A clock ticks. Inside a house, a rotary phone is on a nightstand. A television is in the corner with some suitcases piled up next to it.
Behind bars, Janet Jackson is seen in the background with some dancers. A chair flies to her. She stops it with her foot and kicks it, breaking it into pieces.
She and her dancers begin the routine. She moves her arm to her chest and her clothes disappear.
At Flatform, a man reads a newspaper while two women talk. The television turns on, showing Khia. Skeletons of people are seen as they walk by.In a bathroom, she and a guy make out.
During the dance routine, parts of Jackson turn skeletal as well some of her dancer’s body parts. Clothes disappear again from her body. She lies down on her bed.
A yellow car is shown. In the backseat, she has her hand on her forehead while her boyfriend rests his hand on his leg. Dupri hears a noise and stops shaving. A woman stands in the shower.
There is a split screen of her and Dupri. He puts a striped bandana around his eyes. She eats a strawberry. The television set shuts off.
Breasts. The larger, the better. As she jiggles to the choreography, it’s unfortunate that seems to be the only thing to matter, aside from the dancing. When she does cover her chest, it’s nowhere near as bold as the janet album. It’s as though it’s an accident and not a part of what’s supposed to happen. It limits her as she dances.
With the exaggerated size of her breasts, she turns herself into a comic book character but However, she exudes none of the artful steeliness that comes with it. She’s simply a piece of flesh. Coupled with the x-ray vision examining everyone’s body, every part is up to inspection.
The body obsessed video leaves focuses on whatever part it can. While it’s not outright stating flaws and what’s acceptable, it implies side-eyeing and snark on what’s presented.
Director: Joseph Kahn Year: 2006
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