White Men Can’t Jump: A Visual Triumph Over a Weak Script

The opening shot of White Men Can’t Jump (2023) lingers on a worn-out basketball court, the cracked pavement and faded lines a stark contrast to the neon lights of the city skyline. It’s a promising visual metaphor for the film’s central premise: two has-been streetballers, Jeremy (Jack Harlow) and Kamal (Sinqua Walls), trying to reclaim their glory in a world that’s moved on. But much like the court itself, this remake of Ron Shelton’s 1992 classic struggles to find its footing.

Director Calmatic, known for his work on music videos and the series Euphoria, brings a visual flair to the project, particularly in the basketball sequences. The slow-motion shots of dribbling, passing, and dunking are crisply executed, with cinematographer Tommy Maddox-Upshaw capturing the physicality of the game with an almost poetic intensity. The soundtrack, curated by DJ Drama, is a dynamic mix of hip-hop and R&B that amplifies the film’s energetic tone. Scenes like the high-stakes streetball games in Los Angeles are where the film truly shines, showcasing the raw talent and chemistry between Harlow and Walls.

However, the film’s narrative struggles to match its visual prowess. The script, written by Kenya Barris and Doug Hall, feels disjointed and lacks the sharp wit and social commentary that made the original so compelling. The original film’s exploration of race, class, and gender is reduced to surface-level references, with none of the depth or nuance that made it resonate. The character dynamics, particularly the friendship between Jeremy and Kamal, are underdeveloped. While Harlow and Walls have undeniable chemistry on the court, their off-court interactions often feel forced and unconvincing.

The supporting cast is a mixed bag. Lance Reddick delivers a solid performance as Benji, a mentor figure to both Jeremy and Kamal, bringing a sense of gravitas to his role. Teyana Taylor and Laura Harrier are charming as Imani and Tatiana, respectively, but their characters feel underutilized. The film’s attempts at humor often fall flat, relying on tired tropes and one-dimensional characters.

The film’s pacing is another issue. At times, it feels rushed, hurriedly moving from one set piece to the next without allowing for any emotional depth or character development. The climax, while visually impressive, lacks the narrative weight and emotional payoff that would make it truly satisfying.

In terms of themes, White Men Can’t Jump (2023) tries to tackle issues of race, identity, and redemption but ultimately fails to delve deep enough into any of them. The original film’s exploration of these themes was nuanced and thought-provoking, but this remake seems content to skim the surface. It’s a missed opportunity, especially given the current cultural climate where such discussions are more relevant than ever.

The film also struggles with its tone. It wants to be both a comedy and a drama, but it never fully commits to either. The humor is often cringe-worthy, and the dramatic moments lack the emotional resonance needed to make them truly impactful. This tonal inconsistency makes it difficult to connect with the characters or invest in their journey.

Comparatively, the 1992 original had a clear sense of purpose and direction. It was a character-driven story that used basketball as a backdrop to explore deeper themes. In contrast, this remake feels more like a series of set pieces strung together without a clear narrative throughline. It’s a shame because the potential was there. With its talented cast and director, White Men Can’t Jump (2023) could have been something special.

The film also suffers from a lack of originality. While it tries to update the story for a modern audience, it often feels like a carbon copy of the original. The characters, the plot, and even some of the dialogue feel eerily familiar. It’s as if the filmmakers were so focused on paying homage to the original that they forgot to make it their own.

That being said, there are moments of brilliance in White Men Can’t Jump (2023). The basketball sequences are undeniably thrilling, and the chemistry between Harlow and Walls is palpable. There’s a scene where the two characters engage in a high-stakes game of one-on-one that’s genuinely exciting to watch. It’s a testament to the film’s visual style and the actors’ physicality.

The film also benefits from its supporting cast. Lance Reddick, in particular, brings a sense of gravitas to his role as Benji. His performance is subtle but effective, adding a layer of depth to the otherwise one-dimensional characters. Teyana Taylor and Laura Harrier are also standouts, bringing charm and charisma to their respective roles.

Despite its flaws, White Men Can’t Jump (2023) is not without its merits. It’s a visually stunning film with some thrilling basketball sequences and a talented cast. However, it’s let down by a weak script, underdeveloped characters, and a lack of originality. It’s a reminder that remakes are a tricky business. They require a delicate balance of paying homage to the original while also bringing something new to the table. White Men Can’t Jump (2023) fails to strike that balance.

In conclusion, White Men Can’t Jump (2023) is a film that tries hard but ultimately falls short of its potential. It’s a visual feast with some standout performances, but it’s let down by a weak script and underdeveloped characters.