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I had never really heard many half-snorts before. Snorts, yes, and silence. But what do you make of an audience that has no idea how to react?

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Fun little upbeat slice-of-life comedy where some nice southern folks learn some fun things together about friendship and the blues. Memorable for the scene where Samuel L. Motherfuckin' Jackson plays an electric guitar in a thunderstormeven if for no other reason.

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He gives us a whole cast of hard-to believe characters in a plot that's preposterous. There's a white trash nymphomaniac I wouldn't use those words, but Ricci's cartoonish character seems to come from the era of God's Little Acre and Duel in the Suna boyfriend subject to panic attacks and a bitter old blues singer whose wife left because, she tells him: "I don't lerve you no mo'". Then mix and match in a gumbo of religion and tough love and a couple of near deaths and everyone's problems are magically solved and Sam no stranger to snakes can get his ol' Gibson out and go back to being a practising bluesman.

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Paramount Classics Lazarus Samuel L. Race, class, the South, and the historically volatile pairing of a black man and a white woman. In the hands of a more subtle filmmaker, those themes might be the ingredients for a truth-and-reconciliation tale.

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Sign in. Watch now. Take a look back at Samuel L.

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Maybe it's because Christina Ricci's tattered Confederate halter-top has a flag for each breast. Maybe it's because Samuel L. Jacksonin the most interesting performance he's given in years, looks like both Sanford and son.

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Set in the familiar but almost-lost rural South of seedy juke joints, in-the-spirit churches and dirt farms, at it's heart it is a morality play about the eternal struggle between the flesh and the Holy Spirit. It's a cartoonish "Baby Doll," with a suggestive blues song title, about sex, guilt and redemption. Christina Ricci is Rae, a seriously oversexed redneck vamp who has found her one, true love. And he Justin Timberlake, never more boyish is shipping off into the Army.

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You watch it unfold--detonate, more like--with giddy incredulousness, stunned that somebody actually had the guts to put such supercharged images on the screen. That doesn't automatically make it a great movie, but it does make it a valuable one, especially in a culture given to endless hand-wringing over dull, mealymouthed Ron Howard versions of airport novels. One glance at Christina Ricci, clad in a T-shirt and panties, sporting a shiner, and affixed to Samuel L.

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Correction Appended. What caused a jolt wasn't just the arresting image of a gold-toothed Samuel L. Jackson growling out a profane rendition of the blues classic "Staggerlee," recorded live in a raucous Memphis juke joint. It was Christina Ricci, the lily-white alternative film princess, her torn lip a welt of red, her dirty blond hair tossed from side to side, grinding her sweat-drenched body against black men and women on the dance floor as Jackson looked on from the stage.

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