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Shown entirely in black and white, there is a temptation to see John Marco Lopez's Paradise City as an illustration of a bleak world, literally devoid of color. As a result, there is a world that is in constant opposition between good and evil. Throw in characters who seemingly have a clear morality (or, in some cases, lack thereof), and what you get is the immediate understanding that heroes are decidedly heroes and villains are hopelessly villains. But resist that temptation and instead take a closer look at the world Lopez actually presents in his third feature film. While Paradise City generally leaves a lot to be desired, the most interesting, indeed nuanced, element is that it plays into viewers' preconceived notions of who the cops, terrorists, criminals, and family units are—that is, who we are. led to believe they are, and challenges you to think more critically. For example, positioning Police Chief Frank Murdoch (Sticky Fingaz) as the decorated bid leading a counter-...