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(7/09/15)
“With it’s powerful and enthralling soundtrack, F. Gary Gray rigorously delivers an attire of impression with his directing capabilities”
Straight Outta Compton reveals the clamorous-bounded biopic of controversial hip-hop group NWA, who soared to critical acclaim by revolutionizing gangsta rap and expressing the true realities of life in their city-home Compton through socio-political lyrics. The movie marvels at their rise to stardom, depicting their accounts through recording sessions, energetic (often troubling) concerts, and lively parties; while also tackling the denigrating issues such as police brutality, LA riots, corrupt managers, and the groups’ internal conflicts and struggles.
F. Gary Gray develops a decent, straight, yet free-flowing two-and-a-half-hour biopic aided with eagerly tremendous performances from O’Shea Jackson Jr, Corey Hawkins, and Jason Mitchell (the former being Ice Cube’s actual son), whom all dexterously fulfill the vitality of their roles. The reprisal of the street dialect emphasizes the authenticity and true grit of what this movie is all about.
Paul Giamatti’s unexpected appearance once again glamorizes the sheer reality of this man’s wondrous acting capability – from Big Fat Liar to his Oscar-nominated Cinderella Man, Giamatti’s distinctive performance becomes the catalyst for the NWA’s success as he plays manager Jerry Heller. Soon after offering to manage the notorious rap group, Heller becomes accustomed to their message and motives, and soon adopts the authentic and rugged style of the NWA’s very premise: to address the reflections of the harsh realities they grew up with. Giamatti’s character even prevents the group from being arrested after they are put under suspicion of gang affiliation, which discursively helps me move onto my next subject.
Gray clearly wasn’t afraid to depict America’s huge police brutality/race problem, particularly in a light so shortly after the Missouri and Ferguson mishaps. NWA’s controversial hit “Fuck Tha Police” plays a rather vibrant role throughout the film, even to a stage where, of course, police deem it unfit for them to play it before a concert, threatening to arrest the group members if they do so. Of course, the First Amendment makes a comfortable cameo. With moments like this along with footage of the Rodney King beatings, NWA’s controversy surrounding their apparent misogynistic, pro-drug-and-crime lyricism are vigorously highlighted throughout the movie. However, much of the groups’ internal conflicts between not only the members but the record labels seem staggeringly more apparent, and that subplot subsequently prospers more than the physical violence.
Though the cinematography has an interesting approach to its style, in particular the various use of handy-cams aided with the flavoured lighting, I would’ve found it more immersive with a rawer, stubborner look. Take films such as This is England or Inherent Vice, movies that are made to look for that era. Having that tint of graininess would’ve been so subtle yet immensely effective, and as it lacked it, there were times I became detracted from the zone of the period this was shot in.
Overall, Straight Outta Compton undoubtedly offers a sea of conflict, drama, and competition. With it’s powerful and enthralling soundtrack, F. Gary Gray rigorously delivers an attire of impression with his directing capabilities. The replications of most characters were projected adequately, particularly the crop-up of Tupac near the film’s finale, and although the movie could of visually had a more immersive feel, it was dynamically well-crafted. A most certain recommend for fans of biopics and music.
Matthew Alfrey
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