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    Houston Cinema Arts Festival 2012

    Iceberg Slim: Portrait of a Pimp takes an honest look at notorious hustler whoinfluenced Ice-T

    Joe Leydon
    Nov 9, 2012 | 10:26 pm
    • Robert Beck, the real Iceberg Slim and author of Pimp: The Story of My Life
      Hip Hop and Politics
    • Jorge Hinojosa and Ice-T
      Collider.com
    • Iceberg Slim
      Photo courtesy of Iceberg Slim: Portrait of a Pimp
    • Photo courtesy of Iceberg Slim: Portrait of a Pimp

    Blame it all on Ice-T. Twenty-eight years ago, at the very start of a professional relationship that has evolved into a beautiful friendship, the prolific rapper/actor/multimedia-multihyphenate made it clear to manager Jorge Hinojosa: If they were going to understand each other, Hinojosa would have to understand Iceberg Slim.

    “I started to read Iceberg Slim in high school,” Ice-T said. “His whole persona made up my character – the way I had my hair permed, and my mannerisms. Everybody has an influential person in their life, and I just picked up this cat because he was the coolest in the world.”

    So Hinojosa borrowed Ice-T’s well-worn copy of Pimp: The Story of My Life, Iceberg Slim’s breakthrough autobiography. And, as he recalls, his mind was blown.

    “I started to read Iceberg Slim in high school,” Ice-T said. “Everybody has an influential person in their life, and I just picked up this cat because he was the coolest in the world.”

    “Iceberg's writing was brutal and gritty — and at the same time beautifully poetic and lyrical,” Hinojosa says. “Iceberg bared his soul and exposed himself to be a cross between Mark Twain and Hannibal Lecter —brilliant, captivating and very dangerous.

    “The world he exposed me to in his book Pimp was cruel, tragic, oppressive, fascinating. And it was also the reality of the inner cities across America.”

    Hinojosa achieves the same level of unvarnished honesty in Iceberg Slim: Portrait of a Pimp, his mutilayered documentary about a multifaceted icon, which the Houston Cinema Arts Festival will screen at 9:15 p.m. Saturday at the Sundance Cinemas. It’s a labor-of-love effort that nonetheless offers a warts-and-all evaluation of its subject.

    And, not incidentally, it’s a portrait that earned a thumb’s up from one of Slim’s biggest fans: Ice-T (who just happens to be one of the film’s executive producers).

    For the benefit of those, like Hinojosa, who tuned in late: Iceberg Slim (real name: Robert Beck) spent his early days as a petty criminal, drug addict and badass pimp, drifting in and out of prison until hitting rock bottom in the early '60s during a lengthy stint in solitary confinement.

    He managed to turn his life around only when he began to draw upon his brutal and brutalizing experiences to author works —including Pimp, Trick Baby, Mama Black Widow and The Naked Soul of Iceberg Slim — that have been favorably compared with the literature of Ralph Ellison, James Baldwin and other chroniclers of the African-American experience.

    Slim’s checkered past “gnawed at him,” Hinojosa says. At the same time, however, “it was the fuel and inspiration for his books. It allowed him to expunge or confess who he was and what he saw and felt. His natural talent, which had no formal training, was the key to his transformation. It was also the inspiration for Ice-T and the millions of readers that have been rapt by his books. All of this played into what [my] movie explores and expresses.”

    “After finishing the last book, I realized that Iceberg’s writing had taken its toll on my outlook on life. I had become more suspicious and looked for the ‘game’ in everything," Hinojosa says.

    Throughout his Portrait, Hinojosa notes how Iceberg Slim was shaped by corrupting influences, including a treacherous mom, who coldly betrayed the one man Slim ever viewed as a father figure. But very much like Slim himself did in his writing, the movie stops well short of making excuses or rationalizations.

    Indeed, Portrait repeatedly emphasizes that although Pimp: The Story of My Life has been widely misinterpreted (more often than not, by its most fervent fans) as a celebration of thug life, Slim, who died in 1992, always claimed he wrote his autobiography as a cautionary fable about what he described as “my ghastly life.”

    What lessons did Hinojosa take from reading Pimp and Slim’s other books?

    “After finishing the last book,” Hinojosa says, “I realized that Iceberg’s writing had taken its toll on my outlook on life. I had become more suspicious and looked for the ‘game’ in everything.

    “Ice, being older than me, had not so unwittingly educated me on what I needed to know if I was going to be his manager. And for the last 28 years, I have put [that knowledge] to good use. I have been the guy that has been there since the beginning making sure his rap career was handled correctly, transitioning with him through all of his many creative endeavors -- rock musician, author, actor, public speaker and director.

    “This has been a role I have thoroughly enjoyed, and has defined me more than anything else.”

    Iceberg Slim: Portrait of Pimp cast Jorge Hinojosa in a different, arguably more demanding role: Documentarian. Hinojosa will be on hand to discuss how he rose to that particular challenge – and to tell the story behind the story of his telling Iceberg Slim’s story – when he appears for an on-stage Q&A following the 9:15 p.m. Saturday screening at Sundance Cinemas.

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    Movie Review

    New comedy I Want Your Sex saddles an all-star cast with a dull story

    Alex Bentley
    Jul 31, 2026 | 2:15 pm
    Cooper Hoffman and Olivia Wilde in I Want Your Sex
    Photo courtesy of Magnolia Pictures
    Cooper Hoffman and Olivia Wilde in I Want Your Sex.

    Writer/director Gregg Araki has been making provocative movies for nearly 40 years, releasing his debut — Three Bewildered People in the Night — in 1987. Most of them have had plotlines that revolved around sex in one way or another, and for his latest — his first film in 12 years — he’s putting it right there in the title, I Want Your Sex.

    Elliot (Cooper Hoffman) is an aimless twenty-something who can’t even afford the rent for his apartment with best friend, Apple (Chase Sui Wonders). Thankfully, he finds a job at the gallery of artist Erika Tracy (Olivia Wilde), who is open with her sexuality both in her artwork and in her day-to-day life. That soon includes Elliot, whom she convinces to enter into a dominant-submissive relationship with her, with sessions taking place both at work and her home.

    Elliot, who’s in a going-nowhere coupling with Minerva (Charli XCX), is more than willing to participate, both because it lets him feel something he doesn’t get normally and because Erika offers a perspective on sex that’s much different from people of his generation. But as he gets in deeper with her, he starts to lose a sense of himself, going down a path in which he finds himself talking to police detectives Zem (Johnny Knoxville) and Zola (Margaret Cho).

    Araki does his level best to make I Want Your Sex into a broad comedy, and early on it seems as if he might succeed. The deadpan way that sexual objects appear in the film (a penis-shaped rug in Elliot and Apple’s apartment, a vagina artwork with chewed gum as the medium) make for amusing sight gags. He also makes Elliot the bewildered other in multiple twosomes, with Minerva being the funniest, as she’s way more interested in studying than his ham-fisted attempts at sex.

    It’s clear that Araki wants the film to be a commentary on the generational differences about sex, but he fumbles his own idea. It starts with an on-the-nose conversation between Erika and Elliot, and continues with the various dalliances, which seem to be more about making Elliot look and feel ridiculous than giving true insight. Their encounters certainly open his mind about what sex can be, but their one-note nature makes them repetitive and frankly boring, odd considering the acts in which the two engage.

    The uninspired storytelling makes the 90-minute film drag way more than it should. Araki includes a few other characters to try to vary the tone of the film, including gallery workers Zap (Mason Gooding) and Vikktor (Daveed Diggs), but their early promise yields little results. The framing device of Elliot’s interview with the detectives never works, especially because Araki completely neuters the personalities of Cho and Knoxville for seemingly no good reason.

    The cast as a whole goes to waste. Hoffman is showing the promise of his late father (Philip Seymour Hoffman), and even though he’s appealing here, the material pulls him down. Wilde just made her own provocative movie about sex (The Invite), and this one pales in comparison despite her heightened performance. Wonders, Charli XCX, and Gooding are all young stars who deserve to be showcased much better than they are in this film.

    A film called I Want Your Sex is announcing itself as daring and alluring, but this film contains almost none of those qualities. Instead, it’s a slog that only occasionally has something interesting to show or say, mostly relying on the power of its actors to hold viewers’ attention — and failing at even that.

    ---

    I Want Your Sex is now playing in select theaters.

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