The filmmakers behind “Notorious” had a very unique and unenviable task before them: make a good film that will also appease the demands of fans of one of the biggest cultural icons in recent memory. The life and music of Christopher “Biggie” Wallace is almost like folklore in the Hip Hop community. Fans would be ready to tear the cast limb from limb if the film stinks, in turn, non-Hip Hop fans will walk into the theater ready to hate it. Surprisingly, both will walk out shocked by the fact that “Notorious” is actually a damn good movie.

The film is really a character-driven morality tale, so its strength is heavily based on a strong cast. Anthony Mackie steals every scene he is in with his take on the erratic genius of Tupac Shakur, while Naturi Naughton’s version of Lil Kim is almost as impressive. Angela Bassett is pitch perfect as Biggie’s mother, Violetta Wallace and Antonique Smith is a stunning and powerful Faith Evans, but it is newcomer Jamal Woolard’s tour de force as the slain B.I.G. that makes the whole film work. His mannerisms, voice, facial expressions and laugh are almost eerily similar to the real deal. The way he manages to capture the character without it coming off as an impression is nothing short of brilliant.

With such strong cast performances, it is a shame that the film is still so tragically flawed. The filmmakers’ attempts to appease fans by including every noteworthy moment in BIG’s life felt hamhanded and forced at times.  A conscious (and often obvious) attempt was made to over-emphasize BIG’s transition into self-awareness and maturity in these contexts. Also, Derek Luke falls just short of his mark as music mogul Sean “Puffy” Combs. Though his acting performance was solid, his “swagger” felt forced and not as effortless as the Puffy that we have come to know.

All in all, “Notorious” is solid, well acted, authentic film that should satisfy even the most cynical viewer.

“If I Were King” is a no-holds-barred, gritty and intense behind the scenes look at Sean John’s return to NYC Fashion Week after a 5 year hiatus. In terms of made-for-TV documentaries, it doesn’t get much better than this.

5 years ago, Sean “Diddy” Combs won CFDA’s Menswear Designer of the Year Award for his Sean John line. That honor (which is the fashion equivalent of an Oscar or a Grammy) had never gone to an “urban designer” or more shockingly, a black designer. After this landmark, Combs opted to not show at Fashion Week for 5 consecutive years. But now, on the cusp of Sean John’s 10 year anniversary, Combs’ hopes to compete with the other “bad boys” of high fashion like Roberto Cavalli and Zac Posen.

“King” is a visually stunning and interesting watch, but clocking in at an hour and a half, it could probably have done its job in less time. Regardless, the documentary balances the business, logistical, planning and creative process (YES, Diddy actually DESIGNS…who knew) in an intriguing and genuine manner. Critical fashion fans could most closely compare it to Issac Mizrahi’s classic “Unzipped.” Aside from the harried and intense designing and manufacturing (which saw members of the design team traveling across 3 continents), the film also touches heavily on the issues that blacks have had to face in the world of high fashion. This subplot eventually lead to a casting decision by Combs to feature an all black cast of models.

“If I Were King” doesn’t reinvent the wheel and if you are not already a fashion enthusiast, business student, Diddy fan or at least someone with an interest in the creative process, then there probably isn’t much here for you. Still, the film has a rich, artistic style, a genuine vibe and an entertaining value that makes it a worthwhile and fulfilling watch.

GRADE: A

This week, ABC premiered its surprisingly relatable and entertaining remake of A Raisin in the Sun. Before you write off this 2008 remake as a Puff Daddy star vehicle,you may be interested to know that it was the first made-for-TV movie in history to be accepted into the Sundance Film Festival.

In case you never took high school English: A Raisin in the Sun is story about a poor black family in the 1950s that receives a $10,000 life insurance check that nearly tears them apart. It was the first play written by an African American (Lorraine Hansberry) to be presented on Broadway. Ok, now that that’s out of the way…

This is the third time that the classic play has been adapted for the screen. The first adaptation featured Academy Award winner Sidney Poitier in the role of frustrated father and husband Walter Lee Younger. The second remake found a young Danny Glover taking over the reigns. Now, in 2008, music mogul Sean Combs is a surprising choice to fill those shoes. Whats even more surprising than his casting…is his stellar performance.

Most viewers will recognize Combs as the flashy, stylish and cocky man behind Bad Boy Records, Sean John Clothing, Ciroc Vodka, Justin’s Restaurants, MTV’s Making The Band and about a thousand other multinational brands. In this respect, it seemed unlikely that he could be convincing as the depressed, emotional and browbeaten Walter Lee. But while Combs may not have put Poitier to shame, but he certainly did him justice. Actually, the entire cast was nothing short of incredible.

The REAL show stealer was Phylicia Rashad (sorry Puff). Within the first 20 minutes of the 3 hour presentation it become very clear why she received a Tony Award for this role. Every time Rashad comes on the screen, the other characters seem to fade into the background. Though her role as the family matriarch is pivitol, her magnetic performance is what really makes her the star of this picture.
The script of A Raisin in the Sun is written in a classic (yet dated) manner that just begs for overacting. In fact, a big part of the charm of the original theatrical version was its over the top intensity. The fact that ABC’s adaptation maintains the same level of heart without becoming preachy and obnoxious is nothing short of a miracle. Still, younger viewers may be a bit turned off the story’s slow moving plot and dialog over visuals format.

When all is said and done, this remake of A Raisin in the Sun won’t rewrite history, but it is certainly one of the best made-for-TV movies in recent memory.

GRADE: B–

Ice Cube, Tracy Morgan and Katt Williams team up in “First Sunday.” A rare film that manages to be sickeningly warm and fuzzy while still legitimately funny.

First Sunday doesn’t have the sophisticated wit of Barbershop or the charm of Friday. However, it generates enough genuine belly-laughs to make it watchable. The cast (primarily, the under-utilized Katt Williams) save the film from the after school special that first-time Director David E. Talbert has set up. The plot follows Ice Cube as Durell, a down and out father who needs to raise money to keep his babymomma from taking his son away to Atlanta. Meanwhile, his scheming friend (and serial codefendant) LeeJohn (played by 30 Rock’s Tracey Morgan) is in deep debt to some Jamaican gangsters after he loses their chrome-plated wheelchairs. So, what can they do? Break into a church and take the building fund. The whole set up feels like 2 parts Tyler Perry play, 2 parts Jerry Springer.

The movie doesn’t really take off until the secondary characters are brought in. Once inside the church, Durell and LeeJohn discover that there are several meetings going on that night and decide to hold all of the church personnel hostage until they find the money. The choir directer (Katt Williams), Pastor (Chi McBride), his daughter (Malinda Williams), Deacon (Michel Beach) and a few church ladies (Loretta Devine, Ricky Smiley, Olivia Cole) are the only ones that matter. Somehow, the presence of Katt Williams suddenly makes the movie tolerable, even enjoyable.

The whole film is painfully predictable, preachy, infeasible and completely inaccurate in terms of the American legal system. However, the cast is superb to the point that you will wonder what made them accept this dull script. The saving grace of First Sunday is the fact that it is a comedy. In that regard, the plot is no more ridiculous than Billy Madison or National Lampoon’s Vacation. It’s the kind of movie that is charming and funny enough to make you look past it’s tragic flaws and just enjoy yourself.