
January 24, 2020
Thriller/Drama
R
United States
Director: Will Forbes
“A man is nothing but a man, but before I let your steam drill beat me down, I’d die with a hammer in my hand.”
The tale of John Henry is as confusing as it is fascinating. An ex-slave, John Henry went to work for the railroads, specifically C&O Railroad. His job was to drive holes into rocks with thick spikes. According to folklore, John Henry was the best at this, above all other men. For the day, he was a giant, standing at six feet tall. The end came when a salesman claimed his machine could drill holes better than any man. John Henry beat the machine fourteen feet to nine. Soon after, he died from exhaustion.
That’s how the general idea goes, anyway. It’s never been proven that John Henry actually existed, and the story changes depending on who’s telling it. What we do know is the point of the story: John Henry represents the heart of working men fighting a battle against machines.
So what does a man born a slave in the mid 1800’s have to do with a movie that takes place in Compton, California in the year 2020? In the film, John Henry (Terry Crews) is an ex-gang member who grows into a kind-hearted, soft-spoken man. It’s made clear throughout the film that John never wanted to be involved in the gang life, and tried to get out of it as soon as he could. The problem was his cousin, Hell (Chris “Ludacris” Bridges), who wanted to be king in the gang world. There’s only a brief glimpse toward the end of the movie when a piece of mail is picked up by John at his Gram’s (Baadja-Lyne Odums) house, which had the name “Helen Henry”. I could be mistaken, but that’s what it looked like, and it’s really no wonder why he went by the name Hell.
When they were younger, Hell (Maestro Harrell) and John (Rich Morrow) got into a slight tiff over John wanting to get out of the life. Hell forced a gun into John’s hand, and though it doesn’t show anything, it’s presumed by John’s father, BJ (Ken Foree), that John accidentally shot Hell, leaving the right side of his face either scarred or disfigured. We don’t really know, because all it shows is some sort of metal plate attached to his jaw.
So, the way the main part of the movie goes is that there’s a girl, Berta (Jamila Velazquez), who is taken by members of Hell’s gang to force her into sex slavery. Her brothers, Emilio (Joseph Julian Soria) and Oscar (Tyler Alvarez), come to her rescue by shooting everyone in the apartment that holds Berta and other girls who really don’t look like they want to be there. Berta and Emilio escape, but Oscar falls behind. When Emilio is stopped by police, Berta runs and hides under the porch of John Henry. When he realizes she’s there, he takes her in and feeds her.
It’s a beautiful couple of days. John, BJ, Berta, and eventually Emilio live in the house together with John trying to keep Berta and Emilio safe. Berta doesn’t really speak English, but they all communicate just fine. As I watched it, I couldn’t help but think how wonderful it was that these two cultures could come together and live so harmoniously. Even with John having to go out and by sanitary products for Berta the first night she’s there.
Everything seems to go well until Hell and his gang show up. They kill BJ and Emilio, shoot John, and take Berta. How John survived, I’m not sure (he was shot in the head, but the bullet ricocheted off, or something), and he goes to finish it once and for all.
John shows up on Hell’s front lawn with his huge hammer, is shot a few times by Gun (Gerald “Slink” Johnson), but manages to kill Hell with the help of another one of the gang members that Hell wanted dead, Savage (Daffany McGaray Clark). The bullets take a toll on John, though, as he falls to the ground. The last thing he sees before dying is Berta and Oscar (who is alive and brought out by Gun) leaning over him, and Berta thanking him.
Now, the first thing I noticed about this movie is that it has a very Quentin Tarantino-esque vibe to it, complete with comic book style stills and the type of music used. It bombed in the box office, and I can kind of understand why. It almost seems like it was a college movie project, trying to be artsy and not really succeeding. On Netflix, however, it’s booming, and I believe there is a very good reason for that. Terry Crews portrays a big, gentle man with a violent past extremely well (of course, Terry Crews is one of my all-time favorite actors, so I could be a bit biased), and the movie itself parallels the tale of John Henry in a unique way.
This is just my view: the gang represents slavery, John’s attempts to keep Berta and Emilio safe represents the fight for employment, and Hell is the machine that John beats, but is also his undoing. It’s not a family-friendly movie, and there are quite a few parts that just break your heart, but if you can get past the visual aspect, it really is a good one to watch. If anything, watch it for the message.
If you have a movie you would like me to review, leave a comment or send an email to spoileralertblog@outlook.com with “movie review” in the subject line.
