 |
 |
|
|||||||||||||||||||||||||||||||||||||||||||||||
|
 |
|
|
|
 email this review to a friend
Interesting Visuals Don't Compensate for Acting "Idlewild", the new musical featuring Andre Benjamin and Antwan Patton, both members of the musical group OutKast, is a mess. This is both a compliment and a criticism. The result is a wildly uneven film filled with bland performances and a very unique, interesting visual appeal. Georgia. The Prohibition Era. Percival (Andre Benjamin, "Four Brothers") works at his father's (Ben Vereen) funeral home during the day, slowly taking over all responsibilities as his dad boozes the day away. At night, he sings at a local speakeasy called Church, which is run by Ace (Faizon Love). His lifelong friend, Rooster (Antwan Patton), also sings at the club, but runs his former mentor's (Ving Rhames) illegal activities during the day. Every night, his wife drops him off at the club complaining that he isn't spending enough time at home, with their five kids. One day, Trumpy (Terrence Howard), a local gangster who also runs booze, has a fight with Ace and before he knows it, Rooster is in charge of Church. Adding the stress of running the club isn't easy and Rooster doesn't like paying Trumpy's increased charges for booze. As Rooster looks for a new source of booze, Percival falls in love with Angel (Paula Patton), a beautiful new singer, who has dreams of going to Chicago to make it big. "Idlewild", directed by Bryan Barber, probably would not have been made without the success of "Moulin Rouge" a few years ago. The two films share many characteristics. Like its predecessor, "Idlewild" exhibits a frantic sense of editing; the musical numbers more closely resemble music videos, with most cuts lasting just a few frames. This isn't surprising given the background of the director and his two stars. Both films also use contemporary music in a historical context providing each with an undeniable energy and appeal. Barber is clearly more comfortable with the visual than the dramatic. From the moment the film begins, as we watch an old phonograph start playing a record, the director uses a blend of animation, live action, graphics and music to depict the fast moving story of the two friends during the Prohibition Era. As the record begins playing, the camera swoops up to a series of old photographs, slowing dissolving between them. But then, a figure in each begins to move a little, growing slightly, and these photos help to establish the setting and the tone of the story. As we flip through these photos, color begins to dissolve into an old photo and we watch as the film starts and the characters are introduced. Barber returns to this technique, in modified ways, throughout, providing a unique transitional device. There is also the unusual addition of a talking flask. Rooster inherits the item from his mentor (Rhames) and frequently looks at it. As he looks at it, the rooster in the logo on the silver vessel comes to life, talking to him, providing a sort of Greek chorus. This idea doesn't really gel and seems to be a distraction. The musical numbers have a unique energy, a lot of which comes from the fast-paced editing style. This technique adds interest to this portion of the film, but they also help to cover up any inconsistencies in the song or choreography. Strangely, Benjamin and Patton almost never sing together in the film and the songs suffer because of it. Early, Benjamin sings a song which we can barely hear over the din in the club. Later, Patton does a song, rapping through the lyrics as showgirls dance around him. This song is better, but the choreography seems a little stiff. But because of the editing, many of these flaws are covered up. We simply don't have time to concentrate on any one aspect for long. However, we can hear the song better and the two singers alone are not nearly as dynamic as they are when paired. Late in the film, Benjamin sings a song which is very reminiscent of Cab Calloway (one of Percival's idols) and seems clearly influenced by Busby Berkeley. Everyone is dressed in white, moving around white pianos in front of a shiny black backdrop. It is an interesting attempt to recreate the look and feel of a bygone era. The filmmaker and stars deserve a lot of credit for not taking the easy route. Instead of telling a modern day story, they attempt a period piece and the attention to detail is impressive. Dialogue, production design and costumes all appear authentic and the only time the period is lost is during the songs. It had to be a difficult sell to get a studio to make this film. Imagine how much easier it would've been to make a modern day tale featuring the popular group's music. The studio probably would've preferred it, but by taking this more challenging approach, the film becomes more memorable. It still isn't perfect, but it is fun to watch. It won't fit. Please read the full review at thornhillatthemovies.com email this review to a friend
Comment on this Review:
 Subscribe to MatchFlick Movie Reviews through RSS |
||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
RSS | Privacy Policy | Terms of Use | About MatchFlick® | Press | Contact Us | FAQs
Partnership and Advertising Opportunities | Movie Database | Merchandise ©2004-2008 MatchFlick®. All rights reserved. ©MOVIE IMAGES ARE COPYRIGHT PROTECTED AND THE PROPERTY OF THEIR RESPECTIVE OWNERS |