Barbershop

Ice Cube – younger HP readers at this point could be forgiven for asking ‘who??’ – continues his surprisingly impressive acting career with this likeable, lightweight, totally inconsequential chronicle of the trials and tribulations that attend his ownership of an inner-city Chicago barbershop. Populated near-exclusively by black actors, Barbershop has no especially memorable narrative to speak of, but remains amiable enugh thanks to the general atmosphere of relaxed slow-day whimsy that pervades throughout.

Cube’s character, Calvin Palmer, has inherited the shop from his dad and grandad, who have also bequeathed him their crippling debts, which leads to Faustian temptation being thrown into his path when the projects’ local hustler/moneylender/legbreaker offers him a deal which will involve closing down the shop for good. Since the place doubles as the local hangout and community centre (an oft-noted phenomenon in black US neighbour-hoods), his inclination is to resist, but troubling financial realities constantly rear their ugly heads, provoking much conflict between Cube and his formidable, loud-mouthed better half.

The plot and subplots aren’t all that involving, though, and aren’t pursued with any especial flair: what keeps Barbershop consistently watchable is the engagaing dialogue, with constant verbal sparring between the various ‘brothers’ providing much in the way of mild amusement. Cube is an appealing and laid-back presence, with decent support lent by the likes of Sean Patrick Thomas and Cedric ‘The Entertainer’. In spite of its occasionally rambling and unfocused feel, Barber Shop is a pleasant film that certainly deserves better than the critical savaging it has generally been subjected to.