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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

    Meta-comedy remake Anaconda coils itself into an unfunny mess

    Alex Bentley
    Dec 26, 2025 | 2:30 pm
    Jack Black and Paul Rudd in Anaconda
    Photo by Matt Grace
    Jack Black and Paul Rudd in Anaconda.

    In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

    The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

    Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

    Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

    The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

    It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

    Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

    Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

    ---

    Anaconda is now playing in theaters.

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