Power tends to corrupt, and absolute power corrupts absolutely.
David Mackenzie's tale of Robert the Bruce avoids the myths, focusing on the fierce man of flesh and blood.
MY FRIEND DAHMER is a poignant, unnerving, and even empathetic portrayal of Jeffrey Dahmer in the year or so leading up to his first murder.
Jeremy Renner brings to life one of the most heinous murderers of the modern era in this horrific biopic.
Bronson. 2008. Directed by Nicolas Winding Refn. Screenplay by Brock Norman Brock & Refn.
Starring Tom Hardy, Matt King, James Lance, Amanda Burton, Kelly Adams, Juliet Oldfield, Jonathan Phillips, Mark Powley, Hugh Ross, Joe Tucker, Gordon Brown, & Charlie Whyman. Str8jacket Creations/Vertigo Films/Aramid Entertainment Fund.
Rated 14A. 92 minutes.
Time and again I say it: Nicolas Winding Refn is one of the directors working today whose mix of influences bleed into his talent in the perfect shade, making him a passionate artist forging his own path while still showing love for those who came before him, and above everything an uncompromising auteur. Lots of so called fans only came on after Drive became a big, unexpected hit. It’s a great flick. Not his best, though, despite being so awesome. There are a bunch of other amazing pieces of cinema that came before it, such as the Pusher trilogy, Bleeder, Fear X, and certainly this whopper of arthouse film, Bronson.
What’s lovely about Refn is that, though his style is singular and always apparent each of his movies takes on a vastly different type of world and story. That makes his electronic-score driven, gorgeously framed, dark style almost perfectly suited for the story of the world’s most infamous prisoner, Charles Bronson (Tom Hardy) a.k.a Michael Gordon Peterson. This is a true story. Well, sort of. Refn is able to provide the surrealist atmosphere for the plot to play out in the right sense. We’re never quite sure if what’s occurring in front of our eyes is truthful, a part of Bronson’s built up and enhanced self image, or if Charlie’s actually full-on mad. The screenplay from Refn and Brock Norman Brock lets us escape into the mind of a man who defines ‘product of the system’ in a way that’s never before been allowed with other prison films. And for all Refn’s excellency as director, Bronson is so effective due to the tornado force performance out of Hardy. He is a revelation and one worthy of every bit of hype the media gives him. Hardy and Refn together with the foundation of a character like Bronson, an unbelievably real man, makes for one of my favourite films post-2000.
Something I love about this story is what Roger Ebert echoed in his review of the film. The fact Refn and Brock make no attempts to explain away the behaviour of Bronson is exactly what makes the movie enjoyable. At his core, Peterson – who took the name Charlie Bronson as a fighting name – is a horrid sort. You can’t always use that label I previously mentioned, product of the system, as a way to rationalise the actions of bad people. Sure, Peterson was likely changed into who he ultimately became because of his incarceration and the time he spent institutionalised. However, I truly feel that in his heart Peterson has the seed of evil. Maybe not full-on evil, but certainly of badness. He’s not a relentless murderer. Yet a dangerous individual no less. His incessant fighting and rage is a plague, on him, as well as more importantly on everyone around him. So I find there’s a fine line drawn between making an excuse for someone who’s a ward of the system, essentially, and someone who could very well just have on real conscience or concern for growing as a person, other than in the sense of physical growth in order to be the best fighter possible.
In turn, Hardy makes the central performance vibe well with the intentions of the overall story and its themes. He gets the character right in terms of the swagger, the mentality and the outright madness. He is physically intimidating, he’s also funny and charming in a brash way. There’s a ton of different feelings you get about Charlie throughout the runtime of the movie, and Hardy is always pushing you. There are moments you don’t think you’re meant to laugh, but you do. There are moments that you’re not sure if fear is the appropriate response; it is, very much. And most of that is Hardy bending the screenplay to his will. Making the character memorable and fierce. There’s not a single shot where Hardy isn’t making you think or compelling you further into the personality of Bronson. Whether that’s a good thing, you be the judge.
Another aspect that’s interesting to me is the idea of celebrity and persona. Peterson becoming the alter-ego of Charles Bronson is the first shift in his identity where we see that he’s to become a celebrity. Or more so that he’s to become famous, or infamous is the best way to describe it. The surrealism of the script, jumping from one mad scene to the next, is what brings everything out, as the larger than life persona is represented admirably via the stage play moments. As Bronson recounts to us his life he becomes the circus ring leader, the lead performer – at once he’s the star of the show, the next he’s a different character with lipstick and manicured nails and drawn on hair to boot.
These scenes allow us to look into the confused identity that is Bronson, the man formerly known as Michael Peterson. “You can‘t tie that up in a nice little pink bow,” an art instructor tells Charlie about the picture he’s drawing, a perfectly poignant commentary on the man himself: “Nah you can‘t pin me down, mate,” replies Bronson. Best of all, those stage play scenes give us a window into the soul of Charlie, as we fully understand how lonely the man is and what drives him: he needs, and wants, an audience. After so much time alone stuck in cells and having only time inside his own head, that stage is both an escape from this life, and it’s also a cry for help, the want for an audience. Maybe that’s all he ever needed; not incarceration, but rather attention, care, kindness. We’ll never know, though, and this is part of why I love the film. Refn gives us plenty upon which to ruminate. He never proposes any answers, nor does he make it seem like that’s his aim. His objective here is to fall into the headspace of the truly veritable headcase that is Charlie Bronson.
This one is at the top of my Refn list. I’m a fan of every last bit of his work. He is a very interesting director and writer. His style is tons of fun, it is vibrant and always compels you to keep you watching, if only to figure out what’s about to happen next, and how it’s going to be expressed. Bronson is one of his more surreal efforts, in line at times visually with Valhalla Rising in its strange beauty. Tom Hardy can get into the skin of any character. He relishes every moment as Bronson, putting his heart and soul and limbs into each scene. Not many actors are willing to get naked and pain themselves, have their ass greased with butter (and by another man), to fully commit themselves to the insanity of a role such as that of Charlie; Tom is one of those few actors that can go to the lengths required. There are many times you’ll wonder where exactly the plot is moving. Let’s just say it never goes far. But not every story has a plot that moves in the typical fashion from Point A to B to C through to a nicely wrapped finale. Bronson is a series of scenes that accurately depict the loneliness, brutality, and all around uncontrollable personality of a man you’d never in a million years believe to be real, if he weren’t so well known. Along the way you’ll laugh, you will cringe. All appropriate reactions. This is a character study which pulls you along on the tails of music (from the atypical Refn electronics to popular classical pieces) and violence featuring one of the greatest performances you’re likely to ever witness.
Malcolm X. 1992. Directed by Spike Lee. Screenplay by Lee & Arnold Perl.
Starring Denzel Washington, Angela Bassett, Albert Hall, Al Freeman Jr., Delroy Lindo, Spike Lee, Theresa Randle, Kate Vernon, Lonette MCKee, Tommy Hollis, James McDaniel, Ernest Thomas, Jean-Claude La Marre, O.L. Duke, & Larry McCoy. 40 Acres and a Mule Filmworks/Largo International N.V./JCV Entertainment Networks/Warner Bros.
Rated PG-13. 202 minutes.
Sometimes I’m not a fan of Spike Lee as a public persona, simply because he doesn’t always think before speaking. However, I’m usually a fan of his work as a director. He has a big, wide mind and puts that to work usually tackling issues within the African American community. There are too many of his movies to talk of in an introduction, but suffice to say I do think he is a great director. One of the greatest in his generation, and certainly one of the best African American directors out there, period.
And that’s perhaps why Malcolm X is the film out of his catalogue which resonates most. It isn’t necessarily his greatest. Yet there’s such a poignancy and depth to the work Lee does to portray Malcolm X (played wonderfully by Denzel Washington), not just as a powerful black leader, but also as a human being; one not completely above judgement, one not perfect as some might idealise him. Furthermore, we’re able to get a look at the inside of the Nation of Islam, as far as fiction allows. Many prominent figures in the life of X and circling the NOI, as well as the Civil Rights movement in general, are included, from cameo roles such as Nelson Mandela, Al Sharpton and others, to the portrayals of characters like Elijah Muhammad (Al Freeman Jr.) and Thomas Hagan (Giancarlo Esposito), among more. The nearly three and a half hour runtime of Malcolm X may seem daunting. If you’re sitting down to watch a film, you’ve really got to be prepared for this one, though it’s beyond worth the effort. For me, the 202 minutes rushes by in a beautifully shot and directed, phenomenally acted story that jams a whole man’s life into one screenplay. Not everything gets covered, and there’s also plenty of story to be told after X’s assassination. Above all else, the character of X comes out, as does his struggle. For some this was a stepping stone to learning more about the Civil Rights movements that began raging during the 1960s and 1970s, and onward. I won’t ever forget my first time seeing this one. It’s a classic that stands the test of time, telling an important, crucial story about America during the early latter half of the 20th century, and examining one of the more turbulent times of race relations in the country’s history. Sadly, some of what happened back then is still much too alive and much too well in American society, and if X were still alive he’d likely still be as fiery and determined as ever.
The best aspect of Malcolm X is the fact Lee doesn’t attempt to make him above reproach. As a person, X was not perfect. Nobody is, so Lee never tries to make him out to be anything else. Some worried that he would include X’s life before he converted to Islam, and that’s exactly part of what makes this story interesting and intriguing. There’s no sense in ignoring that part of his existence. X himself never did ignore it, he always kept himself open and honest and raw. That’s a huge part of why many did, and still do(/always will), admire him. He was not like most other leaders. He didn’t admit every one of his faults – again, he is only human. But on the whole, he never shied away from his once criminal past, as that in a way led him to where he went after and helped him attain the enlightenment of Islam.
One of my favourite moments happens between Malcolm X’s speeches. A young white woman approaches him, admiring his work, and wondering what a white person without prejudice might do to help further his cause: “Nothing,” he says smiling before walking on. This is such a brief, powerful moment. I’m reminded of watching a recent documentary about the KKK, where they also spotlighted the Black Lives Matter movement and the shooting in Charleston; one scene shows a white woman, with a mixed race child, trying to march in solidarity, who’s told by a black woman to go home – she does in fact leave after, though the black lady gives her a hug and seemingly explains this is just not the time or place for her presence. There’s a stand-off element to X and his feelings for white people. Again, that changed once he went to Mecca on his Hajj, and then essentially transformed into a full blown humanitarian. Yet Lee never strays away from that inflammatory perspective X held towards white American society, and makes clear it’s simply about black people gaining back their power, or retaining what they have, not so much about hating white people. So in that scene where X shrugs the white woman off, it represents the idea that white people may want to help, but black people don’t need their help. They sometimes just need white people to stand back, let them do their thing and settle the issues on their own. That’s not always the case. Particularly in the time of X, there were tough things happening (not that there still aren’t in this day and age), so this was a stance he felt black society needed to take in those times of near racial war. Not long after X, once Elijah Muhammad was out of his life, he made clear the black community had to unite first, then they could work more on white-black relations. That scene with the white girl epitomises this concept.
I love the inclusion of the conk hairstyle at the beginning with Malcolm and his buddy Shorty. Not simply because African American culture at the time saw a lot of young black men styling their hair that way. What’s most interesting is that Malcolm X later spoke about conk and its double edged sword-like effect on the black community. On the one hand, conk – because of its threat of chemical burns and scarring, hair loss, et cetera – was seen as a ritual of manhood, going from a boy to a grown adult. On the other hand, he and other African American scholars came to see conk also as a way of erasing oneself in order to become more white. This latter idea is presented in the screenplay after the conk is put in, washed out, then Malcolm admires his new hair in the mirror and says to the men in the barbershop: “Looks white, don‘t it?” The whole concept of the conk plays into how we see Malcolm ultimately reject everything white. And yes, he said incredibly inflammatory things about white people. But things can change, people can. He didn’t turn into who he was later because of a hate for white people. Effectively, he hated injustice. The white man, the white culture, the white HAIR, it all comes down to representing the white world that he lived in and found himself subject to at every turn, on a daily, minute-to-minute basis. So the conk is simply one element of the white superstructure that Malcolm came to reject. A great inclusion on Lee’s part to show that. It could’ve been a basic scene that shows us where he came from, his beginnings. Instead the scene represents a microcosm of that influence white culture had (/still has) on black people that are brainwashed into feeling as if ‘white is right’ or any of that other sadness. Later when Malcolm is in jail, the conk becomes a sticking point when he’s confronted by an inmate who tries to help him, out of the life of a gangster and moving towards something better, which is the Nation of Islam; a huge influence in his life during prison, as well as afterwards. It may seem a superficial, brief moment in the 202 minute runtime of this epic biography. And it’s a drop in the pond, really. Although, it is highly significant to the overall themes surrounding the film and X himself as a Civil Rights leader.
This is one of the best movies of the 1990s, certainly one of Spike Lee’s best, too. Malcolm X is a dissection of a cult of personality. It is a film that attempts to get to the core of what X and his struggle represented. Without all the denial some insist on upholding in regards to X’s personal history, who he was, who he became. The movie is not totally perfect, though it is perfect where it counts. Likewise, Lee concentrates on not inflating X as a leader. Rather he takes an inclusive look at the man, not ignoring the good and the bad alike. He dives into the an era where things were different, and somehow not enough has changed as of this writing in 2016. Watching this movie again now, 24 years after its release and concerning a subject decades older, it’s almost sad to watch and think how hard X would roll over in his grave were he able to witness some of the scary racist madness that’s still going on in the streets of America. Love this movie, love Denzel, and Spike is near his best here. A positively entertaining piece of biography, history, all combining to make a well executed film in every respect.
A Dangerous Method. 2011. Directed by David Cronenberg. Screenplay by Christopher Hampton, based on his play The Talking Cure.
Starring Keira Knightley, Viggo Mortensen, Michael Fassbender, Sarah Gadon, & Vincent Cassel. Telefilm Canada/Ontario Media Development Corporation/Corus Entertainment/eOne Films.
Rated 14A. 99 minutes.
I’ll say it loud and proud ’till the day I die: I am one of David Cronenberg’s biggest fans.
His films are incredible slices of human life twisted around the innovations of everything from technology to media to psychology, as well as all sorts of other themes and topics. While his earlier work is dominated mostly by the physiological, over the past decade or so Cronenberg has kept his eeriness as he’s moved towards examining aspects of the mind. Cronenberg first moved slightly from body horror in 2002 with the Ralph Fiennes-starring Spider, which examined the fractured mind of the titular character through years of psychological torment. Then came A History of Violence and Eastern Promises, both taking a look at the fluid identities of dangerous men involved in the world of organized crime.
But if the second act of Cronenberg’s career has shifted focus more towards psychology then the granddaddy of them all is A Dangerous Method.
Via screenplay written by Christopher Hampton – based on his own play The Talking Cure, which is also based on the book A Dangerous Method: The Story of Jung, Freud, and Sabina Spielrein – the audience is transported into the relationship between groundbreaking psychiatrists Drs. Sigmund Freud and Carl Jung, along with the presence of Sabina Spielrein, who went on to become one of the world’s first female psychoanalysts. The style Cronenberg brings here is his typically great eye for framing and an overall gift of storytelling. But more than that he takes his talents in the arena of body horror and manages to make the psychologically uneasy aspects of this story all the more affecting.
A few reviews I remember seeing when this was first released accused Knightley’s performance of being hammy, over-the-top, among other suggested negatives. There’s no way I can agree. In the initial scenes you can grasp the incredible emotional trauma of Sabina, as Knightley dives directly into this woman’s skin. It is a fearless performance from the top. Sabina was a hysteric, and that is how many of them are prone to behaving. Although her accent doesn’t always hit the perfect mark, her overall performance is solid. Her energy as an actress has always been good. Never more formidable than here.
The chemistry between Knightley and Fassbender is fiery, too. For his part, he brings Jung to the screen with an odd charm, one which slowly evaporates over the course of the film. At first he seems a proper man whose interests lie solely in psychiatry, unearthing new practices and honing old ones to modern methodologies and more modern issues/illnesses. Partway through there’s a gradual realization Jung is as repressed, if not more so in some ways, than some of the patients he treats. Through Fassbender we find Jung’s human side and also his hideous one. He seeps talent in every film in which he stars, this is no exception.
Finally, it’s the even more amazing chemistry between Fassbender and Mortensen that makes this film so engaging. Mortensen has a good look for Freud, as well as the fact he captures the air of the men well, right down to little details such as the constant cigar smoking, the pensive and animated conversation, his calm demeanour and way of speaking. He and Fassbender play well off one another – the former with a highly serious tone and set of mannerisms, the other a slightly more loose and freewheeling type. Together, as the tension rises from one conversation to the next, their performances reel us into a psychoanalytic world of ego, jealousy, competition. And their subtle touches as actors, along with the well written screenplay, gives them the ability to work without melodrama. These two together offer nothing but the best.
Jung: “Only the wounded physician can hope to heal”
Part of Jung’s resentment of Freud is that the latter seems to have no problem with sex. Maybe he’s not a ladies man either, yet he willingly dives headlong into sexuality as the root of just about every problem we as humans experience. Meanwhile, it is clear Jung had hangups, which emerged vividly in his relationship with Sabina. So Jung likely thought Freud’s preoccupation and fixation on sex was ill conceived simply because of his own desire to break free sexually, a.k.a cheat on his wife.
One major reason I love A Dangerous Method is because it takes a long, hard, raw look at people who are widely regarded as geniuses in the field of psychiatry. Of course anyone in the know realized Freud was into cocaine, as well as other bits and pieces of both his and Jung’s life. However, exposing the darkness underneath all the masterful work is something intriguing. In that way, Cronenberg further digs into the mind: the collective mind. As we try to believe doctors and other figures of such authority are often better than ourselves, we often forget they are simply human.
The conversations between Freud and Jung are wonderful, in acting and writing. Tension mounts as their opposing views bump up against one another, rubbing each other raw. Every conversation seems to get a little more anxious, each one has more attitude – often from Freud – and the relationship between these two great thinkers deteriorates, almost invisible to their own eyes as it’s happening. Then all of a sudden they’ve grown miles apart during the interim. The progression and downfall of their relationship is certainly precipitated by the affair Jung engages in with Sabina. But the inflated egos of both Freud and Jung lay the foundation for a breeding ground of contempt between them, an inescapable and unavoidable rift.
There are absolutely some flaws to this movie. The fact remains A Dangerous Method is a complex and interesting piece of cinema facilitated by the prodding mind of David Cronenberg. Without a focus on body horror, he puts a tight lens on the horrors of psychology. The dangerous method in question lays waste to the mental capacities and thought processes of Carl Jung, as it also taints Sigmund Freud and Sabina Spielrein. The famous Talking Cure is of course a great thing, one that’s given birth to what we know today as therapy, couples counselling, and so much more.
At the same time, the Talking Cure can lead to dangerous things if not taken by the reins. Someone like Jung, particularly in his affair and resulting mess involving Sabina, talked too much, and perhaps needed his own therapy while falling under the influence of first Freud, then Sabina in her own way, even Otto Gross and his ruminations on the uselessness of monogamy
This true story about the burgeoning days of modern psychiatry and psychoanalysis is a 4-star film with a trio of fabulous performances, the ultimate driving force behind its impact. Great directing, great acting, and a solid screenplay. If you have an interest in the topics at hand, check this out, but either way it is still a nice, interesting work of historical drama that gives us insight into the towering figures of Freud and Jung now that the past few decades have pulled further back the curtain on their personalities and personal lives.
Chopper. 2000. Directed & Written by Andrew Dominik; based on the books of Mark Brandon Read.
Starring Eric Bana, Simon Lyndon, David Field, Dan Wyllie, Bill Young, Vince Colosimo, Kenny Graham, Kate Beahan, Serge Liistro, Pam Western, Gary Waddell, Brian Mannix, Skye Wansey, Annalise Emtsis, & Johnnie Targhan. Australian Film Finance Corporation/Mushroom Pictures/Pariah Entertainment Group.
Unrated. 94 minutes.
Many true stories are often a rosy-eyed view of the life of their subjects. Too often they devolve into hero worship or over sentimentality. Really, what a good biography deserves is truth. Even if that truth has many sides.
Chopper is a film about infamous Australian criminal, prisoner, author, vigilante, Mark Brandon Read – a.k.a “Chopper” Read. The tagline NEVER LET THE TRUTH GET IN THE WAY OF A GOOD YARN is one of his personal mantras. So, how can a story about a notorious liar find truth? In its depiction of the central character, whose mantra on truth is a huge focus. Using bits of truth and bits of who-knows-if-its-fiction from Chopper himself, director-writer Andrew Dominik explores an interesting chapter of Mark Read’s life, as Eric Bana crawls into the man’s skin, bringing to life his odd habits, his paranoid mind, and his utterly hypnotic foolishness. It’s hard not to like Chopper at times because he’s a vigilante, he likes to prey on criminals. But he is a paradox – a criminal, a murderer, a pathological liar.
Is Chopper Read a good or a bad man? Is he a product of a nasty environment? You be the judge.
A product of the Australian penal system since the age of 16, Mark Brandon “Chopper” Read (Eric Bana) does a bid in jail for having kidnapped a Supreme Court judge, in order to try getting his old friend Jimmy Loughnan (Simon Lyndon) out of Pentridge Prison. Inside, serving in the notoriously well-known H-Division, Chopper kills off a big time criminal in the hopes of climbing the ranks. Instead of that happening, Chopper finds everyone turns on him. Even Jimmy tries stabbing him, unsuccessfully. With too many enemies after him Chopper has the tops of his ears cut off by another inmate, which gains him notoriety and also a transfer out of H-Division. In 1986, he’s released back unto the world.
Problem is life moves on. But ole Chop, he’s still living inside even on the outside. He’s paranoid, unable to figure out the line between enemy and friend. And soon, the delusional truths in Chop’s head start to work their way into the real world. Then the line between friend and enemy is no longer of importance because there’s no line anymore to separate dreams and reality.
But a few fibs never stopped Chop from telling a good tale, did it?
First and foremost, Chopper is about appearances; both the film and the man. Everything about Chopper is legit, in terms of his tough guy appeal. At the same time he continually feels the need to pump himself up, one way or another. When he shoots a previous victim after getting out of jail, he brings the guy to hospital, yet then denies it to everyone else who asks. Really, Chop? Well, that’s because he has a specific idea of what and who Mark “Chopper” Read should be to the world. So what’s interesting is how director-writer Dominik decides to tackle the many stories, many of which are true, that Chopper has blown up into half-truths and half-fabrications. We go back through events at a couple points, seeing things as they really are, then through Chop’s eyes – often turned into a more elaborate, more exciting version of events. Because that’s another big aspect of the film, and of the man’s life: Chopper was always, above all else, a storyteller. And this is incredibly clear at the end. Without spoiling the plot and the finale, you can see how Chopper thrives off the social nature of his hardness, of his crazy reputation, because after he’s left all alone, nobody to talk/brag to, Chopper becomes a silent man, full of solitude, and there’s nobody there any longer to listen to his ramblings and his inflated ego.
I often say that a certain performance is great because an actor was the only one capable of playing the role. When I say that here, in the case of Eric Bana as Mark Read it is the truest I’ve ever felt about that sentiment. No surprise even Read himself suggested Bana for the part. Because he fits the bill. It is a real transformation, especially for those who know Bana in recent years for his performances. He gained weight, rocked the fake tattoos and the goatee, beefs up his natural Australian accent into a more lower class sounding dialect. Then there’s simply the fact he strikes me as genuinely loony. Bana gets right into the skin of Chopper Read; the bravado, the paranoia, the odd sense of humour. You’ll find it hard pressed to even take your eyes off him for a second. The raw magnetism of his character leaks from every last scene. He’ll make you laugh, he’ll also make you uncomfortable, a bit frightened at times. And you will constantly be unsure of what’s to come next. Read’s volatile essence is in good hands with Bana, giving him a human side even under all the machismo and ego.
Hands down one of my favourite biographies, ever. Nearly a perfect film, as it takes us inside such an enigmatic persona with both style and substance. Lead by an absolutely captivating performance from Eric Bana, giving us chuckles and chills, Chopper is at times horrific, others hilarious, and always it has the ability to hold your attention. Its little quirks are the best, from a scene depicting the subtle effects of speed to the moment where Chop casually hangs a bit of dong for a woman in the bar. See this if you haven’t yet, and make it a priority if you’re a big Bana fan because this is truly the performance which put him on, and will keep him on, the map. Plus, who doesn’t love a bit of true crime? As true as it can get when concerning Mr. Read.
The Stanford Prison Experiment. 2015. Directed by Kyle Patrick Alvarez. Screenplay by Tim Talbott.
Starring Billy Crudup, Michael Angarano, Moises Arias, Nicholas Braun, Gaius Charles, Keir Gilchrist, Ki Hong Lee, Thomas Mann, Ezra Miller, Logan Miller, Tye Sheridan, Johnny Simmons, James Wolk, Nelsan Ellis, and Olivia Thirlby. Coup d’Etat Films/Sandbar Pictures/Abandon Pictures.
Rated 14A. 122 minutes.
There’ve been two other films based on the real Stanford Prison Experiment conducted by Philip Zimbardo, at least that I know of – the German film Das Experiment and the semi-remake of that starring Adrian Brody and Forest Whitaker, The Experiment. Many will tell you the former is the best. Certainly none will say the latter. But I’ll go ahead and give you my opinion: The Stanford Prison Experiment is the best of the trio. It is the most raw, real, honest version compared with true events. It showcases best the real results of the experiment Zimbardo setup. Here, we see the worst of the human condition, what people are capable of given power and the ability to judge as they see fit.
As opposed to the other two films, Kyle Patrick Alvarez doesn’t try to add anything extra to the story. Or better put, screenwriter Tim Talbott sticks mostly to the practical facts of the original experiment. Instead of getting too flowery, attempting to intensify themes, Talbott’s script brings out the moral dilemmas inherent in Zimbardo’s supposed experiment. We are thrown directly in the hot seat, both with the people behind the glass and the inmates on the other side. This film focuses best on the human aspect of what really happened, rather than ratcheting up the violence, the threat of rape, or any number of things. Not saying every last bit of this is completely factual. More that it attempts to stick with reality. And things get very raw. For someone who traffics in a lot of horror, many disturbing pieces of cinema, this can actually be tough to watch; it isn’t even graphic. The psychological torture of the men in this experiment bleeds through the screen.
Dr. Philip Zombardo (Billy Crudup) conducts an experiment at Stanford University in the early 1970s. Twenty four men were recruited. They were broken into groups of guards and prisoners. This experiment sees how both groups act under the guidelines of a prison environment in the basement of the university.
Except things start to get a little out of hand. The guards aren’t allowed to physically hurt the prisoners. But they do everything else possible. They psychologically torture the young men playing prisoners. Some of them rebel. Others comply completely. Allowed to leave at any time, a couple do, or at least try to. For Zombardo’s part he tries to keep people there, going beyond acceptable limits; certainly beyond ethical scientific limits. As some of the guards go a little wilder than others, the Stanford Prison Experiment gets further out of hand than even Zombardo could have predicted.
They had two weeks allotted to conduct the experiment. It didn’t even last one.
Many times we see Zombardo lose it. One key moment is when a member of the research/experiment team has to leave, due to a death in the family, and Philip doesn’t lose it, but the lack of care for his colleague’s dead family member is evident. We can see how Zombardo doesn’t care about anything else, anybody else. Nothing other than his precious experiment. So, in subtle scenes like that we see the fabric of his personality wearing away. He meets an older man, either a former mentor or an older colleague, who asks about variables in his experiment; Phil dismisses him in a mix between anger, resentment, and perhaps a small dose of doubt, guilt, too. The character is a loaded one and full of many complexities. We watch as the guy’s mind tears, right alongside many of the inmates and some of the guards in the experiment. Hard to tell sometimes exactly who is slipping most.
Then there’s Michael Angarano. He is a great actor, one I’ve enjoyed plenty on Cinemax’s The Knick. Here he plays the “John Wayne” guard, Christopher Archer. Watching him progress from the first scene where we see him, to the Napoleonic character he becomes later in the film, it truly is impressive. Some may get annoyed by his fake Southern accent – part of the character itself, imitating a character from Cool Hand Luke, and poorly (on purpose). However, I find Angarano excellent here. He plays a young man who is fairly despicable, just as bad as Zombardo, and certainly one of the worst of all the men playing guards. His youthfulness comes in handy because he portrays a guy who, in real life, went too far and thought it was all justifiable, as if being a terrible human being at the drop of a hat, as he was during the experiment, were a situation anybody would find themselves in. His character helps to call into question the individual moral dilemma of such an experiment, and displays exactly the type of behaviour any person in their right mind would be ashamed of if it were them. A few other good performances here, including Ezra Miller and Tye Sheridan plus more. Although, Angarano and Crudup clearly shine. That could also have much to do with their characters’ respective importance to the events in question. Still, they both do an amazing job pulling their share of the weight along the way.
This a dark and raw 5-star film based on true events. In the final fifteen minutes, The Stanford Prison Experiment devolves to madness and presents us with the regression of humanity, all represented in these men posing as the guards. The moment where Crudup’s Zombardo breaks is quietly intense, but it hits you hard. I do not admire anything about Zombardo. This moment just rocked me – especially with the line by Angarano afterward. There’s a despicable quality to the ending, and it lingered with me, yet above all a sense of relief. This film is a visceral one at times, it will get under your skin. Deep; if you let it. The bare human qualities of this movie made it one of my favourites from 2015.
The Devil and Daniel Johnston. 2005. Directed & Written by Jeff Feuerzeig.
Starring Daniel Johnston, Laurie Allen, Brian Beattie, Louis Black, David Fair, Jad Fair, Don Goede, Matt Groening, Gibby Haynes, Sally Johnston Reid, Bill Johnston, Dick Johnston, Mabel Johnston, Margie Johnston, and Ken Lieck. Complex Corporation/This Is That Productions.
Rated PG-13. 110 minutes.
Documentaries are everywhere, on every sort of subject. Anything in the world you can think of, there’s probably a documentary on the subject. Certain documentary films interest me because of how I connect with them personally, others are just intriguing and interesting topics that will draw me in.
The Devil and Daniel Johnston is one of the former types. I’d never actually heard of Daniel Johnston before this movie. Other people I know had heard of him, but not me. Either way, I dove into this documentary because I knew that Johnston suffered from mental illness; that’s the single thing I knew of him. Identifying with him, as both a hopeful artist and a man trying to negotiate life with a severe form of depression, this film spoke to me. While I’m not a fan of all his songs, there are pieces of music here and there which really reach out to me. More than that, to see Johnston struggle through being an artist, growing up, living life, all the while battling manic depression desperately. There are moments you might find yourself grinding your teeth sitting there almost feeling the pain. Certain scenes are funny, lighthearted. A huge mixed bag here that collides into making one of the most personal, wrenching, devastatingly awesome documentaries about a musician you’re likely to ever see.
The most fascinating part about Daniel Johnston is the fact of his own rawness, his real and unabashed open qualities concerning his personality. At one point, on MTV no less during 1985, he tells the camera: “This is my album Hi, How Are You? and I was having a nervous breakdown when I recorded it.” He says it in such a matter-of-fact way that it’s hard not admire, or laugh, or smile. In just about every last scene where he’s talking, you find him divulging the most personal, inner secrets about the darkest corner of his life. And coupled with that, the way Daniel performs is different than anyone else I’ve ever seen. You can witness both the intensity of his musical ability, as well as his wildly nervous personality. He is visibly nervous each time a performance comes up, from his younger days to his later shows. Always there’s this fear inside him, which is actually endearing a lot of the time.
So it’s no surprise when, later, Daniel ends up having an actual serious breakdown. He becomes violent and crazy after experimenting with acid/LSD, which first began at a Butthole Surfers show. Slowly things deteriorate, as Daniel starts to get arrested, the police have altercations with him, he even causes disturbances in his family. Then there are various struggles. There were people who worked for him/with him, re: his career, who all tried their best to help him, whether that was committing him to a mental institution or getting him shows to play or whatever else could’ve been done. All the while throughout the history of Johnston, we’re seeing edits of him talking in various recordings (from dubbed tapes he did himself to video shot of him by others). It’s a strange conglomeration of things coming together to present his life to us. Best of all, even in the most intense, scariest moments of discussing Daniel and his condition, director Jeff Feuerzeig preserves a sense of respect and delicacy that shelters us from looking at Johnston like a freak. He isn’t, especially considering how mental illness is becoming less and less stigmatized today; this is a raw and honest look at someone’s struggle. But again, it doesn’t come off as “Look at how fucked up Daniel is“. There is a tenderness about the way Feuerzeig offers up glimpses of Daniel and his difficult life.
You’ll find it hard to deny the power of this documentary. No matter if you hate Johnston’s music, or if you think he’s a genius (I don’t think; I do find him an incredibly unique talent), if you have a heart beating in your chest and a soul deep down inside, this film will absolutely shake you. In the last 45 minutes or so, the devastating details come out. Such as the time Daniel thought he actually was Casper the Friendly Ghost, took the keys out of his father’s small plane in which they flying and tossed them out into the air, prompting his dad to make a crash landing. Luckily, they made it out of the situation with only minor injuries, but to think of what could’ve happened. It is a really frightening thought. That’s one of the turning points in the documentary, as not only do we realize the extent and depth of his illness, we also see a slight change in Daniel. Shortly afterwards, he starts to come down out of his religious fervor, his hallucinations and other similar delusions. He probably didn’t lose his faith. He just understood the gravity of his own condition. Today, he still struggles with issues of manic depression, but I feel after some of the more insane moments in his journey, there’s a part of him which accepts all of the ups and downs, in one big package. We go along that journey. Maybe in the end, the documentary’s biggest aspiration is to show people the mania inside music. Often people want the crazy, unstable musicians out there doing their thing and entertaining, but forget the human people inside these celebrities, inside the fame, deep down at the core. The humanity can’t ever be forgotten; this, if anything, is what Daniel Johnston and the film of his life has to teach.
This is a 5 star, flawless documentary. One of my favourites ever made. Because despite what you may feel concerning Daniel Johnston’s music, you cannot watch this without feeling something. To understand the mania and depression of others it’s necessary for people to be open, honest, willing to expose themselves to the world. It just so happens Johnston is one of the people willing to open himself up, like a living cadaver, and through this film he allows us a window into the damaged soul inside him. There are so many depressed and mentally ill people who could benefit from people coming out, talking of their own illnesses, their own struggles. We see so much of the devastation of unchecked mental illness in The Devil and Daniel Johnston, but in a roundabout way Daniel lets us understand how severe depression (or other similar mental afflictions) can be conquered: through love, honesty, openness, understanding, and yes, a dose of medication. There’s nothing ever glorious about this documentary, perhaps something which sets it apart from a lot of other biographical movies about musicians. Just remember – it isn’t all about the music, it is about the man. That is a point this film makes, over and over again. You may want all the madness that goes into the music, but don’t forget the men and women behind the music, their lives, what brings them to their talent and what gives us the unforgettable songs they’ve made.
Black Mass. 2015. Directed by Scott Cooper. Screenplay by Jez Butterworth & Mark Mallouk; based on the novel by Dick Lehr & Gerard O’Neill.
Starring Johnny Depp, Joel Edgerton, Benedict Cumberbatch, Dakota Johnson, Kevin Bacon, Peter Sarsgaard, Jesse Plemons, Rory Cochrane, David Harbour, and Adam Scott. Cross Creek Pictures/Grisbi Productions/Infinitum Nihil/Free State Pictures.
Rated 14A. 123 minutes.
The story of James ‘Whitey’ Bulger is a wild one. I remember when the excellent drama Brotherhood came on, with Jason Clarke and Jason Isaacs; that had roots in Bulger’s story, the parallel between him and his political brother. It’s a story that, if you know anything about it, is intense and has many layers. Almost as if it were written and made up. Yet the details most certainly are not made up. After things eventually went further south for Whitey, he went on the run as a Most Wanted face on the FBI’s list. Only a few years ago, at age 81 ripe and tender, he was apprehended and in 2013 his trial started.
So naturally, after seeing Scott Cooper was taking on an adaptation of this man’s boisterous, wild life, it had every bit of interest I needed. Black Mass gives us big heaping slices of the life of Bulger, from a time when he was already known to later on when he became one of the most well known names of the underworld. A ton of what makes the movie interesting are the central performances, particularly Johnny Depp in one of his strongest roles – ever – and then there is great writing on top of great directing from Cooper. This intense and at times fairly grim tale is weaved out of real life, pumped full of bravado, but best of all it breathes air into a true villain out of the history books.
James ‘Whitey’ Bulger (Johnny Depp) is a tough customer. One of the worst. He’s a notorious criminal from South Boston whose reputation precedes him. Better yet, he’s the brother of prominent politician Billy Bulger (Benedict Cumberbatch). While Billy is busy climbing the political ladder, Jimmy is on the streets busting heads, killing, doing the most illegal of business.
But a terrifying deal is struck behind the scenes between Jimmy and the FBI, led by John Connolly (Joel Edgerton), who just so happens to have grown up on the same street as the Bulger boys. Using the FBI to essentially take out competition and aid his nefarious dealings, from guns to drugs, Whitey spins the entire deal into a downward spiral. Soon enough, the FBI informant in Jimmy is lost and he is officially on the Ten Most Wanted List. His story is one of family, corruption, ego and above all else – crime.
Immediately we’re introduced to Whitey Bulger as someone who does not mince words, nor does he put up with anything he sees as bullshit. No nonsense. The opening scene with Depp his eyes are piercing through the darkness, Bulger is sitting in silence and watching Johnny Martorano (W. Earl Brown) – an extremely dangerous and feared man in his own right – sloppily eat peanuts on the table, which he does not like. And makes it known. But this semi-funny scene brings a little more to the front. If you understand who Martorano is, then it’s even further evident that Whitey does not care who is in front of him. He says it like it is and couldn’t care less what anyone feels about it. The menace is present enough in the shots where Depp is barely visible through the darkness, almost like a predator laying, waiting in the black. More of that comes out later, though, it is heavily featured in this first moment. As time goes by, it isn’t only the contacts Depp wears that makes the eyes of Bulger burn into your soul. It is the absolute dead eye stare Depp seeps through the frame, it won’t let you go. With only a few looks Depp conveys the nastiness in Whitey.
Everyone is really solid here. One of those ensemble casts you dream of, as there’s a number of performances to enjoy. Of course you can’t not talk about Cumberbatch, whose American Boston accent is pretty great, and natural. Not just that I found he was well contrasted with Depp; they truly felt like brothers, two guys at the opposite end of one spectrum. Their chemistry was good when they shared the screen. Then there are smaller roles that worked well, such as Peter Sarsgaard (always a fan), Rory Cochrane, and more. But I also have to mention Joel Edgerton. He is a talent, one who can play interesting roles with lots of weight. He is compelling from scene to scene, especially considering what his character is involved in, and Edgerton definitely sells the performance. He and Depp do nice work together, too. Having all the actors in this film together is a definite plus. Without them these real life characters would’ve felt like caricatures and bad impressions. With them, Whitey Bulger, John Connolly, Billy Bulger and the rest of them all appear to us vividly and full of passion.
There are certainly similarities at times to the classic Martin Scorsese mob picture Goodfellas. Cooper does an excellent job mirroring some of the music montage moments in that film, excellent homage. Although, it isn’t borrowing too heavily. This is its own story, its own film all the way. But apart from some of the techniques Cooper uses to move the plot along, particularly the first montage with “Slave” by The Rolling Stones, there are plenty differences. The writing doesn’t fall back on homage. We get lots of exciting dialogue, which in turn obviously brings us fun, intense, and likewise exciting relationships between characters, scenes that come to life. It’s not just some period piece jumping from one decade to the next with a couple decent characters. The screenplay is solid. I love the pace of the movie, from start to finish. Never once during the 123 minute runtime did I find myself hoping for more excitement. There are bits of extensive expository dialogue, but only in the sense that we need it re: FBI actions, and so on. Then, we also get our fill of the character development, the violent scenes, the mob talk. There could’ve easily been too much, or not enough, of all these aspects. Instead, Cooper & Co. offer us up a good variation most of the time.
Easily a 4 star film. There could’ve been a few things edited better, to ramp up the intensity and suspense, but overall the pacing of the film especially keeps things proper. Boasting a massively impressive performance from Johnny Depp, as well as a handful of great supporting roles, Black Mass packs a heavy, bloody punch. Maybe people see too many parallels with other films and that Scott Cooper drew off classics too much. Not I. This is a truly compelling story that deserved to be told and this was told in fine fashion. There are moments you’ll laugh, moments you will root for a good outcome. But this is a dark, twisting story. There are no happy endings. Regardless, the film is very well made. It has a wonderful atmosphere and a constant tone that brings out the best in every aspect of the production. This is top notch and one of the best crime biographies of the past decade. Some bits and pieces need tuning, though, if any Depp shows us he’s not done yet. Not by a long shot.
Straight Outta Compton. 2015. Directed by F. Gary Gray. Screenplay by Andrea Berloff & Jonathan Herman; story by Andrew Berloff, S. Leigh Savidge, & Alan Wenkus.
Starring O’Shea Jackson Jr., Corey Hawkins, Jason Mitchell, Neil Brown Jr., Aldis Hodge, Marlon Yates Jr., R. Marcos Taylor, Carra Patterson, Alexandrea Shipp, Paul Giamatti, Elena Goode, Keith Powers, Sheldon A. Smith, and Keith Stanfield. New Line Cinema.
Rated 18A. 147 minutes.
To start, I have to tell people – this is a long one. More than normal. That’s because I credit N.W.A – the most infamous rap group of all time, Niggaz Wit Attitudes – with having enough power, despite their own personal flaws, to open a white boy from Newfoundland, Canada’s eyes to the black experience of young men and women in inner city neighbourhoods, such as the titular Compton. So just stick with me: this review is a beast, but I have things to say, that need to be said concerning Straight Outta Compton.
There’s something truly unique about N.W.A and all the social aspects which surrounded the group’s beginnings, fame, and downfall. Now, while I don’t particularly condone everything these guys did – particularly I’m reminded of the all too absent Dee Barnes assault and other Dre assaults on women from the film – I do recognize how important this one group was in terms of rap and hip hop, as well as where the whole game ended up going after their arrival.
It’s funny how these guys from Compton, so immersed in the black experience, can speak to people of all colours, ages, creeds. Their revolution was one which spoke to many, but certainly most to the young black youth of America. Even white kids like me who grew up in the 1990s were interested in what these guys were doing. It’s because N.W.A, for all their faults, stood against the establishment, they were in the thick of the gang wars in Los Angeles, raging through Compton just about every day, and they spoke to their audience through anger, unrest, and they didn’t take any mess. They took plenty of constructive criticism, even more hatred and spewing of vitriol from people who saw them as a plague in music and society. For all the trashing, there were plenty of people in the streets and the audiences behind N.W.A and all for which they stood.
While I have plenty of love for the musical talents of N.W.A, I don’t necessarily feel like everything they were about made it onto the screen. I do admire a bit of F. Gary Gray’s work as a director, however, I don’t think this is one of the best in the end. Sure, it’s a decent combover on the history of N.W.A, as well as its individual members, but ultimately I don’t see enough of their rawness and the reality of all their faults AND successes in this story that’s being told. I do like Straight Outta Compton, but I can’t say it’s an incredible biopic. The actors do a FABULOUS job with their performances, both physically embodying their real life characters and even the voices, it’s simply not enough to carry this into the realm of a classic biopic. The work was put in, the movie looks good, sounds good, feels good, but the truth was left out at many important intervals in this story and that cannot let Straight Outta Compton stand completely upright on its own.
Beginning in 1987, Straight Outta Compton attempts to tell the tale of Ice Cube, Dr. Dre, Eazy-E, Mc Ren, and DJ Yella (Arabian Prince seems to be left out completely unless I missed something) on their road towards becoming N.W.A – Niggaz Wit Attitudes – one of the biggest powerhouses in 20th century music, and one of the reasons rap/hip hop ended up becoming such a mainstay in society.
With their meagre beginnings, Eazy-E (Jason Mitchell) is talked into investing some of his drug money into music by his DJ friend Dr. Dre (Corey Hawkins) and aspiring rapper Ice Cube (O’Shea Jackson Jr.). From there, things take off: first Eazy gets on the mic and then the magic starts happening.
Once Jerry Heller (Paul Giamatti) becomes a part of the mix, the tensions rise, as he sets Eazy aside from the others slightly. As Dre and Eazy seem to be fine with most everything (MC Ren and Yella aren’t discussed too much in detail really), Ice Cube has problems with the way his finances are being treated, seeing as how he wrote many of the big hits for N.W.A starting out.
Straight Outta Compton documents the quick rise and the equally as quick fall from grace of N.W.A and the lives of each of its members.
An amazing scene comes around 40 minutes in, when N.W.A performs their first big show with producer Jerry Heller (Paul Giamatti) in attendance. He brings in a guy from a label who offers the guys a contract with them. The funniest of this is when they ask who he has on the label, to which he replies “The California Raisins“. There’s something so ironic and strange about this moment that I can’t help mention it. I think it goes to speak to how N.W.A was being sought after to be the next big thing; this label, only dealing with the Raisins so far, chomps at the bit to get them signed. I’m not sure if it was meant this way, however, I definitely feel like this was included for a reason. Maybe it’s the actual conversation, who knows, but I feel it speaks to part of the commercial craving a lot of producers were feeling as soon as they saw N.W.A, and similar groups/acts/et cetera. That’s an aspect to the story we can never forget – much as these were talented men trying hard to do their thing, they were also young and dumb and very naive, and part of that led to their exploitation on certain levels. To my mind, this California Raisins scene is part of that in a subtle sense.
Inarguably, a significant portion of Straight Outta Compton has to do with the police treatment of young black men in and around neighbourhoods like Compton. After Jerry Heller takes on N.W.A as a group and they’re recording, a scene comes which shows how prejudiced the Los Angeles police were especially in the late ’80s and early ’90s towards black people. As the group hangs outside the recording studio eating burgers and drinking their sodas, two cop cars pull up and start to harass them all. Even a black police officer is the first out, yet still they’re there to sweat these guys; a very telling moment.
What I find best about this scene is how Heller witnesses everything going down. He storms out and reprimands the officers, stating that they can’t simply harass people because they’re black. While we know this goes on, I think having Heller so worked up about the treatment N.W.A receives at the curb while merely standing around innocently and eating lunch speaks VOLUMES. He’s probably discovering, for the first time, this type of situation happens and the police – who are meant to protect and serve – are some of the most racist, prejudiced people on the streets. There are plenty of scenes in the film about this prejudice, I found this one to be one of the most important, as we see the white guy realize how devastating the lives of black people can be when confronted with these young black men being treated like garbage.
Later, we’re treated to a scene where N.W.A, along with Heller, watch a news report on the police brutality Rodney King suffered in 1991. This is an important moment because we can see how emotionally affected each member is, while the only white guy present, Heller, simply thinks they need to keep working; it’s not that he’s rude about it, he simply does not understand or feel the news in the same way as the group.
Even though I don’t feel as if the full truth about N.W.A comes out in Straight Outta Compton, there are absolutely a few scenes where we get a broader view of these guys than simply “Oh they’re revolutionary black musicians”. They certainly were, but they were and are still people; these are human beings.
One in particular I found brutally honest was in the hotel, as Dre opens his room’s door to a man looking for his girlfriend; a woman who is clearly in the room. From a door out of the room a little ways down, Eazy and the boys come out holding guns, chasing the guys off. So a lot of people might watch this and immaturely think “Those guys are badass”, this is not something cool. At all. I mean, sure that girl was cheating on her man, but then Dre and Eazy act like it’s stupid that this guy might come and threaten them? C’mon. This just goes to show how rough and hypocritical these guys could be at any given time. While they often fought the good fight, there were plenty of times they did some nasty downright horrible shit, whether together or individually. This hotel scene is one such instance.
There’s also part of me believes, were Eazy-E still alive, this would’ve been a completely different film. First of all, we’re not given as much of Eazy as you might believe while watching. Even with the opening sequence centred around Eric “Eazy-E” Wright in his element, dealing drugs and surviving on the streets, there’s surprisingly little in regards to the actual character, the real life person he was and became. There’s such a glossed over history of N.W.A in Straight Outta Compton that it doesn’t really surprise me Gray’s film ignores largely much of Eazy and his own personal history.
It’s not only Eazy. Seems to me the script Andrea Berloff and Jonathan Herman came up with wanted to focus on the ideas producers Ice Cube and Dr. Dre felt the spotlight should be on. I get it – Dre and Cube both don’t want their misogyny on the big screen. So first off, there’s the fact they’ve omitted Dee Barnes (and others) significantly. Instead, we get the idea Dre has always only ever been a respectful man towards women – concerned with caring for his family and helping his mother. Maybe that’s partly true, but doesn’t change the fact he’s had a history of violence towards women.
On the other hand, we get little bits of Cube being violent to quell any worries there might be a bias. So we watch him smash up an office building when he’s not getting the money he is owed – y’know, instead of legal recourse. This doesn’t do anything but discredit Cube and the methods these guys used in order to solve their problems. I get it, I know a lot of guys like them who grew up rough and had trouble with the police sometimes for NO reason. That doesn’t change the fact some of the things Cube and the rest of N.W.A do are downright immature, childish, and violent. Still, while we get these little scenes there’s a lot we’re not shown, and for good reason.
People can come to terms with a bit of violent nature when it comes to Cube getting what he’s owed, they’d probably be WAY LESS willing to put aside Dre and his disrespect for women – certainly more so now than back in the ’80s or ’90s, post-Chris Brown and an overall societal awakening to the rampant abuse women face.
We get good looks at Suge Knight, but again, he’s another character who we don’t get to see the full truth about. Yes, there’s plenty of evidence here suggesting Knight’s rough, more violent approach to business with Death Row Records. What we don’t get is a broad spectrum to show how dangerous the man is, merely there are typical scenes we’d expect – there’s no range in Suge, at all. Not saying he’s a complicated man; here, though, he is downright one-dimensional. He’s like the big villain, the bad guy. And he is villainous in real life. To me, the problem is this feels like the CliffNotes version of the Suge Knight subplot in the overall greater story of N.W.A. There’s no real introduction to Suge as much as the other major players in the story; he simply shows up in the life of Dre and becomes a presence.
Meanwhile, the other big baddie is Jerry Heller. He gets more play and we see more about him as a person, as a character, instead of merely being a negative entity in the world of N.W.A in the sense Suge is displayed. He’s not particularly likeable all the time, though, he’s afforded more characterization as that villainous entity than Suge Knight, which I think is unfair; Suge doesn’t deserve much, however, they might as well give him more time seeing as how he played such a destructive force in Dre’s career and the final dismantling of N.W.A.
Above all, the film opts to go more for all the interpersonal drama between Ice Cube and Dr. Dre, as well as Eazy-E and the others, instead of taking more time to focus on the individual lives of each member. We get small slivers, it seems like most of that is relegated to the respective N.W.A members with their wives – we don’t ever see much of the stepping out, the cheating, we don’t watch Eazy-E do much sleeping around (other than one brief reference as he tells Jerry he’s about to go have a bunch of sex).
So while there are great moments in this script – think the whole angle of including the Watts Riots after Rodney King’s assaulters, the police, were not indicted for their crimes – I can’t say that Straight Outta Compton is solid. Not in any way. There’s never enough focus on the right aspects, there isn’t enough of the REALNESS, the RAW GRITTY story behind N.W.A.
Instead we’re treated to a bunch of half-assed looks at some of the people surrounding Dre, Cube, and the rest. For instance, Snoop Dogg (Keith Stanfield) shows up in a couple scenes; mostly it’s an excuse to have someone imitate Snoop, well enough, but there’s nothing interesting here except hearing them come up “Gin and Juice”. Then Marcc Rose shows up playing Tupac Shakur, if only for a scene; plus they’ve got someone else voicing him. I mean, why even bother? It serves no purpose in the end here to include Snoop and Tupac, or anyone else, that’s not an integral part to the story. They’re simply little add-ons not given enough time to do anything but show up. I thought this was beyond lazy.
One thing I did not like is how the director felt the need to spoon feed us with the names of each character. Do you really think N.W.A fans can’t figure out which one is Eazy, Ren, Dre, Cube, Yella? I mean, sure, it gives the film a little style having their names pop up next to them, but to me it’s annoying. F. Gary Gray, did you have to put Dre’s name up while we’re watching him with the headphones on, listening to a beautiful song, almost conducting with his fingers as he listens? You think we couldn’t have figured that out on our own? Not to mention the fact each of the N.W.A cast members looks like who they’re playing. There’s no need at all to tell us “THIS IS DRE THIS IS EAZY” and so on. Overkill in my mind. Too heavy handed a technique for me, especially in a biopic; dumb move. It’s fine to put the dates up, things like that, I just can’t see any reason to label each character when it’s SO CLEAR who they are at all times.
In the end, I can only give this movie a 2.5 star rating. There’s no way I can go higher. Simply put, the fact Ice Cube and Dr. Dre produced this film, and from what I gather worked on it closely from many angles, really damaged the end product. Part of that ended up in a lot of things being omitted: no mention of Dee Barnes or Dre’s other violent encounters with women, Eazy-E’s battle with AIDS is reduced to an endnote in the final 20 minutes (most of which is precipitated by lots of coughing instead of a real focus on how promiscuous Wright was through his career), Suge Knight is a one-dimensional villain, and overall none of the individual stories surrounding N.W.A are treated with care or shown in great detail.
While I love N.W.A, their music and parts of their legacy, I feel they’re most definitely a conflicted group in terms of how fans and others look at them. F. Gary Gray had an unreal opportunity with Straight Outta Compton, but it’s mostly all squandered in lieu of trying to draw out the emotions of fans by focusing on the drama of the beef between Eazy-E, Ice Cube, Dr. Dre, and so on. Even further, MC Ren and DJ Yella (as well as Arabian Prince who was a part of the group for a short time) are almost non-existent, other than a few choice scenes where they’re heard speaking. So it’s a shame all around. There’s not enough to justify this as some great biopic.
In reality, Straight Outta Compton does not live up to the hype, in any way, shape, or form. I’d go so far as to say I’ll probably never watch this again. Not worth the price of admission whatsoever, certainly not for a true fan. I’m actually sad and letdown by this film’s failure to live up to what I’d expected. Silly me, though. As soon as I learned Dre and Cube produced this, I knew there would be trouble. When the story is told by those who lived it, especially if there are tough and at times disturbing nuances, we’re not always granted the truth, the whole truth, and nothing but the truth.