DJay (Terrence Howard of the must see film "Crash") has always had a way with words, whether pushing small time drug deals or running a few whores on the streets in the underbelly of Memphis. He also thinks he has something to say with the rap and hip hop riffs he writes. When DJay is told that Skinny Black (Ludacris, also of "Crash"), a well-known rapper from Memphis, who now pulls in big money from the record business, is due in town, he is determined that Skinny will hear his sound.

A chance encounter with an old friend, Key (Anthony Anderson of "King’s Ransom," effective here in a non-comedic role), sparks an idea for a way to a better life. Key is a sound engineer who has always wanted to make it in the music business. Initially, Key rejects DJay, because he’s happily married to Yvette (Elise Neal of "Scream 2"), a lovely, church going woman, who, unlike Key and DJay, is not of the street. Yvette has a regular day job and she plans to climb the corporate ladder. Once Key realizes that his dreams in the music business may be fulfilled by collaboration with DJay, his comfortable marriage routine is put to the test.

DJay is not an easy person to like. He’s a pimp who thinks managing the girls on the street is harder than turning the tricks. In his demo tape for Skinny he even uses the hook "It’s hard out here bein’ a pimp," and finishes the tag off with the words, "…with all the ‘hos’ jumpin’ ship." Something is wrong with that picture.

When DJay uses his life experiences to create music, this frame of mind is made quite clear. He exploits vulnerable young women, with minimum regard for what’s in their best interest. It’s only about them if it’s also about him.

The supporting cast of four gifted actresses that provide much needed depth to the film is phenomenal, though we can’t embrace the denigration of women as reflected in the story or in the lyrics of the music in the film.

Taryn Manning ("A Lot Like Love"), as Nola, seems resigned to performing sex acts for money from johns and turning it over to DJay but she bristles big time when he offers her services as a sexual cash machine in exchange for a professional quality microphone system. DJay calms her by doing what he does best, talking. He makes her believe that by working together, they are in charge. Remember it’s only about them if it’s also about him.

The appropriately named Lexus (Paula Jai Parker of "She Hate Me" and TVs "The Proud Family"), read high maintenance, is a combative, in- your-face, stripper and money maker for DJay. She carries off the bling-bling well. Forget the desire for a career in music or a different life; just show her the money.

Shug (Taraji P. Henson of "Baby Boy" and "Four Brothers") is a sweet faced prostitute on "medical leave" and living in DJay’s house because she’s pregnant by a john. The relationships that DJay develops beyond the pimp/ho business with Shug and Nola are at the core of why this film was the Winner of the Audience Award at the 2005 Sundance Film Festival.

Shelby (DJ Qualls of "The Core") is a gospel playing church musician, with a beat machine who knows how to lay down the bass thumping tracks in fundamental hard core crunk music. The music this crew makes is from the heart, from the street. That’s good and bad. Good in that it’s a form of political expression, not unlike protest and folk music. Bad in that people actually live the lives described in the words.

Hip hop, crunk and rap music has mass appeal to urban and suburban whites, black and brown folk, and is hot in Asia and Europe. Even if the kids are not living the life, they have found a way that they socially connect to something that releases some of life’s frustrations and speaks with a degree of independence that their everyday life does not permit; hard core, NC 17 rated lyrics and all. Admittedly, this is a best guess (with some loose observation) psychological analysis by us.

Terrence Howard turns in another stunning portrayal of a man in turmoil, as he did in "Crash," and we look for him to move into more mainstream lead actor roles in the near future. He knows how to carry a film. We’ve always liked him but we must admit we can now say that we admire his work for the depth of character that he brings to his roles.

You may not understand characters motivations, or love a film because of its greatness of thought. However, if it provokes thought, that’s high praise and fine art.

P. S. …A reviewer’s note: You may notice that George and I disagree on our star rating on "Hustle & Flow." While I think it is a well-made film, and there is no doubt that Terrence Howard is an actor to be seen, I believe that the message in this film is a tired one, at its least harmful, and dangerously mixed in its aftermath.

The buzz is that this may be the breakout role for Howard. I hope not. I would much rather see his performance in "Crash" be recognized as a masterful piece of acting.

Hear me now, I take nothing away from Denzel for his Oscar winning portrayal of a truly bad cop who’s blown to bits in the end, but think "Malcolm X" and "The Hurricane."

I hope that I detect a crack in the brick wall that Hollywood has erected around terrific black actors, male and female. That will let everyone enjoy the work of Don Cheadle, Jamie Foxx, Morgan Freeman, Joe Morton, Kimberly Elise, Sophie Okonedo, and the great women in "Hustle & Flow," along with many others.

Wake up studio green-lighters. There are many stories out there that don’t move to a hip hop beat on the mean, dope infested streets. You seem to be falling behind the times. You need to keep up if you want to make money. And I understand that you can all use an infusion of that right now.

___________Pam