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Derek Luke, Denzel Washington, Joy Bryant, Salli Richardson, Stephen Snedden

Directed by: Denzel Washington
Written by: Antwone Fisher
Produced by: Randa Haines, Todd Black, Denzel Washington
Distributor: Fox Searchlight Pictures

US: 19/12/02 UK: 16/05/03

Antwone "Fish" Fisher was a Sony Pictures security guard who gained fame as a writer-producer. However, he began as an angry sailor, on the verge of being kicked out of the Navy for repeated fighting. With the help of a Navy psychiatrist, he turns his life around and decides to embark on a search to find the family that abandoned him as a baby. In the course of that search, his life changes dramatically.
The trailer looks superb for Denzel Washington's first time out as a Director.

19 Dec/New York Post: Antwone-derful

Atlanta Journal/E! Online
Chicago Trib/LA Times
New York Post/New York Times
Rolling Stone/Washington Post
Hollywood Reporter/People

Ebert & Roeper
Dave Reviews Out Loud

"This is my best side, right?"



For his directorial debut, Washington tackles this impressive autobiographical script about an angry young man facing up to his childhood demons and the huge chip on his shoulder. As a sailor, Antwone (Luke) is always in trouble for fighting with his shipmates, so he's ordered to spend time with the base's psychiatrist, Davenport (Washington). But it takes him a long time to calm down even enough to speak, let along trace his bitter, orphaned upbringing, which is punctuated with both physical and sexual abuse ... at the hands of women. Meanwhile, he is trying to move ahead in life, getting to know a beautiful young Naval officer (Bryant) and charming Davenport's frustrated wife (Richardson).

Washington wisely avoids manipulating the film's more sensationalistic elements and concentrates on the human story at the centre. This makes the film feel both classy and intensely involving, even as it milks the emotion rather shamelessly. Luke delivers a powerful performance that grabs us right at the start and carries us through; he never hits a false note, making this young man both believable and engaging. And Washington keeps a quiet distance, never upstaging him while creating a memorable character all his own. There are very heavy echoes of Good Will Hunting in the shrink-thaws-patient structure, especially in editing that makes each session look like it lasts about three minutes, never really touching on the anger management issues that started everything to begin with. And the film does get slightly preachy when it touches on important themes like African-American history, racism and abuse. But you can hardly blame it, when the material is this strong, important and true! This is an artfully made film that actually has the emotional power to get to us. Bring Kleenex.



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