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Set It Off
Stars: Quuen Latifah, Jada Pinkett, Kimberly Elise and Vivica A. Fox
Director: F. Gary Gray
BBFC Certificate: 18
Opened: 25th January 1997
When it comes to films about violence in the ghettos of America, it is very hard to beat the profoundly moving and utterly brilliant Boyz N The Hood, which has over-shadowed every similar film released since. Dubbed by many as Girlz N The Hood, Set It Off succeeds where others have failed by being significantly different to the rest of its genre contemporaries. Where F. Gary Gray's film fails is partly due to the fact that it cannot match up to the aforementioned masterpiece.

Following a simple yet mesmeric credit sequence, the spellbindingly shot opening introduces us to Frankie (Vivica A. Fox of Independence Day), an honourable bank-teller who is at work when her bank is robbed by a crack-head acquaintance. The heist turns into a blood-bath, leading to Frankie being dismissed simply because she knew one of the culprits.

Victimised and jobless, she returns to her hood and meets with her three closest girlfriends, Stony (Jada Pinkett), single-mother Tisean (Kimberly Elise) and the aggressive-natured Cleo (Queen Latifah). In the film's superb first act, we see the environment that traps the four. Stony's brother is mistaken (due to a series of unfortunate consequences) for the culprit of the bank hold-up, and accidentally shot by the police, leaving her alone and impoverished. Tisean's baby is removed from her custody following an accident, and she has to prove that she has enough money to properly care for her child. Lesbian Cleo may accept her position in life, but when Frankie suggests pulling off their own robbery, she is the first to approve.

Although marred by nervousness, the venture is successful. However, as the money runs out, a second plot is hatched. Led on by their success, the peaceful robberies continue, but it does not take a genius to work out the way that the luck will run out. A powerful and thoughtful work that examines the loyalties between friends, the negative effects of violence and the moral struggle within some of the characters, Set It Off is an impressive but flawed 'chick-flick' with attitude.

The entire film is superbly handled by Gray. The action sequences are often heart-stopping, including a getaway chase that is not as drawn out as that of Heat, but is far more exhilarating. However, whilst the most is made of the action scenes, they are only there when necessary. Thankfully, this means the film does not have a mind-bludgeoning effect which would rob it of all its integrity. The story is held together well and runs along at a swift pace, so it is never frustratingly confusing yet never slow and boring. Even a slightly out of place erotic massage scene is handled stylishly and tastefully.

However, the real driving force behind the film is the four powerful performances from the lead roles. The script is refreshingly different, not only due to the gender slant, but also in small ways (such as the police being treated as remorseful, caring people for once). It is also filled with pleasing touches (the re-enactment of The Godfather's conference sequence, set to the soundtrack CD in the background being the best) and the odd running-gag.

However, the script is also the eventual downfall of this original slant on two genres : the ghetto violence drama and the female-bonding movies. Everything is perfect until the last five minutes, but as we wait for the credits to roll following what would have been a moving and moral ending, the film continues. Not only does it lose the impact it would have had had it ended, but the film seems to contradict the message that has run throughout it (i.e. friends over money).

This is not Girlz in the Hood, as many would have us believe, neither is it Womenace II Society, nor New Chick City, as I am sure it will be labelled in the near future. It is a very good film that can proudly stand alone, but while the ending may have been left open to set it off in your mind, it sadly ends up off-setting all that has gone before.

Reviewed by: Tom Whitaker


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