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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

    Over-the-top thriller The Housemaid revels in camp, chaos, and excess

    Alex Bentley
    Dec 22, 2025 | 6:00 am
    Amanda Seyfried and Sydney Sweeney in The Housemaid
    Photo courtesy of Lionsgate
    Amanda Seyfried and Sydney Sweeney in The Housemaid.

    Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

    Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

    After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

    Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

    The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

    Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

    Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

    The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

    ---

    The Housemaid is now playing in theaters.

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