Consider the unending plague of remakes wrought by Hollywood's blockbuster machines, couple that with Quentin Tarantino's recent homages to blaxsploitation films, and it seems both frightening and natural that someone got around to remaking Shaft. It's easy to be cynical about the movie. They've got Isaac Hayes, his career newly surging in his role as Chef on South Park, reprising his theme song. The soundtrack is positively retro, though the film has a modern setting. Busta Rhymes is there as Shaft's sidekick to draw the hip-hop crowd. And to even get to the theater, you have to pass posters for the new Charlie's Angels and Godzilla 2000. It's enough to make you want to just stay home.

That would be a mistake, because Shaft is one bad-ass movie. Director John Singleton handles everything that could have destroyed this film with charm and wit, turning its potential weaknesses into strengths. Yes, this is a remake, but Richard Rountdtree is hanging around as the original Shaft: John, uncle of and mentor to his namesake. So Samuel L. Jackson is allowed to play Shaft the way he wants, without having to be the old character. And play he does.

There is absolutely no doubt what's printed on the wallet of Jackson's John Shaft. From the moment he steps into view and separates the crowd at a crime scene, there is absolutely no doubt who is going to come out on top, no matter what happens next. Perhaps no other actor could have summoned the charisma, wit, and flat-out bad-ass attitude to play this role. And they probably couldn't have filled out that long leather jacket, either.

Most cop films work with a certain level of hubris. Our hero is down and out, his wife leaves him, he's struggling with what the job pays him, he's frustrated that the system seems to thwart his every move. He has to overcome obstacles to get the bad guy. Not so with Shaft. All that need to happen for Shaft to get his man is for him to be in the same room long enough. Shaft is always surrounded by friends and respectful colleagues. Anyone who doesn't like him isn't worth the bother anyway. If Shaft has a problem, he solves it swiftly, and usually without mercy. And the bad guys may be slippery, but it's just a matter of time before they will be brought to justice.

So where's the suspense? It's generated by and large by exactly how Shaft will get his man, and who will be standing with him when he does. Christian Bale and Jeffrey Wright also do so well with the racist killer and overgrown druglord characters that it's hard to wait for Shaft to get them. Both are broadly painted as evil, almost as broadly as Shaft is painted as invincible. It's a good match, and even if the shoot-out ending is a bit tired, there is a feeling of righteous anger and vengeance quenched when anger and vengeance are quenched.