'Shaft': Cocky Blaxploitation Swagger & Millennial Wokeness Go To War With Samuel L. Jackson [Review]

Birthed in the early ‘70s, known for its racial stereotypes, vulgar language, gratuitous nudity/sexuality, over-the-top violence (often including martial arts) and defined by its cheaply made, low budget productions, Blaxploitation is a iconic film subgenre that is as controversial, as it is historically significant for the Black representation it offered onscreen. Blaxploitation’s high water mark was obviously 1971’s “Shaft,” a mega-hit that somehow crossed over from B-movie grindhouses to the mainstream, making a star of its lead Richard Roundtree, a massive hit out of its Issac Hayessuperfunk theme song and ushering in copycats of both.

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In 2019, however, blaxploitation sensibilities, which include machismo swagger— a ghetto fabulous Black James Bond riff with a similar cocksman for a lead character—are problematic and sorely out of date by today’s woke, socially conscientious standards. And its this clash— the cocky confidence juxtaposed against the cultural consciousness— that the new 2019 version of “Shaft” milks for all its worth.

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After failing as the new “Shaft” in the 2000 reboot, Samuel L. Jackson returns nearly two decades later in this 2019 iteration with Roundtree and new guy Jessie T. Usher in tow. Tellingly originally titled “Son Of Shaft,” 2019 “Shaft” tells the story of John “JJ” Shaft, Jr (Usher), an up-and-coming FBI data analyst that enlists the help of his estranged father, John Shaft II (Jackson), and eventually, his grandfather John Shaft, Sr. (Roundtree) to solve the murder of his best friend. But really, all you need to know is that from the moment where a glitter-faced Sam Jackson is reintroduced on screen (we’ll let you have one guess as to why the ladies’ man might have a face covered in glitter), the new “Shaft” completely changes directions in service of the overriding “aren’t Millennials f*cking annoying?” message.

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Father and son are quickly shoved into a buddy cop dynamic, where the elder Shaft is the tough-as-nails, badass blaxploitation hero/asshole of the past and the late-20s Junior Shaft is the stereotypical woke modern young man, complete with his button-down Gap clothes and a penchant for coconut water.

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Luckily, the tired concept, and potentially problematic jokes are elevated thanks to Jackson’s inherent charisma. Early on, it becomes obvious that the 2019 “Shaft” is Sam Jackson’s vehicle, and you either need to buckle up and enjoy the ride or get the hell out of the car.

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Usher cannot match Jackson, and the filmmakers don’t even try. Veering wildly between being a complete doofus, hacker extraordinaire, hopelessly metrosexual Millennial, and secret gun-fu badass, the character exists solely to move the plot along, and to be the butt of every joke spewing from his on-screen father’s mouth. In that regard, it’s nearly a crusty baby boomer film, seemingly motivated by Jackson’s POV that essentially dunks on today’s audiences as often as possible, shockingly somehow not written by tired Fox News pundits.

So, while Jackson is the movie’s MVP, he’s also its biggest liability, as his character is sure to divide audiences. The elder Shaft insults his son incessantly, claiming his clothing making him look gay (homophobia is rampant in the film), his reluctance to party on a Tuesday night somehow makes him less of a man, and how his distaste for guns somehow makes the young FBI data analyst less of a badass hero. This new “Shaft” pushes all of the hot buttons of today’s culture, almost begging the wokest of woke to write a long-winded thinkpiece talking about the misogynistic and the homophobic jokes. “Shaft” almost exists as a Film Twitter-like treatise on why older genres of films shouldn’t be dismissed as problematic by new audiences, but never backs that up in any thoughtful way.

“Shaft” expects you to endure the insensitive jokes and vulgarity that made the subgenre so controversial, but never explains with any substance why you should. It just expects that it’ll all work on in the wash at the end. Thankfully, by and large, while the jokes are meant to be controversial, most of them are actually funny, even if totally ridiculous. You’ll find yourself laughing at the absurdity of the elder Shaft’s reluctance to move forward with the times, while also understanding that poor little JJ is in some desperate need of some cojones. Mileage will vary on your tolerance though, that’s for sure.

Unfortunately, as funny as Jackson is, he’s not able to elevate the entire thing. The film is shiny, modern, and slick, with none of the retro grit and grime teased in the beginning and opening credits. The action is uninspired and actors like Method Man, Titus Welliver, and Lauren Velez are just adequate in their underdeveloped roles while Alexandra Shipp is relegated to the love interest in peril role. Conversely, Roundtree brings his A-game proving he’s still got it and Regina Hall is a scene-stealer as a modern woman torn between the pure carnal lust she has for Jackson and the independent 21st-century woman that won’t be fooled by that smooth charm.

Despite its sometimes questionable jokes, provocative cultural trolling and a shaky plot, “Shaft” isn’t either a full-on misfire nor blaxploitation rejuvenation. Instead, “Shaft” is a decent, if slightly tepid, action comedy anchored by a hilarious performance by Samuel L. Jackson. And for those looking to laugh at the ridiculousness of modern culture through the eyes of a foul-mouthed private eye, “Shaft” is that bad mother—shut your mouth! [C+]