takes over his operation, he seeks vengeance for the ex-Kingpin’s assassination and vows to make the enterprise legitimate in two years. Who had been trained in ultra-light aircraft, transforms his men into a lethal ghetto air force. The media starts labelling them as aerial mobsters.
“Street Wars” is an engaging work that provides a deep insight into one section of society: the drug dealers. The overstated life of drug identifiers is too extravagant not to capable of making anyone laugh: gilded limousines, haute couture, five-star restaurants, attractive women, and, as there is one dragingly funny sex scene. Pic treats the vivid eccentric characters with a pinch of satire.
In any given scenario, no one is immune from Fanaka’s bitterness; not white nor black people. A police chief is ridiculed for branding thugs as animals and wasting humans who are a threat to society. This cliche is challenged when television reporters do the same when they cover news. Residents of the neighborhood are characterized as apathetic and egocentric. After all, it is a black woman we are discussing, as long as it is not in her neighborhood, she has no issue with the crack epidemic.
Unlike Spike’s attempt in, “Do the Right Thing,” in which the sympathy of cultural society is uplifted and questioned. Fanaka submissively adopts the culture of the whites, all he seeks is to be immersed in it. Some viewers may find the theme of the movie to be controversial, where power and respect can only be earned through money, citing the end truly justifies the means. Sugarpop has intentions of reforming legitimately, although, for the time being, he does not shy away from any sketchy schemes to increase profits.
Fanakas militant movie goes far and beyond Spike Lee’s and John Singleton’s depiction of ghetto black men feeling lost and angry devoid of hope and frustration. This time around, however, true anger translates into something productive. Fanaka’s children are not morally lost, far from it; they understand exactly how and what steps need to be taken.
The portrayal of violence is misplaced and superfluous, and, when viewed in slow-mo, simply looks idiotic. Also, as most of the shootouts begin suddenly and without warning, they have little context and are almost meaningless.
But, the glorious picturesque has its own artistic appeal, and is also paradoxically cheerful. Curtis’s magnificent casket is being disrespected as a coffin. His huge funeral is entertained with a disco Broadway number. “Street Wars” is assuredly unhurting and honor less, and is a picture that makes no demand on the audience to care for its characters. Modernist pic: becoming ever harder to classify now changes: from family melodrama to sex farce, followed by a throttle to the crime-gangster pic. Fast and predictable one.
Howe is gifted with stunning looks and screen presence, and because of it, he greatly lacks in the makings of the character Curtis. The other character castings are bumbling and vague, but it’s a blessing that the artistic essence of the pic doesn’t rely on how they performed. The beauty of the visuals is astonishing; the camera work, by John Demps, is quite breathtaking and the props and costumes are intentionally gaudy.
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