If John Singleton’s debut film Boyz N The Hood generated too much word of mouth in 1991 – he was nominated for a best director Oscar at age 22 – his return to South Central L.A. 10 years later generated far too little. Part coming of age drama, part relationship comedy, part sociological urban study, the movie bites off more than it can really chew, but is terrific work.

Jody (Tyrese Gibson) has yet to fall into a life of crime, but – aside from fixing low rider bikes for the neighborhood eses or cruising around in his girlfriend’s car – hasn’t figured out what to do with his life either. He recognizes that there’s two types of people – “buyers and sellers.” In the first of several terrific scenes, Jody becomes a peddler of clothing he swipes off the back of a truck in the Fashion District and sells to women in the beauty shops on payday.

He lives in Compton with his mama, a textured character who is centered, loving but also fiercely independent (played by A.J. Johnson). Jody has fathered two children by two different women, one of which (Taraji Henson) he’s decided will “probably be” his wife someday, but who has had it his wandering ways.

Meanwhile, mama’s new boyfriend, an ex-con named Melvin (Ving Rhames) enters the picture. He encourages the youngster to come to him for advice. “You might think you seen some new shit out here, but to me, it ain’t nothin’ but a rerun.” Jody fears that Melvin could eventually turn violent on his mother, but in the near term, is more frightened he’ll have his meal ticket repealed. The battle of wills between Gibson and Rhames is the chief reason to see the film.

Though no thug himself, Jody has little choice but to get confrontational when a felon named Rodney – played with terrific sleaze by Snoop Dogg – gets out of jail and moves himself into Jody’s girlfriend’s apartment.

Baby Boy is well written, well directed and well cast, the second best film on Singleton’s filmography. What keeps it from being as great as Boyz N The Hood is the street warfare, which seems ordered in from another movie. There’s a drive-by shooting that is very reminiscent of the one in Menace II Society. There’s also an entire subplot here involving Jody’s friend (Omar Gooding) that feels undernourished, as if Singleton knew the boys in the hood genre had run its course in the ’90s.

When it comes to the domestic scenes, the film is vibrant and strong. Taraji Henson manages both a strength and vulnerability in her role that is particularly memorable. R&B performer Tyrese Gibson holds his own with her, playing hapless indignation and confusion really well, and the pair make a good couple. Ving Rhames is a steam locomotive as always.

The movie generated somewhat of a backlash in its portrayal of shiftless black men too lazy or too confused to get a life. Singleton didn’t pander here or try to make a blockbuster, but instead goes for honesty. Jody and his girlfriend Yvette are a young couple who run hot and cold, loving and hating each other, and make big mistakes. This dynamic is portrayed by Singleton with a lot of power and complexity.

The musical score by David Arnold – who began his career scoring sci-fi flicks like Stargate – has a strong rhythm & blues flavor and really stands out. Singleton peppers the soundtrack with the old school sounds of Kool & The Gang, Marvin Gaye, Bootsy Collins and GQ to memorable effect.