Film Updates

"Skin" Revels in Dark, Sick Humor

By James Hill, BET.com Staff Writer
Posted July 16, 2003 — At times "Skin Deep" plays like a cinematic telling of an urban legend you might have overheard in a bar. At other times it plays like a combustive mix of race, sex and murder you might find on late-night cable. But at all times "Skin Deep" is an undeniably entertaining dark comedy of errors that moves at such a fast clip that it barely slows down for things like common sense or logic. And honestly, the film would suffer were it forced to operate by the constrictions of the "real world." Like Neo, "Skin" is more fun to watch when in a false reality than the dingy arena we call life.

The film's opening scene should let you know where this playful movie's head is at - the gutter. Sex is the sweaty skin of this film and it shows everywhere. We start with a couple twisting the sheets only to soon realize that the bulbous breasts we're watching belong to "MadTV" cast member Debra Wilson who goes full monty here (c-section scar and all) as Alex. With her ripped arms and plethora of tattoos, Wilson makes for an unlikely vixen, but as the film later reveals - vixen is not her only role. The man beneath her is Tony, her co-worker who is clearly uncomfortable with her emotional advances. As well he should be seeing as he's married . . . to a White woman. And while he attempts to defend his wife's honor while Alex's calls her a "pale-ass brother stealing bitch," the filmmakers do an excellent job of capturing Tony's flip-flopping loyalty as you sense that maybe he does feel guilt for his jungle fever.

But this is not the tale of a Black man answering some need to couple with a sista instead of a White woman. In fact, Tony brutally cuts it off with an increasingly "Fatal Attraction"-esque Alex and hightails it back to his upper-middle-class home and his wife, Victoria who for reasons not explained, is no longer interested in sex. This leaves us on the slippery slope of stereotype where White women are virginal and Black men are insatiable sex fiends. However, one gets the feeling that this slope is exactly where the filmmakers want you.

Speaking of sex fiends, meet Michael and Sarah, Tony's Brooklyn friends who show up for a lunch date that will include some if not all of the deadly sins. Michael (comedian Steve White, who won best actor) is essentially a jerk with a racist chip on his shoulder. His barely hidden contempt for White folks is displayed in cruel jokes and mean statements pointed directly at Victoria, who manages to hold her own against Michael's quick wit. At this point, "Skin Deep" feels like something we rarely see — a racial drama that doesn't excuse bigotry by placing it in an historical context. These are everyday folks coming clean about affirmative action, White privilege and, of course, the police.

But before you get all comfortable with the surroundings, Sarah ("Baby Boy"'s A.J. Johnson) makes a pass at Victoria while Michael and Tony chill in the hot tub waiting. Not shocking enough? Ok, Sarah and Michael, who mention they often have three ways, publicly display that most intimate of affections while Tony and Victoria watch. Still not reeling? Sarah ends up dead in floating the hot tub not ten minutes later with only her husband to blame. Not only was Michael the last person to see her alive, but while Sarah and Victoria were getting acquainted, Michael joked about killing Sarah to avoid telling her about the $10,000 he lost on a .com stock. One random visit from police leaves everyone on edge and completely without a brain.

No matter the complexion, you'd think most folks would call an ambulance or a cop when there's a body floating in their jacuzzi, yet these three still find time to have alcohol-fueled arguments about sex, race and everything else but murder. As if to acknowledge the absurdity of it all, one the characters will occasionally break in and say what the audience is thinking "would you two shut up and call the police already?!" But somehow no does and you somehow you don't care as you're already hopelessly wrapped up in the increasingly irrational turn of events. Rest assured the bodies, motives and suspicions continue to pile as the film follows it's own giddy evolution from Lifetime movie of the week to sideshow exhibition on race, sex and murder. Acting like a lightning rod for the film's schizophrenic pace is White, who finally gets his shine after years of thankless roles in tons of Spike Lee films. Menacing, funny and sympathetic, White somehow makes the slimy Michael an endearing character destined for cult status. Not once are you sure of his motives and the effect keeps you watching him like a cornered snake.

To give away the ending would be blasphemy and would completely take the wind out of "Skin"'s twisted sails - a movie that feels more like a ride than a film.