Nerdly » ‘Kings of L.A’ Review

14th Apr2025

‘Kings of L.A’ Review

by Dom Hastings

Stars: Stevie J., Darris Love, Alimi Ballard, Paula Jai Parker, Michael Paré, Duane Finley, William L. Johnson | Written and Directed by Van Elder

“I’ve been running from myself.”

What happens when writer/director, Van Elder, mixes a criminal, a dodgy local politician, bent cops, and gang dealings all together in the heat of LA? You get Kings of L.A.

Released on bail from County Jail after a day and a half inside, Snooks (Stevie J.) has two choices: pursue a more successful lifestyle and better himself, as pushed by his mum, or return to the habits that landed him inside in the first place, as encouraged by his local pal, Bosco (Darris Love). Egged on by his baby mamma, too, Snooks has it coming from all angles, and has multiple avenues to choose from.

On the other side, Mayor Taylor (Alimi Ballard) is feeling the heat as he approaches re-election. Under surveillance from officers, Mason (Paula Jai Parker) and Artie (Michael Paré), Taylor is seen organising dodgy deals for land, amongst other crimes. But he isn’t the worst crook in South Central, just an elected one. Not long after, we find a sex offender strapped to a table in a rundown warehouse location, soon to be carved up by Piper (Duane Finley) under the instruction of underworld crime kingpin Sundown (William L. Johnson). Inevitably, paths cross. Shots are fired and blood is spattered. All for power and money.

In Kings of L.A, the individual stories are simply not royal enough to establish an evolving interest, or generally one whatsoever. Too much occurs amongst too many characters who do not establish enough care to be considered by the viewer. Thus, ultimately, leaving the viewer to
think: “What am I watching?”

Amongst all of the characters with presence and prominence, the corrupt cops – played excellently by Paula Jai Parker and Michael Paré – are the most engaging and entertaining. Bringing humour to the screen, often through foul language, Parker and Paré are two of the biggest highlights in Kings of L.A. Additionally, William L. Johnson’s portrayal of the menacing Sundown is a terrifying spectacle in itself, though often hilarious, too.

With South Central, what we do see is the grime and dirt of LA. Nothing is spectacular, there is no glamour; it’s all quite rough. Emphasizing this grim notion of a crime-ridden, corrupt L.A., Kings of L.A often delves into documentary-style cinematography. Intentional or just budget constraints, this strong visual elevates the overall spectacle of Kings of L.A, and even adds discomfort dependent on story context.

Unfortunately, Kings of L.A is something of a mishit of biblical proportions, though the good intentions are clearly there. Boyz n the Hood and Crash are obvious inspirations, and generally, we all love a good suburban tale. Even at times, the Grand Theft Auto games feel influential. But this just doesn’t work. Often with the look of being real, Kings of L.A has its good and shocking moments, but when there is a clear lack of interest in its characters and storylines, the feature begins to have the look of wanting to show something, but without anything to show.