The challenge of being largely unseen in Hollywood—and in broader American culture unless used as a means to divide marginalized communities—creates a pressure for every project to be a resounding success. Each film, show, play, or album is often treated as groundbreaking, never simply existing as it is. This sentiment resonates with my thoughts on “Boogie,” the debut film by writer, producer, and restaurateur Eddie Huang. The movie follows Alfred “Boogie” Chin, a Chinese American high school basketball player, played by Taylor Takahashi, who aspires to join the NBA. Faced with parental pressure to secure a Division I scholarship, Boogie must navigate a new environment, a girlfriend, a rival, and the heavy burden of expectations.
The film mirrors its protagonist, grappling with the weight of Asian American expectations in a competitive market. While “Boogie” isn’t a disaster, it also doesn’t quite hit the mark—it’s a decent film that refreshingly acknowledges race without making it the sole focus.
At its core, “Boogie” is about love—love for family, oneself, romantic partners, and the game of basketball.
Why “Boogie” Matters
I know it’s a common refrain, but I’ll keep saying it: representation is crucial. It’s vital not just because diversity enriches our narratives, but because seeing characters who reflect our own experiences can be transformative—especially for those who often feel overlooked. As Huang articulated in an interview, the Asian American experience offers unique insights that everyone should recognize.
When our stories are limited to a single narrative, it can make us question our identities. The prevailing narratives about Asian Americans often center on East Asian experiences—what about the rest of us? Asian Americans are not a monolith. We are more than the struggling immigrant tale or the stereotype of the nerd. Like Boogie, we can excel in sports, have complex relationships, and navigate life with diverse familial dynamics.
What “Boogie” Gets Right
I’ll admit, some moments in “Boogie” were cringeworthy—particularly the fortune-telling scenes that felt overdone and highlighted the varying Mandarin skills of the cast (though kudos to Takahashi for making the effort!). The acting had its ups and downs, but it generally conveyed genuine emotion and relatable backstories.
What resonated with me the most were the details. While no two Chinese or Taiwanese households are identical, the nuances felt authentic to my experience as a Taiwanese Chinese American. The interactions between Boogie and his parents, filled with aspiration and conflict, were relatable.
I appreciated the film’s sensitive portrayal of Boogie’s vulnerability as he explored a romantic relationship, deftly addressing stereotypes about Asian masculinity. Unlike other films that have diluted the representation of Asian male characters, “Boogie” allows its lead to retain his complexity.
Interestingly, I found the ending—which some critics dismissed—refreshing. It strays from the formulaic sports movie conclusion, offering a more nuanced and realistic resolution.
Why “Good Enough” is Great
Is “Boogie” the next “Minari”? Absolutely not. Is it on par with “Harold and Kumar”? Not really! But that doesn’t matter to me. If mediocre shows like “Everybody Loves Raymond” can run for years, then I want to see Asian stories—along with diverse narratives from people of color and LGBTQIA+ communities—flood the market, even if they’re just okay or not exceptional at all.
I crave a multitude of stories, including those that may not be perfect. We need the good, the average, and even the less-than-stellar.
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Summary:
“Boogie” exemplifies the need for diverse Asian American narratives in film. It reflects the richness of the Asian American experience, transcending stereotypes while addressing the importance of representation. Even if it isn’t a cinematic masterpiece, it opens the door for more stories that capture the complexities of identity, family, and ambition within the Asian American community.
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