“White Men Can’t Jump” holds a special place in a lot of moviegoers’ hearts; while not the enduring sports classic that writer-director Ron Shelton delivered with his baseball mash note “Bull Durha…
Updated only in its excess of contemporary slang and overwrought backstories, “White Men Can’t Jump” exemplifies the aversion to risk and lack of imagination in storytellers mining intellectual property at the behest of blandest-common-denominator-seeking corporate overlords.
He reluctantly agrees in order to help his wife Imani fund her dreams of being a hairdresser, but Jeremy’s eccentric behavior puts them at odds with one another when they’re not on the court. Jeremy, meanwhile, hopes to earn enough to pay for surgery to repair his knees, rekindling his own basketball aspirations despite the objections of girlfriend Tatiana , a dancer and choreographer.
The feelgood, nobody’s-less-talented-than-anybody-else approach seems a byproduct both of changing times and protecting feelings, but it robs their journey of the uncertainty of whether their subterfuge will work, the larger possibility that their opponents might also be hustling them back, or just the drama of who’ll win each showdown.
As their respective romantic partners, Teyana Taylor brings a no-nonsense appeal to the role of Imani, Kamal’s steady-handed, supportive wife, while Laura Harrier, previously a winning scene-stealer in “Spider-Man: Homecoming,” mostly waits patiently for Tatiana to become important to Jeremy’s story.
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