![]() ![]() No matter how idiotic the dialogue or atrocious the acting in the first “State Property,” the miscellaneous massacres were well choreographed. In the absence of any real tension, the action, which basically consists of everybody shooting everybody else or threatening to do so, feels colorless and repetitive. While the late Ol’ Dirty Bastard’s guest-shot as a nose-picking short-order cook works fine as a cameo, lead actor Dash’s money-driven careerism is barely fleshed out. Once introduced, however, characters have no place to go. Dash brags about his “baddest chick” (a post-“Glitter” Mariah Carey, yet!) just before she angrily confronts him with a litany of venal complaints. El Loco’s inevitable downfall begins when he commits the faux pas of rescheduling his Tuesday night date (he has one for every night of the week). Unlike the original “State Property,” where half-naked babes were casually draped over every inch of decor when they weren’t getting raped or killed, here women appear almost exclusively as ironic counterpoint. Thus during a split-screen phone conversation between Beans and his wife, each half of the screen swells or shrinks according to who is in control, until a henpecked Beans occupies a tiny diminishing square at the left of the screen. Narrated by each of the players in turn, the action is constantly undercut satirically by unexpected fast-motion, peremptory rewinds or chyroned asides. ![]() Things don’t go down exactly like the mysterious El Plaga had anticipated, and arch-rivals Beans and Dame, smelling a rat, warily join forces. Soon, Beans is back on the street where elaborate setups pit him against longtime enemy Dame (Dash). Santiago), himself an employee of the mysterious, never-seen El Plaga. His Muslim cellmate (a memorable turn by Freeway) hooks him up to a new boy on the block, El Loco Polo (Victor N.O.R.E. “Beans” (Sigel) sits in jail, his empire hemorrhaging money in his henchmen’s less-than-competent hands. ![]()
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March 2023
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