He got game jill

Agent's Daughter uncredited Mel City Playground Kid uncredited Patrick Ferraro Corrections Officer uncredited William Gates Reporter in Gym uncredited Wil Smith Bus Passenger uncredited Produced by Sonya Burres Albinski Anthony Baldasare McCord Michael Miller Griffith Jr.

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Video producer. Hide Show Director 46 credits. Hide Show Writer 8 credits. Hide Show Additional Crew 2 credits. Hide Show Thanks 2 credits. Hide Show Self 28 credits. So, yeah. This movie makes me angry. No big-name director understands basketball better than Spike, as he proved in his book with Ralph Wiley "Best Seat In the House," a surprisingly good read. He's a superior filmmaker with an eye for sports scenes; you knew he wouldn't make a movie where the characters took turns dunking on 8-foot rims.

His name carried enough weight to bring Denzel aboard as Jesus's shattered father, the only crucial character in the script. And it's safe to say that he understands basketball's inexorable hold on the African-American community, especially in the projects and places like Coney Island, where the movie is based. Nobody else could have made this a great movie.

So what happened? His ego got in the way. Here's a movie about a black high school star beating the odds in the projects, with an imprisoned father thrown in for kicks I'm not saying he isn't talented, but Aaron Copland!?!?!?!?!?!? It's a basketball movie set in the projects! What two things are more synonymous than basketball and hip-hop? Wait, it gets worse. Public Enemy recorded the title song -- one of their finest efforts, by the way -- and Spike buried it in the middle of the movie.

How does this happen? It's almost as unconscionable as Larry Brown's steadfast refusal to let LeBron loose in Athens right now. Of course, I have a theory on this one, too: In his aforementioned book with Wiley, Spike complains about the media's deification of Larry Bird and compares it to the success of the original "Rocky. I saw 'Rocky' in a theater where I was one of the few black patrons, and when Rocky started to beat up Creed, there was a strange feeling coming up from the audience.

People weren't cheering because an underdog was beating the champion. It was deeper than that. White masses finally had a hero in boxing again, even if it was only a movie, beating an uppity, loudmouthed, flamboyant n I'm not saying he's right or wrong; he certainly made me think twice during my th viewing of "Rocky" last week.

Please trust me, I haven't edited this in any way! You have to believe me! Also, notice how they promote Public Enemy and not Aaron Copland! With promises of a reduced sentence, Jake Shuttlesworth Washington is granted temporary release from state prison in order to persuade the nation's top college basketball recruit Ray Allen of the NBA's Milwaukee Bucks But just as Jesus faces intense pressures and irrestible temptations contemplating his big decision, Jake is also forced to consider not only what's best for himself, but what's best for his son!

With a groundbreaking soundtrack by the legendary Public Enemy -- plus great cameos from John Turturro and basketball personalities Dick Vitale, John Thompson, Dean Smith and more -- "He Got Game" is a critically acclaimed hit you don't want to miss! At the time, the NBA was becoming rife with black players, while Georgetown had been establishing a dominating presence in the fabric of the college game, so what do you do?

You fill a nostalgic need with a fantasy, turn back the clock to a much simpler time, a time. They are usually warmly embraced, these pictures about how wonderful and fine it was when, basically, ns weren't around. It helps if the story is good. Would I love those movies as much if I were black Probably the latter. And just for the record, he's wrong about "Hoosiers" -- that's based on a true story about an all-white team that defeated a team with black players on it, which just happened to be the facts, so they presented them accordingly.

But we're getting away from the point. For eight pages in his book, Spike reviews his favorite basketball movies -- clearly, this was a guy who knew he was making his own hoop movie some day. And when it finally happened, Spike was sufficiently ticked off by "Hoosiers" and "Rocky," as well as everyone's inevitable and stereotypical expectations of a Spike Lee Basketball Movie -- hip-hop soundtrack, black heroes, etc. In other words Watch this. I'm making a movie about a high school star from the ghetto, but I'm using a classical soundtrack like "Hoosiers" did.

This is a movie about basketball and about people; the black-white thing is irrelevant. This soundtrack will get that message across. And if you don't like it, you can kiss my ass. Well, the soundtrack harms the movie. When you're making a movie about basketball in the projects, rap and hip-hop are your friends, like putting ketchup and cheese on a juicy burger.

It's the same reason why NBA teams don't use Copland as the background music when they're introducing the starting lineups before every game.

Can you even imagine what a car wreck that would be? People would be glancing around, utterly confused, as if a UFO had landed at center court.