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Petty arguments can turn deadly due to the testosterone fueled code of honor combined with readily available weapons. A simple act like brushing up against someone can have disastrous consequences. Guns, drugs, and alcohol contribute to a cycle of violence that permeates through many minority neighborhoods. First and foremost, the environment that these kids grow up in is toxic. The film never feels overburdened by its powerful themes. “Either they don’t know, don’t show, or don’t care about what’s going on in the hood,” Doughboy’s depressing moment of clarity punctuates the film’s ending. He’s a decent person but he’s caught up in a life of drugs and violence that he can’t escape from, and the saddest part is he knows it. Unlike Tupac in Juice, Ice Cube’s Doughboy doesn’t feel like a caricature of a gangbanger or a gangster.
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Each of our principal characters has depth and thus the tragedy at the heart of the film feels meaningful and is deeply upsetting. One son, Doughboy (Ice Cube) falls prey to the life of crime and drugs, while the other, Ricky (Morris Chestnut), has a bright future as a football star. Brenda Baker raises of two sons by different fathers without a strong male role model in the home. The film also focuses heavily on the Baker family, the opposite end of the black familial spectrum. plays the adult Tre Styles with natural ease, as he struggles to be a man in a dangerous alpha male neighborhood. Jason “Furious” Styles (Laurence Fishburne), instills important values to his young son Tre and we watch him grow into a responsible young man. The film spends the entire time with Tre and his immediate family and friends whom we grow to know and care deeply about. The film touches on almost every aspect of the young black male psyche growing up in the LA ghettos, and is meticulously detailed because the writer and director, John Singleton, grew up on these very streets. The film tells the tale of a young black man Tre, who is raised in a tough California neighborhood in the mid-eighties through early nineties. The best part? It is a genre defining film in every sense of the word. Spike Lee may have sparked the independent black movement with Do The Right Thing in 1989, but few movies have set the tone for an entire genre like Boyz n The Hood. John Singleton’s 1991 directorial debut is the progenitor for a decade of films that would be defined as “hood films”. Boyz n the Hood is the archetypal hood film.