So realistic and focused is the Hughes’ direction that it is not inconceivable that their camera has merely shifted downtown to sample the daily toil.
Here black children are taught to hold a gun before they can ride a bike.
With sharp in-yer-face episodes of this bang-bang philosophy - in a jaw-dropping opening sequence Caine and his psychotic buddy Dog (Tate) are caught on a security camera blasting a shopkeeper foolish enough to complain - the film studies the tragic way in which the patterns of violence are mirrored from generation to generation. The central character is Caine (Turner), young, unsure of where his head lies, caught between the need to make a better life for himself and remaining loyal to the often lethal street life of, as the script puts it, “America’s nightmare: young, black and doesn’t give a fuck”. Tumbling late into the ghetto genre, this supreme example of the type is a cut above the rest care of its visceral pseudo-documentary style and passion for its subject. in all their senseless, shocking desperation. In many ways Menace is the most unfair recipient of such treatment since the Hughes brothers are here slamming home a candidly anti-violence message, depicting the daily trigger-happy run-ins of South Central L.A.
#Menace to society trailer official series
Following True Romance and Bad Lieutenant, this is the third in what is fast becoming a regular series of movies back from the dead - films which were not granted a video certificate because they topped some ambiguous violence quota, but were then given one once the furore died down.
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