Tampilkan postingan dengan label Academy Awards. Tampilkan semua postingan
Tampilkan postingan dengan label Academy Awards. Tampilkan semua postingan

Kamis, 31 Maret 2016

Film Review & Theme Park: Amy (2015)

© A24 | Source: knightfoundation.org/
UK; 128 min.; documentary, biography, music
Director: Asif Kapadia
Cinematography: Matt Curtis
Starring/ Interviewees: Amy Winehouse, Mitchell Winehouse, Janis Winehouse, Raye Cosbert, Nick Shymanksy, Blake Fielder-Civil, Yasiin Bey, Tyler James, Juliette Ashby, Lauren Gilbert, Pete Doherty, Blake Wood, Tony Bennet, Mark Ronson, Salaam Remi, Andrew Morris, Sam Beste, Dale Davis, Cristina Romete, Chip Somers, Shomari Dilon, 'Spiky' Phil Meynell, Monte Lipman, Lucian Grainge, Guy Moot, Darcus Beese, Nick Gatfield

I don't think I'm going to be at all famous. I don't think I could handle it. I'd probably go mad, do you know what I mean? I would go mad. – Amy Winehouse

My contribution to Women’s History Month is a little less historic and the impact of the subject will only be determined in the future. I chose to take a look at Amy, the Academy Award winning documentary about troubled soul and Soul singer Amy Winehouse. I was neither a particular fan of her music (although I can certainly appreciate her talent) nor is there any particular historical or societal significance (in the sense of activism, charity, ...) to her that would justify a citation in this category. Still, the award recognition of the documentary as well as the recognition of the quality of Amy Winehouse’s music motivated me to take a closer look.

And Amy sure deserves checking out. The Asif Kapadia documentary roughly recaps Amy’s life story from when she first got into the business at around 16 years old to her premature death in 2011. Amid background-serving childhood flashbacks the documentary takes the viewers into closed quarters of first record- and manager deals, the recording studio, and even Amy Winehouse’s vacations and escapes from reality. The audience is taken on an emotional journey that starts with the discovery of a young and headstrong talent and follows the unravelling of a depressed and overwhelmed twenty-something.

What we can take away from the portrait of this woman is that passion and talent are admirable features that are appreciated by people – no matter how troubled or young and inexperienced you are. You are also able to overcome your own demons (even if only temporarily in this case) to create something amazing. And maybe you can also draw strength from the life of Amy Winehouse, who did a lot in her 27 years of life despite continuously facing new setbacks and struggles. But most of all the inclusion of Amy in our Women’s History Month feature may serve as an eye-opener to be equally headstrong and cautious, and that asking for help doesn’t necessarily signify weakness.

Technically Amy largely uses home videos and press/ paparazzi footage as well as a large number of interviews presented as voice-overs. Friends and family must have all pitched in to provide material that really shows the woman behind the music. The interviewees are chosen in large number and with very different perspectives on Amy’s life, ranging from parents, to close friends, producers, and famous collaborators, providing a seemingly rounded picture. All too often documentaries can be manipulated by a very one-sided choice of information, but here it doesn’t seem overtly so. Kapadia created an extensive documentary (I mean two hours is really bordering on too long) that works without any artificial and plot furthering elements to provide a raw and close to honest image. Hand-held camera footage, interviews, and Amy Winehouse’s songs are enough to tell a chronological and revealing story. To me it was especially moving and slightly horrifying how deeply personal and reflecting of her current situation the lyrics of Winehouse’s popular songs really were. I don’t think I’ll ever be able to mindlessly blab along to the radio and her overplayed singles such as Rehab ever again. And that is a testament to this film. I honestly couldn’t care less about Amy Winehouse before, but now I can appreciate how much she gave to her music.

Surprisingly enough Amy holds the promise it sets out to: To provide an up close and personal look at the Amy Winehouse behind the music. As it turns out her music already is an open window to her soul, but raw and uncut footage really brings home the message. While a little too long for my taste, the length gives the movie depth and room to really track the different behind-the-scenes stages of her career. There is no overt guiding of opinion. Still you cannot help but feel for this woman and be moved by her fate – self-inflicted or not. By the end of Amy, I was feeling raw and emotional and a good bit creeped out (by her demons, I guess). In any case a well-made documentary and “a portrait of the artist as a young [wo]man”.


Rating: 

Senin, 29 Februari 2016

Award Shows: 2016 Oscar Nominations & Winners

Source: collider

Here are the nominees of the 88th Annual Academy Awards. The ceremony will be held on 28 February 2016. 

Who are you rooting for? Which of your favourite movies didn't make the list? Whose performance did you like best? Whose was the worst? Feel free to share your thoughts with us in the comment section of this post. 

* Winner



Best Picture
The Big Short

Brooklyn
Bridge of Spies
Mad Max: Fury Road

The Martian
The Revenant
Room

* Spotlight


Best Directing
Adam McKay for The Big Short

George Miller for Mad Max: Fury Road
* Alejandro González Iñárritu for The Revenant
Lenny Abrahamson for Room
Tom McCarthy for Spotlight


Best Actor in a Leading Role

Bryan Cranston for Trumbo
Matt Damon for The Martian 
* Leonardo DiCaprio for The Revenant
Michael Fassbender for Steve Jobs
Eddie Redmayne for The Danish Girl


Best Actress in a Leading Role

Cate Blanchett for Carol
* Brie Larson for Room
Jennifer Lawrence for Joy
Charlotte Rampling for 45 Years
Saoirse Ronan for Brooklyn


Best Actor in a Supporting Role
Christian Bale for The Big Short 

Tom Hardy for The Revenant
Mark Ruffalo for Spotlight
* Mark Rylance for Bridge of Spies
Sylvester Stallone for Creed


Best Actress in a Supporting Role
Jennifer Jason Leigh for The Hateful Eight
Rooney Mara for Carol
Rachel McAdams for Spotlight
* Alicia Vikander for The Danish Girl
Kate Winslet for Steve Jobs


Best Original Screenplay 

Matt Charman, Ethan Coen, Joel Coen for Bridge of Spies
Alex Garland for Ex Machina
P. Docter, M. LeFauve, J. Cooley, R. Del Carmen for Inside Out
* Josh Singer, Tom McCarthy for Spotlight
A. Berloff, J. Herman, S. L. Savidge, A. Wenkus for Straight Outta Compton


Best Adapted Screenplay
* Charles Randolph, Adam McKay for The Big Short
Nick Hornby for Brooklyn
Phyllis Nagy for Carol
Drew Goddard for The Martian
Emma Donogue for Room


Best Cinematography
Edward Lachman for Carol
Robert Richardson for The Hateful Eight
Joh Seale for Mad Max: Fury Road
* Emmanuel Lubezki for The Revenant
Roger Deakins for Sicario


Best Film Editing
Hank Corwin for The Big Short
* Margaret Sixel for Mad Max: Fury Road
Stephen Mirrione for The Revenant
Tom McArdle for Spotlight
Maryann Brandon, Mary Jo Markey for Star Wars: Episode VII - The Force Awakens


Best Production Design
A. Stockhausen, R. DeAngelo, B. Henrich for Bridge of Spies
Eve Stewart, Michael Standish for The Danish Girl
* Colin Gibson, Lisa Thompson for Mad Max: Fury Road
Arthur Max, Celia Bobak for The Martian
Jack Fisk, Hamish Purdy for The Revenant


Best Costume Design
Sandy Powell for Carol
Sandy Powell for Cinderella
Paco Delgado for The Danish Girl
* Jenny Beavan for Mad Max: Fury Road
Jacqueline West for The Revenant


Best Makeup and Hairstyling
Love Larson, Eva Von Bahr for Hundraåringen som klev ut genom fönstret och försvann
* L. Vanderwalt, E. Wardega, D. Martin for Mad Max: Fury Road
S. Grigg, D. Jarman, R. A. Pandini for The Revenant


Best Original Score
Thomas Newman for Bridge of Spies
Carter Burwell for Carol
* Ennio Morricone for The Hateful Eight
Jóhann Jóhannsson for Sicario
John Williams for Star Wars: Episode VII - The Force Awakens



Best Original Song

"Earned It" from Fifty Shades of Grey
"Til It Happens to You" from The Hunting Ground
"Manta Ray" for Racing Extinction
* "Writings on the Wall" from Spectre
"Simple Song #3" from Youth


Best Sound Mixing
A. Nelson, G. Rydstrom, D. Kunin for Bridge of Spies
* C. Jenkins, G. Rudloff, B. Osmo for Mad Max: Fury Road
P. Massey, M. Taylor, Mac Ruth for The Martian
J. Taylor, F.A. Montaño, R. Thom, C. Duesterdiek for The Revenant
A. Nelson, C. Scarabosio, S. Wilson for Star Wars: Episode VII - The Force Awakens



Best Sound Editing
* Mark A. Mangini, David White for Mad Max: Fury Road
Oliver Tarney for The Martian
Martín Hernández, Lon Bender for The Revenant
Alan Robert Murray for Sicario
Matthew Wood, David Acord for Star Wars: Episode VII - The Force Awakens


Best Visual Effects
* A. Whitehurst, P. Norris, M.W. Ardington, S. Bennett for Ex Machina
A. Jackson, T. Wood, D. Oliver, A. Williams for Mad Max: Fury Road
R. Stammers, A. Langlands, C. Lawrence, S. Warner for The Martian
R. McBride, M. Shumway, J. Smith, C. Wadlbauer for The Revenant
R. Guyett, P. Tubach, N. Scanlan, C. Corbould for Star Wars: Episode VII - The Force Awakens


Best Animated Feature Film
Anomalisa
O Menino e o Mundo
* Inside Out
Shaun the Sheep Movie
Omoide no Mânî



Best Foreign Language Film
El abrazo de la serpiente (Colombia)
Krigen
(Denmark)
Mustang
(France, Turkey)
* Saul fia
(Hungary)
Theeb
(Jordan)



Best Documentary Feature
* Amy
Cartel Land
The Look of Silence
What Happened, Miss Simone?
Winter on Fire: Ukraine's Fight for Freedom



Best Documentary Short Subject
Body Team 12
War Within the Walls
Claude Lanzmann: Spectres of the Shoah
* A Girl in the River: The Price of Forgiveness
Last Day of Freedom



Best Animated Short Film
* Historia de un oso
Mi ne mozhem zhit bez kosmosa
Prologue
Sanjay's Super Team
World of Tomorrow



Best Live Action Short Film
Ave Maria
Day One
Alles wird gut
Shok
* Stutterer


 

Minggu, 28 Februari 2016

Award Shows: Oscar Predictions 2016

© Alan Cleaver, altered by BSP | Source: flickr


Finally, award season is coming to an end. But before we all go back to our everyday routine after months spent in the cinema watching and reviewing potential Oscar winners as well as following campaigns and award frenzy, we get one final treat: Oscar Night. An event abounding with Hollywood stars and wannabes, glorious and not so glorious fashion moments, exciting and not so exciting musical acts and lovely to downright boring acceptance speeches.

But we know what's actually most fun about the film event of the year: the guessing game. We all have our favourite Oscar contenders and would like to see them take home an award or two today. However, there can only be one winner in each category and predicting who'll eventually claim Oscar glory can really spice up any Oscar viewing party.

So if you're in for the game, go here, download our Oscar Ballot and have your guess. In the meantime, we over here at BSP present you with our predictions for the Academy Awards 2016. Will we be right in the end?


Squuls



Rina



Nata Lie



What are your predictions? Let us know in the comments below or via social media.

Jumat, 26 Februari 2016

Award Shows: Official BSP Oscar Ballot 2016

© BSP
Alrighty, BSPeeps, the Oscars are near, and we know you love a good guessing game. All you have to do is print out our very own Oscar Ballot, tick the nominees you think will win in their respective categories, and wait until the winners are announced this coming Sunday to check whether you've guessed correctly. See? It's that easy.

We hope you enjoy watching this year's Academy Awards and wish you good luck reaching a high score. May the odds be ever in your favour.

Rabu, 24 Februari 2016

Award Shows: Oscar Movie Review Roundup 2016

Source: collider
In case you didn't know, the Academy Awards are approaching. So if you're still not sure who to root for on Sunday, 28 February, we provide you with a neat collection of all our reviews on films that were able to grab a nomination this year. Just follow the links below and you'll  be sure to hold your ground on every Oscar-themed watching party. Additionally, you can find our full list of all the nominees here.


Brooklyn
Nominated for 3 Oscars: Best Picture, Best Actress, Best Adapted Screenplay
© Fox Searchlight Pictures | Source: FilmSchoolRejects


Creed
Nominated for 1 Oscar: Best Supporting Actor
© Warner Bros. | Source: ZekeFilm


The Danish Girl
Nominated for 4 Oscars: Best Actor, Best Supporting Actress, Best Costume Design, Best Production Design
© Universal Pictures | Source: Vogue


Mad Max: Fury Road
Nominated for 10 Oscars: Best Picture, Best Director, Best Cinematography, Best Editing, Best Costume Design, Best Makeup and Hairstyling, Best Sound Mixing, Best Sound Editing, Best Visual Effects, Best Production Design
© Warner Bros. | Source: Forbes


The Revenant
Nominated for 12 Oscars: Best Picture, Best Director, Best Actor, Best Supporting Actor, Best Cinematography, Best Editing, Best Costume Design, Best Makeup and Hairstyling, Best Sound Mixing, Best Sound Editing, Best Visual Effects, Best Production Design
© 20th Century Fox | Source: The Hollywood News


Spectre
Nominated for 1 Oscar: Best Song
© MGM | Source: CVR Magazine


Straight Outta Compton
Nominated for 1 Oscar: Best Original Screenplay
© Universal Pictures | Source: cbscw44.files.wordpress.com


Trumbo
Nominated for 1 Oscar: Best Actor
© Entertainment One | Source: Hitfix

Senin, 22 Februari 2016

Manic Monday: Big Screen Philosophers Award Announcement

© BSP
This Monday we are leaving the manic behind for once and are trying us on some #MondayMotivation. There's a new project coming your way - our very own, very serious contribution to award season:

BIG SCREEN PHILOSOPHERS AWARDS

Look forward to some fun categories and the big award revelation next week after the Oscar buzz has died down. We kindly invite you to check in with us on social media or on our new and so far underused YouTube channel during this week. We'll be revealing new categories and nominees every day :)

Sabtu, 06 Februari 2016

Film Review: Trumbo (2015)

© Entertainment One | Source: Hitfix

USA; 124 min.; drama, biography, period
Director: Jay Roach
Writing: John McNamara; based on the biography Dalton Trumbo by Bruce Cook
Cinematography: Jim Denault
Cast: Bryan Cranston, Diane Lane, Helen Mirren, Louis C.K., Michael Stuhlbarg, Elle Fanning, Alan Tudyk, David James Elliott, Dean O’Gorman, Stephen Root, John Goodman

“Friends? What friends? Who the hell has the luxury of friends? I’ve got allies and enemies. There’s no room for anything else.” – Dalton Trumbo

The early Cold War period is not only the time in which the USA fought the Soviet Union in a proxy war far away in Korea. It is also the time in which they heavily prosecuted their own people right at home. Men and women who were suspected of favouring socialist views and communist doctrines found themselves indicted, imprisoned, shamed, blacklisted, sometimes even deported. McCarthyism scarred lives, destroyed careers and endangered one of the pinnacles of modern democracy: the freedom of speech.

Jay Roach’s biopic Trumbo tells the story of one of those men who suffered under a regime dominated by oppression and the Red Scare. In the film, Dalton Trumbo (Bryan Cranston), a celebrated Hollywood script writer, is under scrutiny for his passionate support of organised labour and his membership in the Communist Party of the USA. When summoned in front of the House Un-American Activities Committee and questioned about his political views, Trumbo refuses to answer and, in 1947, is convicted for contempt of Congress. Blacklisted after an eleven-month prison term, he has a hard time finding work and keeping his family afloat. Yet, continues to try.

Let me state right away, Trumbo is definitely flawed. Attempting to depict both a significant historical era and the personal struggle of a talented writer and dedicated family man, the film hardly moves beyond the surface. We see a man up against a tyrannical regime, we see a father working his butt off trying to earn money for his wife (Diane Lane) and three children (Elle Fanning, amongst others), we see a man facing betrayal by the hand of a very good friend. There’s a pretty basic formula at work here, guiding us through cornerstones of Trumbo’s life story, channelling some soapy drama, teary eyes and tenacious defiance while doing so. The characters fall rather flat, and an effort to explain McCarthyism rests on pointing out that everybody is plainly hysterical and nuts. Not to say that this isn’t true at its core, but a more in-depth look at the machinery behind this malicious political agenda would have been nice and could have helped to elevate the film out of triviality.


Despite the overly simplistic approach, however, I can’t claim that I didn’t enjoy Trumbo. While its triviality prevents the film from really gaining ground, it also offers a rather engaging 101 on the McCarthy era and its influence on Hollywood. The reason why I say ‘engaging’ is that I found myself perfectly intrigued by the way in which the film brings the classic movie industry of the 1940s, 50s and 60s to life. The set and costume design is lovely. Characters such as John Wayne (David James Elliott) and Kirk Douglas (Dean O’Gorman) appear. The use of fictional as well as actual radio and movie footage gives the whole thing a documentary style and evokes Hollywood greatness. For example, the voices of Lucille Ball and Gregory Peck are featured, and scenes from Roman Holiday (1953) and Spartacus (1960) incorporated. Combined with the at times vivid editing, the film boasts a rich and energetic atmosphere that is fun to watch.

Besides, the cast manages to move beyond the platitudes of the script and deliver memorable performances. Cranston’s Oscar-nominated portrayal of Trumbo carries the film through a bumpy script. He brings a loveable, slightly neurotic charm to the character, presents wit and passion with ease and has me invested in his journey from start to finish. Helen Mirren shines as fancy-hat-wearing, gossip-spreading Hedda Hopper. A character that could have easily been a mere evil-minded broad becomes a complex, classy, quick-witted evil-minded broad in her capable hands. She spices up the screen every time she’s on it. Furthermore, John Goodman delivers a fun stint as foul-mouthed B-movie producer Frank King, Louis C.K. adds some dry humour as fellow blacklisted screen writer Arlen Hird, and Michael Stuhlbarg steals the show as (apparently historically inaccurate) treacherous actor Edward G. Robinson.

Story- and character-wise Trumbo keeps things very much on the lighter side. It’s thanks to the atmospheric execution, dedicated cast and witty one-liners that the film makes for engaging and entertaining popcorn cinema after all. Trivial it may be, but never incomprehensible or alienating. In the end, Dalton Trumbo and his spirit of defiance against a ramshackle political system resonate strongly.



Rating: 

Rabu, 27 Januari 2016

Film Review: Brooklyn (2015)

© Fox Searchlight Pictures | Source: FilmSchoolRejects
Ireland, UK, Canada; 111 min.; drama, romance, coming-of-age
Director: John Crowley
Writing: Nick Hornby; based on the novel of the same name by Colm Tóibín
Cinematography: Yves Bélanger
Cast: Saoirse Ronan, Emory Cohen, Domhnall Gleeson,  Fiona Glascott, Jane Brennan, Brid Brennan, Eileen O'Higgins, Jim Broadbent, Julie Walters

“I wish that I could stop feeling that I want to be an Irish girl in Ireland.” – Eilis Lacey

Financial crises, Cold War politics, a Mars expedition gone wrong, child molestation, sex slaves and the animalistic side of human nature – this year’s Oscars Best Picture contenders deal with a rather grim subject matter. Amidst all this dark and heavy fare (oh, I forgot, The Martian is actually a comedy...), one film might appear like the odd one out. But don’t get me wrong. John Crowley’s filmic adaptation of the critically acclaimed novel Brooklyn by Irish author Colm Tóibín may come across as a more light-hearted, small-scale entry, but it’s every bit as engaging and important as the ‘big’ pictures crowding last year’s Top 10 lists.

In 1952, Eilis (Saoirse Ronan), a young girl from a small town in Ireland, migrates to Brooklyn, New York, to find a better job and better educational opportunities. She leaves behind her mother (Jane Brennan) and her beloved sister Rose (Fiona Glascott), feeling terribly homesick for the first weeks of her new life abroad. When she meets young Italian plumber Tony (Emory Cohen) and the two fall in love, Eilis finally begins to feel as if she has arrived in the USA. However, a sad stroke of fate requires her to travel back to Ireland where she finds that her prospects have changed. Will a promising job opportunity and the attentions of handsome fellow Irishman Jim (Domhnall Gleeson) draw Eilis back into her old life, or will she follow the call of the American dream?

In Brooklyn, there aren’t any big explosions à la Mad Max: Fury Road, no CGI fests like in The Revenant, no grand political themes or crimes to uncover. Brooklyn is the tale of a young woman trying to find her way in the world. While doing so, she’s facing all kinds of relatable struggles and emotions: there’s grief for home and the ones she holds dear, love, temptation and the striving for self-reliance and empowerment. What makes it so easy to follow this journey is, firstly, that Eilis is an instantly likeable character. She’s decent and reserved, yet incredibly witty and, once she knows what she wants, determined to follow her goals. Secondly, actress Saoirse Ronan plays her with tremendous dedication, embracing all the complex aspects of the character, from sadness to humour, vulnerability to inner strength and foolishness to smartness.

As a period piece, Brooklyn shines with its beautiful set and costume design. Not only do the locations and clothes bring to life an era gone by, they also help to characterise the difference between urban New York and rural small-town Ireland. Additionally, they bring out Eilis’ different ways of life in either of those spots. While, in the beginning, her wardrobe features mostly muted colours and simple cuts, her life in the US has her embrace the latest fashion, with her sporting playful blouses and sunglasses.

What is also refreshing to see is that, despite the 1950s setting, for once, gender isn’t too much of a focus. There are occasional allusions to how pre-marital sex should be prevented and how marrying rich would be a spiffy thing to do, but, despite these things, Eilis’ journey isn’t a mere fight against gender bias. Her independence feels natural. Men and women alike respect her for her efforts and intelligence, and find her to be a talented book keeper. While many period dramas with a female lead tend to focus on the women’s struggle against patriarchal structures, in Brooklyn, Eilis’ status is a given. The film endows her with more complex layers regarding fears and motivations than the usual aim to break the glass ceiling.

One of the most appealing aspects of the film is to watch the relationship between Eilis and Tony form and deepen. Actor Emory Cohen brings a wonderfully Brando-esque quality with a good squeeze of James Dean to his Tony. There’s a classic charm to him, a dreaminess and innocence that’s rare in today’s romantic genre. His character could have easily been a mere plot device, but his performance and chemistry with Ronan contribute to establishing one of the sweetest on-screen romances of the past year. It’s also nice to have their romantic dynamics evade stereotypes, with him being the head-over-heels, in looooove guy and her the reasonable, reserved other half.

The second part of the film, Eilis’ return to Ireland, is not as engaging as the first in which she has to deal with homesickness and her newfound love. If I should find a fault in Brooklyn, even if it’s just a minor one, it’s that Eilis’ coming-of-age moment near the end appears rather suddenly. Her stay in Ireland is meant to show how her home attachment could eventually overthrow her life in Brooklyn after all, but, from a narrative perspective, I find her experiences in the US to be much more vibrant and engaging. While Domhnall Gleeson gives a lovely performance as Eilis’ shy and quiet Irish love interest, I never really believed that going back to Ireland could actually have been a plausible option for Eilis. I guess a bit more time and effort could have gone into fleshing out her affection for Ireland in order to make her conflict of choosing between Brooklyn and Ireland more apparent.

In Brooklyn, we find beautifully drawn out characters and especially a strong and likeable female lead. Then there’s also a motivated young cast (with memorable supporting stints by Jim Broadbent and especially Julie Walters, no less) and a gripping tale of finding one’s own way in life. The film evokes old-school Hollywood charm with ease, and allows for 111 minutes of delightful escapism. In a Best Picture race that is dominated by movies handling universal conflicts and grand themes, it’s good to know that there’s still room for smaller, more intimate stories to be told.


Rating: 

Minggu, 24 Januari 2016

Film Review: Straight Outta Compton (2015)

© Universal Pictures | Source: cbscw44.files.wordpress.com
USA; 147 min.; biography, drama, history, music
Director: F. Gary Gray
Writing: Jonathan Herman, Andrea Berloff
Cinematography: Matthew Libatique
Cast: O’Shea Jackson Jr., Corey Hawkins, Jason Mitchell, Paul Giamatti, Neil Brown Jr., Aldis Hodge, Marlon Yates Jr., R. Marcos Taylor

Ice Cube: Yo, Dre.
Dr. Dre: What up?
Ice Cube: I got something to say.


As usual at the beginning of a new year it’s time to look back on the previous 12 months in film and honor the past year’s stand-outs. This is the task today’s manifold award shows and juries have taken on and should do to their best abilities. But, not for the first time, the most prestigious Academy Awards have left doubt about their selection of honorees. Amidst the #OscarsSoWhite uproar, I am taking a look back at one of last summer’s strongest performers at the box office:

Straight Outta Compton is the (auto-) biographical enactment of the rise, fall, and legacy of Californian hip hop group N.W.A. In 1986 four young guys from Compton, California set out to turn the frustration about their lives and opportunities into something creative. As west-coast pioneers of gangsta-rap their rise to fame and fortune is glorious and disapproval by the stiff, bourgeois society only contributes to their notoriety. But when money gets involved things get tricky. Various people want to ride the money train and friendships are lost. Straight Outta Compton shows the estrangement of the group, their individual endeavors and ultimate reconciliation at the deathbed of founding member Eazy-E (this story’s real, guys, so no spoiler alert needed).

The F. Gary Gray pic does a good job of setting the scene and creating an atmosphere. Police radio calls and news reports recreate the atmosphere of civil unrest in Reagan-era America. As an important back note to the development of N.W.A, these state-of-the-union testimonies introduce the sharp reality of the protagonists’ lives. Drugs, unemployment, early fatherhood, guns, and unjustified police brutality are the norm here. Dark shots and sharp flashing lights are a means of establishing a gritty and authentic picture. Yet stereotypical shots of “ghetto life”, of cruising and posing are not omitted either… When things escalate, camera movement and cuts accelerate and frames get up close and personal. As the group rises to fame, shots become more and more total, summiting in shots of bright stages and packed concert halls reflecting the grandeur of N.W.A’s success. There are parties and excesses to no end, but these flashy enactments are always cut against small-scale, closed-off shots of conversations, hinting that there’s always something deeper going on behind the shiny façade. While the movie is not free of clichéd depictions of sex and violence (as there may well have been in these circles), in general it does a good job of pulling you into the action, so that by the end of the movie (yes, guys, you were in fact watching a movie) you feel like you have been on that journey with the group.

And the group is exactly what this movie is about and what makes it so special. The dynamics between Ice Cube (O’Shea Jackson Jr.), Dr. Dre (Corey Hawkins), Eazy-E (Jason Mitchell), DJ Yella (Neill Brown Jr.), and MC Ren (Aldis Hodge) coming up together from nothing to the top of the business are refreshing and uplifting. When difficulties arise, you feel like you have been cheated, too, and then you feel almost sappily happy when the group reconciles at last. But hold up! – not all is brilliant and authentic here… As this is a biography you know there are some real people involved. When you then look at the producers (Ice Cube, Dr. Dre and the widow of Eazy-E among them) you know that these people are trying to create, legitimize, and manifest their legacy here in unblemished form. Who the main protagonists are is then also a given, but the way they try to stylize themselves is a bit too much at times: Eazy-E as the entrepreneur, Ice Cube as the poet and independent thinker, who stood up for his rights, and Dr. Dre as the musical genius with nothing but the advancement of his arts on his mind. A bit too neat if you ask me… Taking their depicted fostering of Snoop Dogg and Tupac Shakur, as well as a montage of real-life achievements after the end of the events depicted in the movie into consideration, it’s all a bit too much. Yeah, they did great things for hip hop, but the movie also sugarcoats or omits other, more violent and controversial aspects of their way to the top. And while Ice Cube, Dre and Eazy-E probably were the most successful of the bunch, I wonder how the rest of their crew feels about Compton.

The movie does a great job of depicting the main players in the form of casting, though. First of all hats off to employing a group of young and relatively unknown actors that none the less do a great job of portraying their characters. Their performances and looks fit to a tee and stop just short of mimicry. O’Shea Jackson Jr. had the slightly unfair advantage of studying his character up close and personal, as well as sharing his genes. Hence he has the attitude and can do the facial expressions and line delivery of his father almost like the man himself. Corey Hawkins as Dr. Dre can do both: portray the sensitive, exuberant creative genius and the ruthless, quick-tempered nature of a man determined to make his way up. Coming back to those Oscar nominations from the beginning, Jason Mitchell as Eazy-E might have deserved a nod for best supporting actor. In his portrayal he shows the whole range from childish joy, when his friends forgive his past selfishness, to economic strategist, calculating thug, and a man sick and dying of an illness he saw as unmanly and humiliating. Mitchell gives a performance you can believe and that despite the extreme nature of events is never over the top. The group’s manager Jerry Heller is prominently portrayed by Paul Giamatti. As always he does a brilliant job of playing a cunning and egoistic psychopath that in its ruthlessness and scheming gives me the creeps. Neill Brown Jr. and Aldis Hodge give solid performances, but since their characters remain mere props for the story, so do they.

The strongest part of the movie is – who would have thought – the music. As the sole reason to why this motion picture was ever even made, N.W.A’s legacy looms over Compton. Yet, this isn’t a suffocating or strangling fact at all, but opens the door to a fresh way of storytelling. Events in the movie don’t have to be reflected or commented on in stifling monologues, but get put into rhymes that reflect the feelings of a whole generation. These extremely explicit, yet hauntingly honest lyrics and their passionate delivery serve to set the tone and ground the events in history like no other device. Elaborating on the genesis of staple tracks such as “Fuck tha Police” are some of the film’s most captivating moments. The movie features a mix of the actors’ own versions and N.W.A’s original recordings. Fans, as an added bonus, get remastered versions of once genre forming tracks. Songs that influenced the artists as well as an original score by Joseph Trapanese round off the soundtrack. Shame that this incorporation of “historic” tracks led to a snub in the original motion picture score category.

Straight Outta Compton was one of 2015’s smash hits – and no wonder: great shots, real emotions, and brilliantly true music left no movie-goer unmoved. This is no straight out street-life picture, nor is it your standard artsy music film, but it does have a good bit of both. Yet, it seems, this is not the kind of mix the Academy goes for. Although I haven’t watched all best picture contenders of this year yet, Straight Outta Compton would not have gotten my vote either. To me there is a little too much legacy building and glorifying of events at hand and not enough critical reflection on people’s extreme behavior and its consequences.  Nonetheless Compton is quality entertainment: its 147 minutes are diverting, you get to hang out with some cool dudes, and share their exciting journey. An amazing cast, that is nominated for a SAG award for best ensemble and should have received a nomination, if that category existed at the Oscars, delivers real performances. Compton recreates an era of societal problems and civic unrest that seems a little too close to our reality today. A widening gap between rich and poor and escalating police brutality make you feel like it’s not only the Compton guys that have been through all that, but that you could be a part of the story, too.


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