Review: Straight Outta Compton

Year: 2015

Director: F. Gary Gray

Screenplay: Jonathan Herman, Andrea Berloff

Starring:O'Shea Jackson, Jr, Corey Hawkins, Jason Mitchell, Paul Giamatti

Synopsis is here:

Telegraph Film Critic Robbie Collins; amusingly tweeted the environment of the press screening of Straight Outta Compton in which critics were treated to Eggs Benedict (seriously). A later tweet hilariously likened the screening audience to Seinfield's apartment; very white bread. It’s easy to dread to think about what views were flying around. Often when heading to some screenings I gain a sense of faux progression. It’s hard to shake off the sneaking suspicion that everyone is going to clutch on to their valuables if I sit too close to them. I mean, let’s be fair, I'm usually wearing a hoodie.

Such things are of invested importance when watching a film like Straight Outta Compton, which, while holds a closer relationship with the glossy, Sean "Puffy" Coombes produced biopic Notorious (2009), actually holds underpinnings of John Singleton's Boyz in da Hood (1991). The Ice Cube and West Coast connection are certainly not the only elements that bind those films.

A muscular and accomplished piece of storytelling, F Gary Gray's Straight Outta Compton explodes right out of the blocks with the kind of drug dealing sequence that wouldn't feel out of sorts if placed in the Hughes Brothers' debut Menace 2 Society (1993). What follows afterwards is a sprawling, textured history of one of the most influential bands of the genre of hip-hop; N.W.A. Compton follows the tropes of a typical rock biopic in terms of structure, but the weight and the relevant tone of its subjects elevate the film to a particular level. This cinematic rendering of one of rap's biggest super groups has been considered the "Black Avengers". This is a strange term which tries to mould the film within recent comic book adaptations. Such a description comes off more like a trendy term trying to attach a certain type of relevance, although the film often captures the fantastic aspects of the group's meteoric rise from underprivileged and oppressed youths to millionaire rap stars.

This is a rap version of the rock bio that plays out in board strokes with its producers (who are also the subjects of the film) are clearly mythologizing themselves in a light which draws them into a far more sensitive light. However, it's important to realise what the film's intentions are. Much has been said about the exclusion of the Dee Barnes' violent altercation with Dr Dre from the film, which was originally scripted. In fact the films entire reading of women is best described as "problematic".  In this film of young, flawed, disfranchised black male youths, the treatment of women within the frame is discouraging. Representation ranges from objectionable to confounding. Some sequences put the antics and debauchery of Entourage to shame. Meanwhile, long-term relationships with girlfriends/wives seemingly appear from nowhere, before being relegated to the background.

Yet while many of these criticisms should not be dismissed, the essence of the text must remain. While SOC depictions of women are insensitive, they could also be a strong observational representation of a group of angry, naive yet talented individuals. Condoning the actions is of course incorrect, but while it's reassessment of topical themes are important (we are looking at an 80's/90's story with 2015 eyes), the idea of reshaping elements to allow kinder gender politics may feel disingenuous here. Particularly to a rap group whose lyrics towards women were outwardly aggressive. That said, Compton does drop the ball somewhat by over smoothing the flaws of its protagonists to such a point that it lessens the complexities of the real life counterparts. Especially when we place Gray's position with the group during the time in which the NWA was active.  Easy E's promiscuous activities and Dr Dre's hostility towards women are only briefly glimpsed, if shown at all. Even in glossy biopics like Ray (2004) and Get on Up (2014) highlight the fractured relationships towards women that occurred, configuring their respective artists into tragic, flawed geniuses.

We must be reminded however that Straight Outta Compton is still a triumph of black male representation. This is an inversion of the brutal and fictionalised realities displayed by John Singleton and The Hughes Brothers. Updated with hopeful inflections and framed for audiences more interested in Hip-Hop than old style RnB/soul/funk. This is not only because the many subjects are still alive and still hold a level of relevancy and popularity, but also due to the film highlighting pathways that were only just hinted in the 90's and near dismissed within the universes displayed in the fictional urban movies of the past. Could we image poor, black L.A youths becoming billionaires? The fact is stranger than fiction, and the fiction needed to stay grounded.

From a directional point of view, this is Gray's boldest film, working closely with cinematographer Matthew Libatique, and providing striking and kinetic imagery to the story. Visually, the sheer scope of this film is impressive. The infamous "Bye Felica" sequence, which details the wild touring antics of the NWA, while controversial at its heart, holds choreography rarely even considered for a biopic such as this, let alone conceived. Libatique's usage of the 2.35: 1 ratio not only enhances the sheer scale of the concerts and the groups influence, but also help display the magnitude of the Watts riots the infiltrates the films second half. While the riots themselves only come across as a surface level framework for the film, it highlights the ambition that Gray is trying to achieve. Whereas Notorious remains focused on the subject of Biggie Smalls, Straight Outta Compton tries hard to place the group within a larger context. With the film reaching to pinpoint the growing tensions that still remain and still polarize America.

Credit must go to Grey's eye for detail, stemming from Eazy E receiving his shoelaces back from the cops after being arrested, to the diegetic music changes which occur after 1993. The subtle shift across states, may mean nothing to those not interested in hip-hop, but remind fans of the changing tones which happened at the time. There's also textual richness in casting which is highly notable, with many of the cast (both leading and support) being exceptional in not only their looks, but their mannerisms. This is the first time that the three leads have been given a chance to head up a production and all three are allowed to let their charisma flourish. Jason Mitchell and O'Shea Jackson Jr are the two standouts. Mitchell provides a depth to Eazy E's persona which allows the character to be more than just a pair of sunglasses and a high pitched rap voice. O'Shea's look and demeanor are so much like his fathers (Ice Cube), it's uncanny. Corey Hawkins is the weakest of the trio, but this isn't down to talent, but down to character. Hawkins' Dre is the most passive of the protagonists, which once again speaks towards what may have been left on the cutting room floor or script stage.

As mentioned by Scott Mendleson, Straight Outta Compton is the most unsurprising surprise hit of the year. Take away the fact that this is a story of a platinum selling music group, whose members have diversified into other arenas. Forget about the influence of the genre of music. Compton uses the tropes of the musical biopic and uses them exceedingly well. The fact that it continued to remain in its number one spot at the box office after the opening weekend, proudly shows its strong of word of mouth. Compton doesn't just raise the bar for the Rap biopic; it highlights just how universal and populist hip-hop stories can be. Hopefully its success may help stick a pin in the "urban movies for urban people" myth. What makes Compton illuminating isn't just the energy of its soundtrack or the knowing cameos, it's that the film takes hold of its story and tells it as boldly as it can. Something that critics of middle England and hoodie wearing rap fans like myself, can all agree, needs to be done when it comes to the movies.

SUMMER 2015 SPECIAL - Inside Out, Maggie, Mission Impossible: Rogue Nation, Pixels, Fantastic Four, The Man from U.N.C.L.E, Absolutely Anything, Trainwreck, Paper Towns, Hitman: Agent 47 - 9.9.15

In our first podcast since July, Tony hosts and is joined by co-hosts Emma Platt & Dan Taylor to catch up on what we've missed over the summer blockbuster season.... We hash through successes such as Pixar's latest INSIDE OUT, the fifth impossible mission ROGUE NATION and slick spy fun THE MAN FROM U.N.C.L.E... ...while we also dissect the failures including controversial superhero flick FANTASTIC FOUR, misfire retro adventure PIXELS and video game reboot HITMAN: AGENT 47... ...plus we examine the middle ground, comedies such as ABSOLUTELY ANYTHING and the controversial TRAINWRECK (which gets Emma *very* angry), not to mention the less inspiring PAPER TOWNS. Also we discuss our favourite movies of the year so far, consider what we're looking forward to in the run up to the New Year, before taking a glance at the UK Box Office Top Ten after an expensive summer... Join us as we launch back into a packed, exciting Autumn of cinema...

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Article: Appetite for Destruction

Since my mid to late teens, I've pretty much been considered the “cynical” one of my group of friends. It’s a tag I do try hard to sometimes shrug off. Particularly when I see so many others push past my own pessimistic leanings.

But here’s the thing.

When you read that Universal will look to reimburse cinemas for extra security costs over the weekend for the release of Straight over Compton, the hyped musical biopic of infamous rap group NWA, the pissed off Pitt alarm, blares loudly in my brain.

Of course people will consider the reasoning just. Racial anxieties in America are currently at their peak. The many protests that have featured in areas such as Ferguson as well as the violent disruptions have been well documented. I’m sure many could explain to me why people are nervous about a film in which the lead characters; who hail from the city with two groups of the most notable crime gangs, named one of their most famous anthems: Fuck Da Police…

But shouldn’t we consider, just for a minute, the reasoning behind these protests? Why has so much tension presented itself?  Why has so much anger flared up? One only needs to Google the words Black Lives Matter and read the many over the deaths of unarmed African Americans at the hands of armed Caucasian policemen. The protests that have occurred have yet again highlighted that Americas relationship with race is as convoluted and complex as its relationship with the same firearms being used to extinguish life. So quite strangely, the more black people killed or mistreated, the more protests occur. The more protests occur, the more conflicts flare. The more conflicts flare, the more studios worry about the (black) entertainment they release.

Annoyingly, I find this all gets a little Manson’s Helter Skelter. Was 8 Mile placed under such scrutiny when Eminem was at the height of his powers and notoriety? A film which treads lightly upon a gang culture within a multi-cultural, depressed town? Did any worry transpire when its infamous star (whom George Bush stated was “the most dangerous threat to American children since polio”) went on to pick up the best song Oscar? Nope. I doubt anyone would have believed that a woman who attack a man with pepper spray during a Mr Turner screening either. Mr Turner: a three hour period piece about a talented British Painter. Not one for frisking and metal detectors.

Can we also highlight that the shocking murders caused by Dylann Roof in an African American church, have been played down by many as not being an act of terrorism? The same goes for Anders Behring Breivik (although that is Norway). Do we know films did Elliot Rodger watch before he killed six people and then himself? This young man shot video "manifesto" raged at interracial couples, black men and girls that shunned him for not being successful. In fact, both Breivik and Roof also had angry manifestos of filled with disturbing views on how they viewed people of minority races. Were they James Bond fans? Rambo fans? Did they ever have a thing for Arnie's oeuvre?

I ask because in the years I've spent watching dashing white heroes, shoot and kill aliens either intergalactic or foreign. It's always considered for the right reasons. And no one believes that they the violence off the screens and into reality. When I read the articles and reports for the likes of American Sniper, I see no tightened security measures. Only the records they've broken at the box office. Of course, there's the political fallout, but no pre-emptive action taken. Looking at the articles that surrounded that movie, it's safe to say that a lot of fans of that movie seemed to enjoy guns.

Of course not every gun carrier in America is a troubled, unhinged person. And not every fan of of films with gun violence is going to start popping off like it's the 4th of July. That's a spiteful generalisation. Yet I can only be frustrated when looking at the likes of James Holmes, whose violent attack on a cinema in Colorado was quickly pinned upon similar nihilistic leanings of the Joker from The Dark Knight. A crime which sparked a rise in gun purchases along with security tightening afterwards. You can also look at the crime of Curtis Reeves; a retired policeman who deemed it fine to shoot and kill a man for texting in a cinema. The tragedy of the Lafayette shootings is still fresh and occurred during a screening of the romantic comedy Trainwreck. All these incidents are always considered as random as they are upsetting, yet often with them, dark, troubling reasons rise to the surface. Issues which no one seems to be truly aware of until it's too late. Yet when it comes to something like Straight Outta Compton, everyone appears to be all too sure of violence erupting.

This isn't to say that violence couldn't happen. Even looking from the outside in, tensions do appear to be running exceedingly high and I hope that no one does something to justify the already, clearly high suspicions. But here we are, looking at a carefully worded statement of heightened security over an "urban" film (sigh) which looks ready to do well at the box office. This to me speaks volumes. I do not wish to belittle the large and complex issues that a beautiful country (and it is beautiful) carries on it's shoulders.  But wouldn’t it be nice if people weren’t so automatically certain in their conformation of black violence as they are uncertain about the actions of white lone wolves?

EPISODE 33 - Ant-Man, The Gallows, Self/Less - 25.7.15

Emma Platt hosts and is joined this week by Chris Byrne to discuss the UK Box Office Top Ten, along with... ...digesting this weeks NEWS, dissecting new trailers for SUICIDE SQUAD, BATMAN vs SUPERMAN: DAWN OF JUSTICE & FANTASTIC FOUR... Chris leads discussion on found footage horror THE GALLOWS, plus Tarsem Singh's new sci-fi piece SELF/LESS, both slipping through under the wings of... ANT-MAN, which Emma leads analysis on - find out why she and Chris were satisfied but not overwhelmed by Marvel's latest origin story... ...before finally Emma brings us DEAD MEAT: THE FINAL GIRL, an enlightening discussion on the 'Final Girl' theory in horror - is it time for a new kind of Final Girl? Join us for our final podcast until September...

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Review: Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau

Year: 2014

Director: David Gregory

Starring: Richard Stanley, Fairuza Balk, Hugh Dickson, Oli Dickson, Robert Shaye, Marco Hofschneider

Comparisons to Lost Soul, which details the making of The Island of Dr. Moreau, could easily be made to like football club Fulham FC’s recent history. What looks to be a decent project on paper slides descends too rapidly into relative obscurity after being abused with a multitude of poor decisions. At one point, both film and football team as a maniacal but proven manager take over, yet his old school ways do little to stop what is now a situation in free fall. Suddenly oblivion.

From a technical standpoint, Lost Soul says very little. It’s a standard T.V budget documentary with the usual set up of talking heads and archival footage. Nothing is too out of the ordinary. But the story. Oh, how the narrative unravels. The most fascinating things about documentaries about films that fall apart, is how they fall apart. Despite being made, The Island of Dr Moreau is almost like a group of people looking to purposely build a dilapidated household to live in. The worse thing is, we see the cracks appearing from the off.

The film sells Richard Stanley (Hardware, Dust Devil) as a once up and coming genre director, whose brush with Hollywood left him burnt. The film sets up a lot of time in displaying Stanley’s intelligence and eccentricities. It’s quick to make Stanley out as an unfortunate, yet likable soul who is nastily shoved out of his own mind bending creation. Despite this, the films set up belies not only the frustrations and anxieties of a studio, but also the difficult balance between art and commerce.

For sure New Line President Robert Shaye is a tad wrong to lump assumptions of Stanley’s love for sugary coffee as a warning sign for trouble ahead (has he not considered Hollywood’s illegal drug problems?). But it’s clear for all to see that Stanley’s outrageously creative ambitions would pose a difficult issue, once New Line actually saw an avenue for decent business. Seriously,  the concept art features a human-dog hybrid licking afterbirth from a genetically mutated human/animal baby. We’ve only now just got around to the idea of a Human Centipede and that’s clearly pretty niche.

Such documentaries become illuminating in the same way as soaps and reality TV. It’s easy to become engrossed in the gossip. And why not. Val Kilmar (at the peak of his stardom) is likened to a preppy high school bully. Fairuza Balk sets upon cross country trip away from production once she finds out about how Stanley is being treated. The reasoning for the trip being cross country? Her lack of geographical knowledge of Australia. We have Brando taking the art of trolling a production to Jupitar sized proportions. The piece de resistance? Well, just because Stanley was fired from production, doesn’t mean he left.

In watching Lost Soul, you realise just how plain some of our filmmakers come across now. The PR stranglehold over productions makes films like this a certain succulence. It’s clear to see that mavericks like Stanley (interest in witchcraft aside) are often considered best avoided by Hollywood. A quick look at the Marvel production line right now, highlights just how much a studio wants their creatives to toe the line (I write this on Ant-man’s opening weekend).

But when an eccentric slips through the ropes, and an inmate gets a chance to take over the asylum, it’s easy to see how they can become lost in a world where power plays and bottom lines become everything and your enemies may be the guys smiling for the camera. Stanley shows throughout that his creativity is in abundance, but his personality is one that simply doesn’t meld with the playboys of LA. Unlike Terry Gilliam, Stanley doesn’t show himself to be a director who wishes to defeat extreme weather.   

What Stanley does give us, though, is an unbelievably rich texture to a deeply unfortunate hot mess.  Unlike Troy Duffy’s aggressive bluster in Overnight (2003), Richard Stanley’s offbeat wit and creative prowess only makes one wish that he was able to stay in the game longer to see what he could have come up with. Sweet tooth or no.