It’s like Unforgiven, except with a beat.
The film tells the story of a posse of black soldiers who are living and dying by their own ways and codes, team up with an ostracized white soldier (Stephen Baldwin), after they are all betrayed by a corrupt colonel (Billy Zane). Together, they decided to team-up, take him down and show him that he messed with the wrong cowboys.
After kicking complete ass with his gangster flick debut, New Jack City, writer/director/star Mario Van Peebles had a lot of pressure on his back to make something worth being mentioned in the same boat as that one. So yeah, it seems pretty obvious that the guy would take on a passion project of his and give us what is essentially the untold story of African American cowboys.
Right? Well, maybe his passion got a tad too ahead of him.
Van Peebles starts this movie off as if this was going to be a history lesson on how African-Americans had a place as cowboys in the Wild West, but just never really got the credit they deserved. This beginning threw me off for a loop and I honestly thought that I was going to be sleeping throughout the whole thing, but what surprised me the most was how much fun it seemed to have with itself once it got past this. There’s all of the typical trademarks you need with a Western, like the guns, the shooting, the desserts, the horses, the sexy ladies, the gambling, the sweat, the sheriffs, the saloons, and of course, the awesome show-downs. That’s all here and it seems as if Van Peebles is having a lot of fun with it by the way he makes everything so damn hectic all of the time; while “hectic” is usually not a positive word for most movies, but here, it worked and kept me entertained for the most part.
However, anybody wanting exactly what I was afraid to get, will be utterly disappointed as it’s just silly, stupid, and terribly-written. Every single line in this film is just a cliche or line taken from another, or far better Western that not many people have heard of, but know that they heard the line used before. Normally, bad dialogue doesn’t matter, as long as the creator behind the dialogue seems as if they’re having a ball with it – Van Peebles doesn’t give off that vibe, though. In fact, he seems so damn serious about it all, that anytime a character opens their mouth, you almost have to hold back the laughter.
Which is a shame, too, because Van Peebles clearly has a lot to discuss and highlight here.
There’s a lot of talk about slavery, racism, untold stories of the West, and points about what the black man always had to go through, but none of it ever comes through fully. All of the walking and talking could have been placed in any other flick other than this, and totally worked, but since this is something of a silly Western, it doesn’t fit altogether. In a way, it feels uneven and it can get pretty annoying because once you think the film is about to pick-up it’s feet and start kicking some Western booty, it stops and starts to tell it’s story in some lame flashbacks that all make sense, but we still didn’t need to see.
As for Van Peebles and his acting, he’s pretty good and has a nice presence about him that makes you understand why so many people fear him in the first place, but he does show-off his ego a little bit too much. What I mean by that is that there a couple of scenes where it’s just him, with his shirt off, and standing there looking all ripped-up and tough, while getting a hot girl. It’s obvious that this is his movie and he’s able to do what he wants to do but this just came-off as him trying to hog the spotlight a bit too much, in all of the wrong ways. Then, of course there is everybody’s favorite eye-patch-wearing villain, Billy Zane, who is corny, lame, and nonthreatening, but also very fun to watch because come on, it’s Billy Zane dammit!
Everybody else in this strange cast does a fine job with what they’re given, but it’s what Van Peebles does with them that really works. While there’s clearly a silly aspect surrounding some of the names here (Big Daddy Kane, Tiny Lister, and Tone Loc, for instance), Van Peebles still seems happy to have them all around. Maybe the lame dialogue was to make-up for the fact that some of them were really well-trained thespians in the first place, but still, the bad dialogue aside, Van Peebles knows his cast’s strengths and their weaknesses, which helps make the final showdown, where some important people do get mowed-down and taken out, a tad more exciting and watchable.
If only the rest of the movie had been like that, then we would really have something to talk about.
Consensus: Stupid, frenetic, crazy, overstuffed, and disjointed, Posse is not the best film to watch if you want a smart piece of commentary about African Americans and their roles in the West, but is still a fun flick that will keep your interest for the time it’s on-screen.
5 / 10
Photos Courtesy of: Blaxploitation Pride