The Worst Film Ever

Bad Acting and worse Bad Screenplay

As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

It's great when an actor gives such an electric and worthy performance in a not so great film or one of small stature. I'm not saying this movie's bad. It's just not as good as what of could of been, if a bit more care and meat went into the plotting of story, which to say I really liked, putting a spin on these kind of journalist drama's. Near it's climax especially, is where the story wasn't handled well, where that part was is over too quickly, despite an climactic moment, an unforeseen fate for one, that did make sense, from the other party that wrapped the film up. I really thought that section was weak, and there are a couple of other forgettably weak moments, that don't spark. Many actors playing pimps, put on the macho "what have you" act. With Frreman, it was vet natural, and much more realistic, I really wanted to know more about, as he's not your usual pimp, but boy, he radiates some real menace. Supposedly based on a true article (well you know) journalist Reeve, average here, pressed for a deadline, resorts to making up a story of a pimp, as researching parties aren't that cooperative, and Reeve doesn't want to be out of a job, either. When his faux article on a fictional pimp, conflicts with another pimp being charged for manslaughter, (I mean, what are the chances really?) Reeve finds himself in hot water, playing hardball, with prosecutors, all so ready to take pimp, Leo Small, aka: Fast Eddy (Freeman) down. There's a great dilemma/situation of story here as in Reeve's impasse, which intensifies some. Manslaughter is a son of bitch, where an early scene has Freeman, trying to stop a perverted sicko, beating up on a ho, where one swift kick, puts the old's guys ticker out, so really Eddy has copped a bad serve. But manslaughter is manslaughter, and like the rough, dangerously and manipulative pimp with a charming facade, Eddy is, he's as that prosecutor describes, "better off the street and behind bars". In short, he's menace. Reeve in his own mind, eventually comes around to that analysis as well. I kind of had the feeling the story was losing it's way or a bit too vague in it's telling of this tale, as though not enough discipline was given to it. Again though, as it has done many times before, I really found it hard to believe the chances of this coincidence happening as it just rides on too thin ice. Besides Freeman, Kathy Baker as the hot battered prostitute was a notable standout too, where Mimi Rodgers an actress in demand a lot, and always delivers, was very strong as Reeve's girlfriend. It was a pity, Reeve couldn't of carried his weight as well. Though in it's B grade offering, Street Smart is quite absorbing in it's story and on it's first watch, without Freeman and Bates, turning in great performances, giving life to a kind of flat running film, this would of sunk bad.

If only Paul Newman, Steve McQueen, Jon Voight, or maybe Pater Falk or Robert Blake, or even Robert Redford played that part, it would have been much better. Reeve was weak, and did not deliver what was needed. AND it needed a good soundtrack, something like shaft. There is also some bad editing and direction. What is amazing is the locations. New York has changed so much and so fast, it's really great to see the street scenes I forgot, especially when SOHO was still somewhat not overcrowded. And many interior shots of the run down buildings are just great. What they missed was fitting in a few landmarks, and the fulton fish market, of course. Still, Reeve was good for the comic strip Superman portrayal, but I have never seen him do anything worthy of praise. He had looks, and was well rewarded for that.

***SPOILERS*** Far better then you would expect crime drama involving a New York Cty magazine writer Johathan Fisher, Christopher Reeve, who's job is on the line if he doesn't come up with a major story for his magazine and come up with it fast.In order to keep his job Fisher tells his boss magazine editor Ted Avery, Andre Gregory, that he plans to write a hard-hitting expose about prostitution in New York's seedy Times Square district. Fisher plans to do this by chronicling a local New York City Pimp's day on the job. Fisher finds that none of the hookers, by posing as their customer, that he interviews are willing to go beyond their work-habits and how much they want to be paid for them. When it comes to their boss, the pimp or procurer, they clam up and drop their conversation with Fisher altogether.Having a deadline to meet Fisher just makes up this story about a pimp, whom he calls Tyrone, who he's been interviewing about how he does business on the streets. The story by Fisher is so convincing to everyone at the magazine that it becomes the mag's next front-page story! Making Fisher a cause Caleb in the world of undercover journalism both in NYC as well as all over the country. As it soon turned out the fictitious Tyrone that Fisher conjured up is an almost carbon-copy of a real street pimp Leo Smalls-known on the streets as Fast Black-played by Morgan Freeman. What's even more troubling for Fisher is that Fast Black in now standing trial for the murder of one of his hooker's customers. Fast Black had killed him when he complained, and threatened to report him to the cops, that the service that he was getting was far below what he was paying for!The film has Fast Black-who knows that Fisher's story is total BS-use Fisher as an alibi for him in telling the local D.A Lenoard Pike, Jay Patterson, that he was nowhere near the murder scene, of his hooker's dead John, at the time that it happened. This places Fisher in the position,if he wants to stay out of jail, to expose himself as a liar on the stand by telling the world that his story that made him famous was nothing but a made up pipe dream on his part. This would bring his now skyrocketing career in TV news to a sudden and embarrassing end!Despite being a vicious and murderous pimp which is the exact opposite part, as the perpetual good guy, he's been playing since then Morgan Freeman's film career took off and never looked back after his chilling performance as Leo Small/Fast Black in "Street Smarts". Christopher Reeve more then held his own against his co-star by even having Freeman as Fast Black work him, he Chris Reeve the Hollywood Superman of the 1970's and 80's, over and have him almost wet his pants by doing it.***SPOILER ALERT*** It's when Fisher has nothing to lose but his life and the lives of his loved ones that he decides to take Fast Black on. Fisher uses Fast Black's "Main Man" and #1 gofer Reginald, Reggie Liggens, Eric King, to do his dirty work for him by tricking him into thinking that he's cutting, by pimping on the side, in on his boss' territory. The ending of "Street Smart" was a bit contrived in how the "street Smart" Reggie fell for Fisher's obvious trick that he could have easily explained to Fast Black. Still that didn't really take that much away from the films hard hitting approach on prostitution and pimping in the big city. The only thing that didn't make any sense is why Fisher was still able to keep his job after being exposed as a complete fraud as a top news reporter on his top rated news show "Street Smart". A show that exposed people like himself who are dishonest with the very public that their supposed to serve!

A superior movie, except that the ending is completely contrived and unbelievable. Morgan Freeman generally gets the palm for his performance in "Street Smart" and deserves it for turning in a masterful performance. Called in to straighten out some difficulty between one of his girls and her trick, he calms everyone down, the soul of reason, until the trick is distracted, then Freeman kicks him in the family jewels and does a number of his face too. It's a shocking burst of violence. And his rattlesnake-like ability to strike quickly isn't limited to important economic confrontations either. During a basketball game, one of his shots is blocked. He shoves his opponent to the pavement, suggests that he'd look particularly good dead, then notices that everyone is standing around agape, smiles reassuringly, pats the guy on the shoulder and hands him a good deal of money to buy and bring back -- "Some chicken, ribs, stuff like that." He calls out, "Keep the change," to the grateful survivor of this encounter. All of Freeman's violence comes as a surprise, particularly when Chris Reeves tries to cool him down and Freeman whips around and holds a broken bottle before Reeves' face, with the steady, sure hand of a surgeon. Almost invariably, these episodes are followed by big friendly grins, pats on the back, assurances that things are back to normal, generous offers of food, drink, or money. The change takes place in less than a second. Freeman is smarter than anyone else in the movie too. The main figure in a celebrated journalistic effort, he and his girl are invited to the publisher's party where everyone showers them with attention while they chat about "the Hamptons." Afterward, Punchy exults over the attention but Freeman sees through it all. He knows condescension when he sees it, and he is filled with resentment. Trying to put something over on Freeman is like trying to slip sunrise past a rooster.But Kathy Baker as the used Punchy deserves credit as well, although her part isn't nearly as showy and dramatic as Freeman's. She's just beyond the bloom of youth, rather used looking and heavily made up, and her figure, while ripely pleasant wouldn't draw stares in a supermarket. She's very appealing indeed in her vulnerability and aloneness.Chris Reeve is usually ignored in reviews. I don't know why. He's rarely anything but bland, but this is by far his best performance, and he invests his character with ambition, confusion, fear, and compassion -- not an easy role. The scene in the hotel bedroom with Kathy Baker, in which she seduces him knowing that behind that facade of journalistic objectivity lies a man who would just love to get it on with her, whether or not he realizes it. She demonstrates how she made it with her first john and makes Reeve play the partner. The silly made-up dialog fades and is replaced by "Natural Woman" on the sound track. The two have a relaxed, enjoyable-looking, mutually appreciative little love scene. It's a pretty good movie and involves us emotionally in several different ways. Alas, as I say, the end is almost an embarrassment. The bumbling Reeve character turns into a genius, and other characters into the fools they never were. Don't let that stop you from watching this.