From Johnny Cash to Buddy Holly to Dewey Cox, musician's
stories in cinema tend to fall into a standard template of rise, fall, rise
again…with only the names and the music changing shape. In the case of the
first biopic concerning rap music’s most seminal group, NWA, their story in
STRAIGHT OUTTA COMPTON gives the tired old template a new spin.
Five young men; Ice Cube (O’shea Jackson, Jr., son of the
real-life Ice Cube), Dr. Dre (Corey Hawkins), Eazy-E (Jason Mitchell), MC Ren
(Aldis Hodge), and DJ Yella (Neil Brown Jr.) emerge from the dangerous streets
of Compton, California to form the rap group NWA…and bring to the masses music
which reflects their upbringings and rebels against authority.
STRAIGHT OUTTA COMPTON is a film which is set into two
distinct parts. The first part traces the group’s early days on the dangerous
streets where the cops are just as dangerous as the criminals and there’s a
one-in-three chance of making it out alive…and their meteoric rise to the top
of the hip-hop mountain. Director F. Gary Gray does great work in carving out
the backstories of his characters and bringing their past experiences into
their music. It’s a true case of art imitating life, and COMPTON excels at it. The
film is made even stronger as NWA finds themselves up against record industries
and angry policeman, and it becomes an us-against-the-world story which is
fully engaging.
The second half deals with NWA’s eventual breakup and
war-with-words against each other as they hurl insults in the press and in
their music. This second half is not as strong as the first, as it’s tough to
find empathy for a bunch of rich guys acting like assholes to each other. The
eventual finale makes all the bickering and in-fighting worthwhile, as a
tragedy towards the end brings about an emotional gut-punch which is
unexpected. STRAIGHT OUTTA COMPTON doesn’t quite rise, fall, and rise again
because they really don’t ever rise again; at least not in the traditional
sense for a musical biopic. Just like the music, COMPTON sticks very close to
reality.
Director F. Gary Gray doesn’t get very deep with his
characters, but he doesn’t really need to. In every music act there seems to be
the brain, the brawn, and the loose cannon…and Gray plays with these archetypes
perfectly. The script is strong as it zeroes in on the way these characters act
and react with another. The film isn’t quite a character piece, but that doesn’t
make it any less interesting. Humor is well-timed and the editing of real-life
news footage is superb.
Acting is a bit of a mixed bag. The highlight reel belongs
mostly to O’shea Jackson, Jr., who as the real-life son of the character he’s
playing…is a dead ringer for his father not only in looks but in mannerisms and
voice; it’s tough to remember exactly who we’re looking at. Corey Hawkins is
also a dead-ringer for Dr. Dre, but the most and best work goes to Jason
Mitchell as Eazy-E, who goes through the most emotional turmoil. Paul Giamatti,
as the group’s manager, turns in great work as always.
One of the best parts about STRAIGHT OUTTA COMPTON is love
or hate the music of NWA, there is a lot to enjoy and admire. A pre-existing
knowledge is not required for viewing, and it’s almost welcomed as the many
twists and turns are great cinematic surprises and an overwhelming satisfying
experience. It isn’t until the film is nearly over when the obvious influence
the now-defunct group had then and now,
making this an important story to be told. STRAIGHT OUTTA COMPTON is as
relevant as it is powerful.
BOTTOM LINE: See it
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