Damon Young writes:
Love Jones is held in such high regard because Ted Witcher was so obviously in love with everything he put into this movie. More than just a drama, it was an ode to black culture, to Chicago, to music, to movies, to love, to words, to sex; a paean to the possibilities of people not constrained to 140 characters or less. It’s loved and appreciated because it loved and appreciated both its characters and its audience, a trait also found in Soul Food—a movie that, although not necessarily a romantic drama and not as universally praised as Love Jones, shared Love Jones’ love for its characters and their customs.
These movies, and the exuberance they were shot with, stand in contrast to much of today’s black romantic fare—both at the theater and on the small screen—which seems to be content with browbeating the audience with messages so heavy-handed it feels like you’re being kicked. (Before this devolves into another angst-ridden conversation about Tyler Perry, I think Perry loves his characters. But, Ike loved Tina too.) Instead of a peek into a world we may not have been familiar with, we’re left with 60- to 120-minute-long psychotherapy sessions and self-help pamphlets featuring people who have never existed on Earth, After Earth, or any other planet humans have ever lived on—movies where writers and directors use the screen as a palate to work out their own issues instead of allowing the audience a chance to be vicarious.
Read the rest at Very Smart Brothas.