Freddie Jackson Movies

Writer/producer/director James Bond III also stars in this innovative supernatural thriller as Joel, a divinity student from rural North Carolina who has a serious crisis of faith and travels to New York to seek the advice of his friend, aspiring actor K (Kadeem Hardison). In an effort to loosen up his conservative companion, K gives him a taste of New York nightlife -- personified by an alluring club vamp with the less-than-subtle name of Temptation (Cynthia Bond). Although her true nature as a soul-stealing succubus is more than obvious to the audience (particularly after several scenes of unsuspecting wannabe players torn limb-from-limb), Temptation nevertheless ensnares naïve, innocent Joel in her devilish spell, prompting K to investigate the woman's background with a little help from a detective (Bill Nunn) determined to connect her with several murders. Bond's intelligent morality play is a step above simple homage to horror and blaxploitation genres of the '70s, avoiding many of those films' stereotypes to present three-dimensional characters and realistic dialogue. The vibrant, color-rich cinematography is the work of frequent Spike Lee collaborator Ernest R. Dickerson. ~ Cavett Binion, All Movie Guide

In This Our Life is not a "for the ages" classic of the Golden Age of Cinema, but as a highly effective and entertaining melodrama, it more than fits the bill. Howard Koch's screenplay is a trifle predictable, but it's well structured and provides the requisite juicy roles for its pair of female stars. It also provides a number of little surprises -- a sympathetic and (for the time) non-stereotypical portrayal of a black character and two characters living not only in sin but adulterously so -- that give it some distinction. The script's main drawback is its initial lack of focus; it doesn't seem to quite know exactly what its story is and where the real conflict will lie. Ultimately, this doesn't really matter, for John Huston knows where it's going, and he shepherds the story along very efficiently, throwing in a little social commentary here, heightening the atmosphere there, tossing in a hint of the unsavory elsewhere. Although he doesn't really know what to do with the male actors (save for Charles Coburn and Frank Craven, each of whom is just right in entirely different ways), he handles the women in exactly the right way, including Billie Burke as the coddling, neurotic mother. It's Bette Davis, of course, who gets the showiest role, and she sinks her teeth into it and plays it for all it's worth. It's a great Davis performance, but she's still outdone by Olivia de Havilland, whose quiet, understated work anchors the film and ultimately makes the greater impression. It's terribly fine film acting, and immensely satisfying. ~ Craig Butler, All Movie Guide

African- American singer-dancer Jeni Le Gon starred as a nightclub singer in this "all-Negro" crime melodrama produced by small-time Argos Pictures. Monte Hawley co-starred as Jim McCoy, a hardworking black man in love with Nita (Le Gon). Despite warnings, Jim's younger brother Tommy (Freddie Jackson) turns down a respectable job as a Pullman porter in favor of working for gangster Dude Markey (Edward Thompson), older brother Jim's rival. During a disagreement, Dude shoots and kills nightclub owner Murray Howard (Maceo Sheffield) and blames young Tommy. Jim catches the real murderer red-handed with a cache of stolen diamonds and during their ensuing fight, Dude is shot and killed by Lanny (Charles Gordon), Jim's policeman friend. As part of the nightclub floor show, Shelton Brooks sang his own composition "Hole in the Wall" and Le Gon performed "Gettin' in Right with You." ~ Hans J. Wollstein, All Movie Guide