Dickerson’s Juice, Matty Rich’s Straight Out of Brooklyn, and John Singleton’s Boyz n the Hood-which became the most financially successful and acclaimed (earning two Oscar nominations) out of all of them. In the two years before Menace, multiplexes had already been bombarded with such in-the-ghetto dramas as Mario Van Peebles’s New Jack City, Ernest R. It was quite the jarring, exhilarating addition to the hood-movie genre, a genre that was otherwise already beginning to show signs of been there, done that.
Released in late spring 1993, Menace, the Hughes brothers’ debut feature, was made on a $3.4 million budget and ended up grossing nearly $30 million, becoming one of the more surprising hits of that year. Especially if they are as brutal, blunt, and, yes, Black as Menace. As has been proved in American cinema history time and time again, if studios release films made by African Americans, about African Americans, and starring African Americans, African Americans will go see them. Will sang the movie’s praises in a Washington Post op-ed whose headline called it “violence therapy”), Black people saw it and dug it anyway. While some white people got the message (George F.
O DOG MENACE TO SOCIETY MOVIE
In several interviews, Albert has mentioned how he and his brother made the movie to let white folk know what was really going on in the inner city. These are the words of Albert Hughes, who codirected the movie with his twin brother, Allen. First and foremost, Menace II Society is a movie for white people.
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