Film Review: Straight Outta Compton (2015)

Release Date: August 11th, 2015 (Los Angeles premiere)
Directed by: F. Gary Gray
Written by: Jonathan Herman, Andrea Berloff, S. Leigh Savidge, Alan Wenkus
Music by: Joseph Trapanese, N.W.A.
Cast: O’Shea Jackson Jr., Corey Hawkins, Jason Mitchell, Paul Giamatti, Aldis Hodge, Neil Brown Jr.

Legendary Pictures, New Line Cinema, Cube Vision, Crucial Films, Broken Chair Flickz, Universal Pictures, 147 Minutes

Review:

“They want N.W.A, let’s give em N.W.A.” – Eazy-E

*Written in 2015.

I have been waiting for this film to come out since I first heard about its development a few years ago.

N.W.A. is a group that I listened to almost since their inception and they had a big influence over me as a kid. Sure, my parents didn’t like me listening to them when I was in middle school but I really didn’t care and record stores didn’t really police their sale of explicit products to minors in the early ’90s. Well, some stores did but I avoided those.

This film was pretty fantastic. In fact, I’m going to go on and say that this is my favorite film of the year thus far. It was, by far, F. Gary Gray’s finest work as a director. Being that he has been a long time collaborator with the men who were the subject of this film, made it feel real personal and he had legitimate insight into the relationships of these guys. Additionally, with Dr. Dre and Ice Cube consulting heavily on this film, we got one of the most accurate music biopics ever made. Granted, I’m sure they filtered in their own bias.

This, above all else, was a film about friendship – even more so than the history of N.W.A., Ruthless Records and Death Row. It showed five close friends coming up together and challenging a corrupt and oppressive system. It showed how they fought for freedom of speech and how they became the voice of a generation that was fed up – transcending their neighborhood and their race: effecting millions of people all over the world. Even when friendship dissolved, in the end, the love was still there and through all the bullshit and really bad blood, they were still brothers.

The acting was on point. Ice Cube was played by his real life son and he looked and sounded exactly like his father. In fact, most of the time, you only see him as Ice Cube and get lost in the performance. Pretty damn impressive for a kid who has never acted. Jason Mitchell was perfect as Eazy-E, Paul Giamatti was a great choice for Jerry Heller and Neil Brown Jr. truly felt like DJ Yella. Corey Hawkins was good as Dr. Dre but was the weakest of the main actors. Aldis Hodge was okay as MC Ren but I felt like Ren really got the shaft in this film, as he was just in it. He wasn’t shown as a character of significance and someone of Ren’s presence, which he has a hell of a presence, should have been featured more. This film makes MC Ren just seem like the odd man out of the group and maybe that is because he never found the individual success of Ice Cube, Dr. Dre and Eazy-E.

Arabian Prince was completely shafted. He wasn’t even mentioned in the film. But if you remember the cover of the “Straight Outta Compton” album from 1988, there were six men in the photo. He was the sixth man, lost to history and forgotten. And I guess his role was so minimal, they really didn’t need to include him in the movie.

I did like how they featured the D.O.C., Warren G, Snoop Dogg, 2pac and mentioned Bone Thugs. I like how they tied in the Rodney King beating and the L.A. Riots, showing how N.W.A.’s music was almost prophetic without the film beating you over the head with it. The scene featuring the unity between the Bloods and Crips against the police was beautifully shot and executed.

Moving on, there are a few things I have to nitpick about with the film. For one, in 1986, Eazy-E is wearing a black White Sox cap. Well, the White Sox didn’t wear the black uniforms until 1991 or so. In another scene, which takes place in 1993, Eazy-E is using a cordless phone model that didn’t come out until around 2000. I know, because I owned that same phone. Also, 2pac was recording “All Eyez On Me” in the studio with Dr. Dre while Eazy-E was still alive in the film. Eazy died in early 1995 while “All Eyez On Me” was recorded late in 1995 and released in early 1996. There were a few other weird discrepancies but I’ll stop being an asshole.

Besides, the film’s narrative was strong. The movie told a great story and that is the most important thing.

While I do feel that the film shows both the good and bad of Eazy-E and Jerry Heller, I feel like this is through the eyes of Dre and Cube, which it is. I wish Eazy would’ve lived and would’ve been able to consult and flesh out his side of the story in the same way that Dre and Cube were able to do with the director. But to be fair, despite Eazy’s faults, he is still shown as a loveable yet tragic character and Dr. Dre and Ice Cube honored him for who he was.

The only big plot point that I felt was missing, was showcasing how heated the beef got between Dr. Dre and Eazy-E. For those that experienced it, it was a big deal at the time and from a fan’s perspective, the beef felt irreconcilable. Dre and Eazy both expressed regret about it in the film but it wasn’t shown or discussed in any sort of detail.

Also, the film jumps over the whole NWA & The Posse era.

I feel that it is also important to point out how funny this film is. It isn’t a comedy but there are so many great comedic moments throughout the picture. Yes, it is a serious film that has very dark moments for each character but their is a light-hardheartedness about this film that really showcases the soul of these men.

In closing, Straight Outta Compton is a spectacular film whether or not you even care about hip-hop. For those that do care about this group, it gives you an intimate look into their lives and shows how everything went down, as accurately as can be portrayed on film. And being that I am a person that lived through all of this and remember it from the perspective of a fan, it is impossible to not fall victim to nostalgia. But in that nostalgia, one walks away feeling more intimately connected to something that has been a part of your life for a long time. This was a film just as much about those of us who rode along with N.W.A. from 1988-1992, as it was about the band itself.

F. Gary Gray, Dr. Dre and Ice Cube truly have a piece of work to be proud of. Don’t take your family though, unless you want Little Jimmy yelling “Fuck the Police” as he walks out of the theater. Then again, I was once Little Jimmy and I turned out just fine.

Rating: 9/10
Pairs well with: Any top tier music biopic, really. This is just as good as the best of them.

Film Review: Detroit (2017)

Release Date: July 25th, 2017 (Fox Theatre premiere)
Directed by: Kathryn Bigelow
Written by: Mark Boal
Music by: James Newton Howard
Cast: John Boyega, Will Poulter, Algee Smith, Jason Mitchell, John Krasinski, Anthony Mackie, Samira Miley, Chris Chalk, Chris Coy

Annapurna Pictures, First Light Productions, Page 1, Metro-Goldwyn-Mayer, 143 Minutes

Review:

“I’m just gonna assume you’re all criminals.” – Krauss

John Boyega has been getting a lot of work lately, which is great, as I have been a fan since Attack the Block. Will Poulter, who I really only know as the virgin teen from We’re the Millers just made his entire career off of the back of his performance here.

Detroit has been released fifty years after the 1967 Detroit riots that it showcases. I’m not sure if that was intentional or just a convenient coincidence. Either way, the film shines a light on an incident that needed to be told and unfortunately, still has relevance today.

The movie uses its first hour to focus on the riots and the social and political climate around them. Although, if you are still alive and well in America today, it isn’t hard to understand. In fact, it makes you wonder how far we’ve actually come in half a century but the reality of the answer to that question is just depressing.

After the first hour of setup and character development, the film really picks up and gets to the story that was the main focus of the film’s trailers. Racist, psychotic police officers storm a hotel and discover two white girls in a building full of young black men and are offended by this. During the process, the main psycho cop (Poulter) shoots and murders a black man as he was running away through the building. The rest of the people in this part of the hotel are rounded up and put against a wall, as the cops threaten them, beat them and even kill some.

Following the hour or so with the cops in the hotel, the movie shifts to their trial and the aftermath of the situation for those who survived it.

Kathryn Bigelow, who is one of the best directors working today, proves, once again, that she can tell an exceptional and emotional tale that is relevant to what is happening in our world today. She also doesn’t box herself in with a traditional plot structure, as this film has three very different acts yet they all work in unison and weave a tale bigger than just the central incident of this film.

Getting back to Will Poulter, his performance as the racist piece of shit cop Krauss, was one of the best on screen villains in a long time. The kid has acting chops that go far beyond anything I could have expected, only having seen him in We’re the Millers. He has a unique look that can play virginal and innocent or intense and psychotic. He has the gravitas to pull off just about anything and I can’t wait to see where his career goes, as this should certainly open up a lot of doors. Based off of his look alone and his sly and sinister smile, I’d rather see him as the Joker than Jared Leto… just throwing that out there.

Detroit is not a perfect film or the best film that I have seen this year. However, it does what it sets out to do and it does it in a tasteful way that is hard for naysayers to argue against. While a lot of people want to turn a blind eye to how cops and the system have historically treated black people in this country, you can’t turn away and be disaffected by this picture. I hope it, at the very least, this opens some eyes.

I also hate the fact that it is 2017 and we still have to have these conversations.

Film Review: Kong: Skull Island (2017)

Release Date: February 28th, 2017 (Odeon Leicester Square premiere)
Directed by: Jordan Vogt-Roberts
Written by: Dan Gilroy, Max Borenstein, Derek Connolly, John Gatnis
Based on: King Kong by James Creelman, Ruth Rose, Merian C. Cooper, Edgar Wallace
Music by: Henry Jackman
Cast: Tom Hiddleston, Samuel L. Jackson, John Goodman, Brie Larson, Jing Tian, Toby Kebbell, John Ortiz, Corey Hawkins, Jason Mitchell, Shea Whigham, Thomas Mann, Terry Notary, John C. Reilly, Robert Taylor

Legendary Pictures, Tencent Pictures, Warner Bros. Pictures, 118 Minutes

Review:

I guess I will forever have a personal connection to this film, as the cigar box that Samuel L. Jackson’s Col. Packard keeps his medals in, is one that I designed in 2004. Strange that a product I had a hand in creating a decade ago ended up in a film that takes place just after the Vietnam War.

Personal connection aside, it should be no surprise to anyone who regularly reads Cinespiria, that I am a massive fan of kaiju movies. So anything with giant monsters is always a treat, especially when it comes with a cast of actors as strong as those in Kong: Skull Island.

While I liked Legendary Pictures’ Godzilla from 2014, it lacked a certain spirit that the giant scaly kaiju always seemed to have in his Japanese films. Kong: Skull Island is also missing that spirit. While it feels like there is some heart put into the film, it was sacrificed for action and the current trend of making films as big and as loud as possible. It is also a CGI fest that doesn’t always work, as it sometimes looks spectacular and other times looks shoddy.

Kong is still a great conflicted character that you feel for, and I guess, to me, that is always the most important part of any Kong story. In this film, you learn that his family was killed by the giant reptiles that live under the island. You even have a scene where our heroes come across a graveyard where the bones of Kong’s parents are on display. You certainly care for the big hulking CGI ape, which is good at building the foundation for what the studio plans to do after this film. Ultimately, we will get to a Godzilla and King Kong showdown after the next solo Godzilla movie.

I thought it was great that this film is just shy of two hours. The Peter Jackson King Kong from 2005 was a tremendous bore at well over three hours and Hollywood has had this trend of making big blockbusters a lot longer than they need to be.

In regards to the story, the setup and the purpose for going to the island is well orchestrated. Once we get to the island however, things move too fast and are very disjointed. I feel like the reveal of Kong came too early. Maybe Legendary Pictures were trying to makeup for the lack of Godzilla in Godzilla but it was too much, too soon in this picture. Seeing Kong destroy a fleet of helicopters minutes after they arrive was surprising. While this Kong doesn’t follow the traditional storylines of its predecessors, Kong typically doesn’t really arrive until the halfway point of his films. Even in the first Toho Kong film from Japan, it was a good third of the way through the movie before the giant ape showed up to crush a giant octopus.

The cast, as great as the ensemble is, wasn’t that exciting to watch. It almost feels like a Marvel movie though, as it features four actors from the Avengers film franchise: Tom Hiddleston (Loki), Samuel L. Jackson (Nick Fury), John C. Reilly (a small part in Guardians of the Galaxy) and Brie Larson (who has been cast to play Captain Marvel). None of the characters were written that well and they all seemed a bit lifeless. It was cool seeing Hiddleston get to be a macho bad ass but there was no real depth to who he was.

Kong: Skull Island was a bit of a disappointment. The first trailer looked really good and I had hoped that Legendary would have corrected some of the mistakes they made with Godzilla. In attempting to do so, they may have gone too far in the other direction, they need to find the balance. Frankly, for movies about giant monsters fighting, neither are as exciting as they should be.