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Editorial
Amazon.co.uk Review
The lurid scenario--a nymphomaniacal white trash nymphet (Christina Ricci) is held prisoner by a bitter bluesman (Samuel L. Jackson)--gives way to an affecting tale of redemption in Black Snake Moan, writer/director Craig Brewer's follow-up to the acclaimed Hustle & Flow. Lazarus (Jackson, Jungle Fever, Pulp Fiction) finds Rae (Ricci, Monster, The Ice Storm) beaten unconscious on the road in front of his backwoods house. After bringing her inside, he learns of her wanton ways and decides to exorcise his own demons by curing Rae of her sexual compulsion. Black Snake Moan could have been terrible, but Brewer takes his story seriously enough to dig into the genuine emotions of such a situation (though along the way he certainly flirts with sexploitation overtones--several scenes look like they were plucked straight out of a hitherto unknown 1970s trash classic). Ricci, Jackson, and the supporting cast (including pop star Justin Timberlake, giving a surprisingly good performance as Rae's boyfriend) treat the characters with respect, honesty, and humour. The result is off-kilter and maybe a little too fond of its sleazy cinematic forbears to truly hit the emotional notes it's after, but Black Snake Moan has considerably more substance than its marketing would suggest. --Bret Fetzer
Creative restraint builds tension
Review date: 2008-04-06 Rating: 8 out of 10
A few people I discussed this film with thought it didn't go far enough, but that's precisely why I enjoyed it. Every character is developed to a point on their line of obsession where they could go further, and this means that you never know what they will do. Did Gill with his rage and ferocity kill Rae? Will Lazarus try to maintain his isolation of Rae at all costs? Will he kill? When Ronnie suppresses his aversion to violence, beats Gill and takes a gun, has he really crossed the line? Will he kill? When Lazarus drinks and unchains Rae, will he lose his self-control? All these questions keep the plot bubbling, and set within the racial history of the South of the US, the screw turns further still. Most modern films just go for extremes to create huge contrasts, specially formulated for a tick box world where everything is good or bad (as in nursery rhymes), red pill or blue pill, black or white; all the characters on Black Snake Moan on the other hand are flawed, making them as haunting as a good blues riff. A thoroughly enjoyable film; Samuel L. Jackson is utterly convincing - right down to his guitar playing and Ricci is a revelation (especially for me, having not seen her since the Addams Family and Caspar). Recommended highly - watch it with liquor for the blues.