Soul Men

What stands out first about Soul Men is the confidence with which Malcolm D. Lee establishes its comedy identity. Rather than relying on premise alone, Soul Men asks Samuel L. Jackson and Bernie Mac to supply personality from the opening stretch. The premise of Soul Men is established with useful clarity: Though it's been about twenty years since they have spoken with one another, two estranged soul singing legends agree to participate in a reunion performance at the Apollo Theater to honor their recently deceased band leader. That direct approach lets Soul Men use its 1h 40m running time for character, atmosphere and consequence.

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The central idea running through Soul Men concerns embarrassment, status and the gap between confidence and reality. Samuel L. Jackson gives that idea a human scale, allowing Soul Men to remain accessible even when its world becomes larger. By returning to the central character, Soul Men turns theme into a source of pressure rather than a message waiting to be delivered. The handling by Malcolm D. Lee lets Soul Men leave a little interpretive room, which gives its better scenes an afterlife.

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Visually, Soul Men is most persuasive when well judged reactions guides attention without becoming an attraction separate from the drama. Dimension Films supports Soul Men with well judged reactions, giving individual scenes a shared design logic. The United States production character of Soul Men is clearest in its use of performer rhythm to make place feel consequential. Even during its busiest moments, Soul Men benefits from an edit and sound mix that protect the immediate emotional line.

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The plot of Soul Men is built around the uneasy relationship between Though and Apollo Theater. For Samuel L. Jackson, that relationship gives Soul Men an emotional objective stronger than simple forward motion. The screenplay associated with Robert Ramsey lets the central character reshape the direction of Soul Men in stages. Although the treatment of an important relationship could be sharper, Soul Men never entirely loses the thread established at the beginning.

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Soul Men relies heavily on Samuel L. Jackson, and the performance responds with enough specificity to carry changes in mood. The contribution of Bernie Mac gives Soul Men a useful counterweight instead of merely echoing the lead. Sharon Leal makes the smaller exchanges in Soul Men count, often through timing rather than emphatic dialogue. Malcolm D. Lee understands that Soul Men becomes more persuasive when the cast can imply feelings before the script names them.

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Soul Men benefits from Malcolm D. Lee being engaging in bursts but unable to maintain the same control about what each sequence needs to accomplish. Instead of making every beat equally loud, Malcolm D. Lee lets Soul Men create contrast between pressure and release. Worthwhile ideas compete with an uneven structure throughout Soul Men, with the strongest decisions feeling connected to character rather than display. It is still fair to say that Soul Men suffers because the pace alternates between hurry and drift, but the problem remains contained.

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Soul Men ends as a qualified recommendation, especially for comedy fans who respond to personality and timing. What remains from Soul Men is the relationship between Samuel L. Jackson, well judged reactions and Malcolm D. Lee's control of mood. The weakness that the pace alternates between hurry and drift narrows the impact of Soul Men without cancelling its better work. On balance, Soul Men gives its intended viewers a distinctive experience rather than a completely anonymous piece of content.