Also known as: Son of Shaft (Germany)
Release Date: June 14th, 2019
Directed by: Tim Story
Written by: Kenya Barris, Alex Barnow
Based on: Shaft by Ernest Tidyman
Music by: Christopher Lennertz
Cast: Samuel L. Jackson, Jessie T. Usher, Richard Roundtree, Regina Hall, Alexandra Shipp, Titus Welliver, Method Man, Lauren Velez
Davis Entertainment, Khalabo Ink Society, Netflix, 111 Minutes
“You’re the one being misogynistic, I never even mentioned her gender! I’m an equal-opportunity ass-whooper!” – John Shaft II
I put this off for awhile, especially after revisiting the 2000 Shaft film, as I found that one to be really lackluster and not as good as my memories of it were.
However, this one was definitely better than the 2000 film and I think that had a lot to do with this installment being more comedic and lighthearted, even though it dealt with some serious stuff.
Overall, this plays more like a Bad Boys film where the buddy cop formula is played out by a father-son duo. The grandfather, the original John Shaft, joins them for the climax.
Sam Jackson is back on his A-game for this one but I’m sure it’ll rub sensitive, cancel culture Millennials the wrong way because he puts them on blast, repeatedly.
In fact, I give the filmmakers and the studio immense props for not taking the bitch route and making this an overly “woke” movie and instead, allowed it to be critical of this generation’s young adults, as seen through the eyes of the older generation.
Weirdly, though, this Shaft film seems to be a lot less obsessed with race and social politics. While I like that these issues have been at the forefront of the other four films in the franchise, it was actually kind of refreshing to see these characters just be badass and not just fighting for some sort of racial injustice.
With that, though, it sort of loses the long-lasting blaxploitation vibe that the name Shaft has carried since 1971. But maybe this was trying to convey that we were starting to enter a post-racial era before 2020 happened and fucked everything up again.
For the most part, I liked everyone in this film. Jessie T. Usher’s John Shaft Jr. was annoying but his character was supposed to be, as part of the story dealt with him being kind of a pussy and overly concerned with how society sees him. He’s a “woke” Millennial that has a grudge against his uber-masculine father, who wasn’t around when he grew up.
These character traits allowed for some great criticism of his generation, though, and Sam Jackson delivers his punches without remorse or worry that his snowflake son wants to hear it or not. In a lot of ways, it felt like the writers and Tim Story, the film’s directors, were trying to send a message to the kids of today that think they’ve got the world figured out.
It also felt that it was trying to convey the importance of fathers, which Hollywood seems to hate.
Honestly, this Shaft film felt like it was really trying to be anti-“woke”.
As far as the crime story goes, it’s a bit weak but in films like this, that stuff doesn’t matter too much. This is more of a film about three generations of men coming together, in spite of their personal issues, in an effort to force justice down the throats of some shitty scumbags.
In the end, this was a better movie than I thought it could be. I don’t think it necessarily needs a sequel but I’d be much more willing to check one out if the same creative team stayed on.
Pairs well with: 2000’s Shaft, as well as the original ’70s Shaft trilogy.
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