what do you get when you rip-off good movies like woody allen's bananas and martin scorsese's after hours ? you'd think you'd get the best of both films . instead you get woo . falling in somewhere between def jam's how to be a player ( which was awful ) and booty call ( which was ok ) , woo is yet another in the embarassing genre of showing african-americans to be nothing more than sexual buffoons . the whole film plays out as a black version of after hours , as wild woman woo ( jada pinkett smith ) goes out on a blind date with straight-laced tim ( tommy davidson ) . mayhem follows them . for some unknown reason ( read : contrived screenplay ) davidson puts up with all of woo's antics for the entire night , which include her destroying his bathroom mirror , stealing things from his house , violently questioning him ( accusing and belittling him actually ) about previous girlfriends , causing a riot in an elegant restaurant , and other various infuriating things that any normal person wouldn't tolerate . but for the sake of this bad movie ? sure , why not ? there are a few chuckles in the film , the best being the scene swiped directly from bananas . in this case , davidson is running from thugs , gets into a subway car as the doors are closing , starts to taunt the thugs , then the doors open back up again . a good joke , but a stolen one . another chuckle is provided by billy dee williams' cameo as himself . movies like woo are seemingly released every three months or so , and not one of them has ever been a hit . woo won't be one either . so why was it made ? and more importantly , isn't there anyone else besides me who thinks these films are offensive ? everyone involved should really reconsider their careers at this point . [r] the jacksonville film journal -- film reviews by chuck dowling url : <a href= " http : //users . southeast . net/~chuckd21/ " >http : //users . southeast . net/~chuckd21/</a> email : <a href= " mailto : chuckd21@leading . net " >chuckd21@leading . net</a> © 1995-1998 of the jacksonville film journal . no reviews may be reprinted without permission . 
