He's moved far beyond rules and regulations, and lives according to his own proper procedure, as he investigates crime with blunt condemnation, making ends meet with radical ease.
But this time the son he left behind comes calling hot on a case (Jessie T. Usher), a daring analyst working for the F.B.I who's mild-mannered, sincerely reserved.
The endearing odd couple scenario is flexibly enhanced by bemused paternalism, as sustained stark and improvised indiscretion wildly mingles with uptight pretension.
Shaft Jr. is trying to discover who murdered his friend after he returned from Afghanistan, his methods leading to few results while laying the groundwork for inspired investigation.
Paps turns things up a notch while thoroughly shocking his incredulous son, the danger chaotically increasing as they approach concrete definition.
Mom's none too impressed upon hearing about the unexpected rapprochement (Regina Hall as Maya Babanikos), nor by her ex's ensuing repartee on a random evening which swiftly follows.
Reunited as a family they freely dispute while fighting crime.
Even after Jr.'s kicked out of the Bureau.
John Shaft Sr. (Richard Roundtree) happy to oblige.
Shaft boisterously blends distraught anarchy with technological presumption, intergenerationally melding paradigms with impassioned deconstructive pleas.
Much more raw than Shaft (2000), I wondered how thoroughly it impressed, not that its predecessor isn't also complex, it just lacks awkward contentious fidelity.
Are action heroes like Shaft and John McClane fading into the pre-online background, as cyberspatially savvy considerate sleuths prefer brains to brawn in unprecedented shifts?
Or will a new style of clever private eye still duke it out when their favourite apps fail them, the resultant extant absurdity as ahistorically fashionable as gold or astronomy?
It's fun to watch as emergent generations productively mutate traditional varieties.
The same family achieving similar goals.
Working together, throughout the centuries.
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