First Sunday
Posted on January 10, 2008 at 5:00 pm
C| Lowest Recommended Age: | High School |
| MPAA Rating: | Rated PG-13 for language, some sexual humor, and brief drug references. |
| Profanity: | Some strong language |
| Alcohol/ Drugs: | Drinking, brief drug references |
| Violence/ Scariness: | Mostly comic peril and violence including guns, people held hostage |
| Diversity Issues: | Humor based on mildly sexist, homophobic, and racist sterotypes |
| Date Released to Theaters: | January 11, 2008 |
Ice Cube was once a member of the fiercely provocative gangsta rap group N.W.A. (for N****** With Attitude). He is now a prolific Hollywood producer with franchise films from R-rated (the Friday series) to family-friendly (Are We There Yet?
). He is going for the PG-13 market with “First Sunday,” and it is more product than movie, filled with signifiers instead of story. It has the slapstick of a The Three Stooges
short without the comic timing, the characters of “Hot Ghetto Mess” without the irony, and the stereotypes of Amos ‘n’ Andy without the wit.
Cube and “30 Rock’s” Tracy Morgan play Durell and LeeJohn, a hapless duo sentenced to community service after a series of petty infractions. Durell’s ex is about to move away, taking his son with her, unless he can give her the money she needs to open a beauty salon. LeeJohn needs to reimburse some bad guys for failing to make a delivery as promised. When Durell and LeeJohn find out that the local church has raised more than $200,000, they decide to steal it, and end up taking the deacon, the preacher, his bootylicious daughter, and the choir and choirmaster (comedian Katt Williams) hostage. They take the audience hostage as well because this section of the film seems to go on forever.
In between the tired jokes about guzzling sacramental wine, “pimped”-up wheelchairs, a masseur who turns out to be male, a developmentally disabled man, and a very tight skirt, there are very strong moments and performances that deepen our disappointment about what this movie could have been. The always-exquisite Olivia Cole appears as one of the hostages, bringing class and dignity to her too-brief moments on screen. The talented Regina Hall makes the most of her brief appearance as Omunique, Durell’s baby mama. Her part could easily have been a caricature, nothing but bling (check out those earrings) and shrill demands for money. But she is always real and appealing, making it clear that she may be a little desperate but that she is protective of the love Durell and his son have for each other. Williams, as ever, seems to be in his own movie, completely independent of whatever the screenplay and director had in mind, and his offbeat energy and subversive humor brighten the otherwise-interminable hostage scenes in the church sanctuary.
There are also brief glimpses of some themes well worth exploring. The characters debate the idea of rebuilding and expanding the church in its current location or moving it to somewhere less “urban” and “congested,” acknowledged code words for abandoning the poorer, more crime-ridden black community. The portrayal of the community’s commitment to fatherhood is welcome, as the hostages, gangsters, and his angry ex all unquestioningly support the bond between Durell and his son. But this is not enough to surmount the offensiveness of material so cynical and pandering it would have infuriated Ice Cube in his N.W.A. days. Attitude is just what this movie is missing.

It opens with a scorching contrast of light and darkness. Alone at the bottom of a dark pit, Daniel Plainview (Daniel Day-Lewis) stubbornly scratches and claws in the mud. High above, a pitiless sun bleaches a remote desert landscape. Plainview goes back and forth between the dark and the light, repeatedly returning to pick away at the earth. He is as flinty and unyielding as the rocky terrain itself, a man of ferocious resolve seeking something of value deep inside the rock. For almost 15 minutes, there is no other person but the resolute miner, no other sound but his relentless attack on the wall of stone. Finally, it begins to yield tiny bits of previous metal. Plainview falls. He is badly injured. But he perseveres, dragging himself to the assay office.
Writer-director Michael Davis has stripped the action movie down to its essence in a mind-blowing mash-up fueled with testosterone, adrenaline, and weapons-grade plutonium. No esoteric references in the title. No Robert McKee-mandated 10 pages at the beginning to make us fall in love with the hero. No pause for a hot sex scene. Oh, there’s a hot sex scene, but there’s no pause. Insert your own shooting joke here. There’s time for a few 