(au) wrote: Ein weiterer Mitt-2000er Film von Woody Allen mit einem tollen Cast, ein, zwei guten Ideen und viel Leere.Es scheint, dass Woody in dieser Periode wirklich kreative Probleme hatten, die erst mit Match Point, und dann v.a. Vicky Cristina Barcelona, zufriedenstellend gelst wurden.In Melinda and Melinda sieht man aber ebenfalls schon interessante neue Anstze, aber vielleicht war es gerade das Problem des Allen des neuen Jahrtausends, dass er auf zu groe Konzepte und zu groe Ideen setzte.Die Frage, ist das Leben tragisch oder komisch, zieht sich eigentlich durchs gesamte Werk von Allen, dass sie erst hier einen Kulminationspunkt und einen eigenen Film bekommt ist eigentlich verwunderlich weil spt. Ebenfalls verwunderlich, dass solch eine familire Frage einen solch mittelmigen Film hervorbringt.Ich kann auch gar nicht wirklich festmachen, woran es liegt, dass Melinda and Melinda etwas hinterherhinkt. Die zwei parallel erzhlten Geschichten ber Melinda - die eine tragisch, die andere komisch, sind auch nicht einfallsloser als die Plots die Woody sonst so entwirft. Es geht um Affren und Ehebruch und Beziehungsdreiecke. Vielleicht ist es aber gerade die Unfokussiertheit, die durch diese doppelte Narrative entsteht, die den Film zum Mittelma verurteilt.Schade eigentlich, es gibt einiges hier, dass man durchaus mgen muss/kann. Will Ferrell z.B. in einer Rolle die ursprnglich fr Robert Downey jr. angedacht war. Ich wrde RDJs Version gerne einmal sehen, aber Ferrell ist schon genial. Vor allem erstaunlich wie gut er es schafft den Dialog zu verarbeiten (noch dazu ist er der Woody-Charakter", also die Rolle, die als Platzhalter fr Allen selbst zhlen kann).ber die Gemeinsamkeiten und Unterschiede in den beiden Erzhlstrngen knnte man auch einiges schreiben. Das werde ich aber nicht tun - das ist mir der Film einfach nicht wert. Es sei nur so viel gesagt: die Geschichten verlaufen asynchron und die tragische Melinda findet schwer einen Mann obwohl sie unbedingt einen will, die komische Melinda ist ganz einfach nett und glcklich und findet gleich mehrere Verehrer zum Leidwesen der Verehrer.Das Ende ist konfus und gleichzeitig nichtig. Ein Film zum Vergessen, aber durchaus unterhaltsam fr Allen-Fans.
(es) wrote: In Compton, California in 1986, Eazy-E is a drug dealer, Dr. Dre is an aspiring disc jockey, and Ice Cube is a young rapper. Intrigued by Ice Cube's "reality raps" reflecting on the crime, gang violence, and police harassment that they and other African Americans encounter daily, Dr. Dre convinces Eazy-E to fund a startup record label, Ruthless Records, with Dr. Dre as record producer. When their song "Boyz-n-the-Hood" is rejected by a New York rap group, Dr. Dre convinces Eazy-E to perform it instead. It becomes a local hit, and Eazy-E, Ice Cube, Dr. Dre, DJ Yella, and MC Ren form the group N.W.A ("Niggaz Wit Attitudes"). Eazy-E accepts Jerry Heller's offer to manage N.W.A and co-run Ruthless, and Priority Records offers N.W.A a record deal. While recording their debut album, Straight Outta Compton (1988), the group are harassed by police due to their race and appearance, prompting Ice Cube to pen the song "Fuck tha Police". The album becomes a controversial hit due to its profanity and violent lyrics, and the group's style is dubbed gangsta rap by the press. During a 1989 concert tour, the FBI demands that N.W.A stop performing "Fuck tha Police" as it encourages violence against law enforcement. Police in Detroit forbid them from performing the song, and a riot breaks out when they perform it anyway. Jerry delays the individual members' contracts with Ruthless, and when he insists that Ice Cube sign without legal representation, Ice Cube quits the group. His debut solo album, AmeriKKKa's Most Wanted (1990), becomes a hit, but when Priority Records is unable to pay him his advance on his next album, he trashes the label head's office. When N.W.A heavily insult Ice Cube on their next record, 100 Miles and Runnin' (1990), he responds with the diss track "No Vaseline", criticizing Jerry and his former band mates and prompting accusations of antisemitism. This, combined with his association with the Nation of Islam, outspoken criticism of the Los Angeles Police Department in the wake of the beating of Rodney King, and starring role in the 1991 film Boyz n the Hood, make him even more famous and controversial. Dr. Dre hires Suge Knight as his manager, through whom he learns that Jerry has been underpaying him. He leaves N.W.A to form Death Row Records with Suge, who has his men threaten Jerry and beat Eazy-E to pressure them to release Dr. Dre from his contract with Ruthless. Dr. Dre enjoys his newfound freedom and begins working with other rappers including Snoop Dogg. His debut solo album, The Chronic (1992), sells over five million copies, even as he becomes disturbed by Suge's violent behavior and the community is rocked by the 1992 Los Angeles riots. Eazy-E, whose fortunes and health have declined, is devastated by the comparative success of his former band mates. Learning that Jerry has been embezzling money from Ruthless from the beginning, he fires him and rekindles his friendships with Ice Cube and Dr. Dre, who agree to an N.W.A reunion. However, during a recording session, Eazy-E collapses and is diagnosed with HIV/AIDS. Amid emotional visits from his band mates, he dies on March 26, 1995 and is mourned by fans. A year later, Dr. Dre splits from Suge Knight and Death Row to form his own label, Aftermath Entertainment. Clips shown during the film's credits highlight Ice Cube's subsequent roles as a film actor and Dr. Dre's career as a producer and entrepreneur, with several famous rappers crediting him with helping to launch their careers and Beats Electronics, which he co-founded, being bought by Apple Inc. in 2014 for $3 billion.Richard Roeper of the Chicago Sun-Times awarded the film 3.5 stars out of 4, calling the film "enthralling" and "energized", praising the cast for delivering "strong, memorable work that transcends mere imitation." He called the film "one of the better musical biopics of the last 20 years." Lou Lumenick of the New York Post, also awarding the film a 3.5/4, called it "one of the summer's most entertaining and provocative movies", finding it "surprisingly candid" about the negatives in N.W.A.'s career for a film produced by Ice Cube and Dr. Dre themselves. Peter Travers of Rolling Stone, again giving the film 3.5 out of 4 stars, also praised the film for its honesty in its portrayal of the group and praised Jackson's performance as Ice Cube, as well as the supporting cast, finding Mitchell's Eazy-E "award-caliber". However, he did wish that the film elaborated more on the group's troubles involving misogyny, homophobia and the media. Joe Morgenstern of The Wall Street Journal found the group's musical performances to be "far and away the most appealing parts of the picture." However, he criticized the film for slowing down towards the end, particularly when it gets "ploddingly sentimental" once it focuses on the decline and death of Eazy-E. Scott Foundas of Variety praised director Gray for taking familiar biopic paces and bringing a "richness of observation to the table that transcends cliche." He also praised the film for its "high but never overindulgent" style and the attention to detail in the production, ranging from the "exhaustively researched" screenplay to the "meticulous care" involved in assembling the film's soundtrack. He stated, "if "Compton" is undeniably of the moment, it's also timeless in its depiction of how artists and writers transform the world around them into angry, profane, vibrant and singular personal expression." Michael Phillips of the Chicago Tribune stated, "Straight Outta Compton at its best evokes the heady atmosphere of Crenshaw Boulevard and what the group's success meant to Compton, and vice versa. When the songs themselves take center stage the movie works. What remains in the wings constitutes another, fuller story." In a polarized review, Kenneth Turan of the Los Angeles Times felt that the film attempted to take on more storylines than it could handle, also criticizing how bloated it becomes towards the end regarding Heller, though he did praise Giamatti's performance. Jordan Hoffman of The Guardian also criticized the film's second half for being "cheesy" and "[playing] it too safe". Ignatiy Vishnevetsky of The A.V. Club gave the film a C, feeling it had to rely on its timeliness for its thematic weight, and saying the film "simplifies N.W.A.'s arc to a gangster-movie knock-off about three friends from way back when who are driven apart by bad influences." The Washington Post noted the film's "lack of interest in process and personality" compared to the concurrently-released music biopic Love & Mercy, writing: "it's no contest as to which Giamatti picture is the better depiction of the actual music-making process."With biopic "Straight Out Of Compton" its quite obvious that producer Dr. Dre and Ice Cube wanted to tell "their" story and putting the focus on themselves and Eazy-E while DJ Yella and MC Ren ends up too much in the background and not showing their true contributions to the band. The story is compelling most ot the times, but miss maybe out on the coherent side at times. You can almost feel that they really wanted to show specific happenings that does drive the story further, but yet makes the editing and scenestructure a bit haphazard. The cinematography is crisp, the film is nicely shot and it has a great soundtrack of course. I have red reviews that complains on the acting which I didnt feel was a problem. The only thing I can complain about is that Paul Giamatti keeps on ending up in overdrive in his roles. He did the same thing in the biopic "Love & Mercy" as Dr. Eugene Landy. On one hand despite being a white male and not having grown up in violent suburb I can still understand the anger and frustation the members of N.W.A went through as constantly being questioned for all sorts of matters due to their skin colour. This we are confronted with in the film, but what we get no answer to is their misogynic, violent, drugfueled and homophobic approach in their lyrics and in life. Why is that not elaborated on in the film as Peter Travers of Rolling Stone stated as well? Big minus. The fact remains that the music they produced and put out has a place in music history, despite lyrics you really can question. When I went into IMDB and red the reviews it was shocklingly many bad ones which I cant really understand. So many seemed to have great issues with the topic in general, the language, sexism, and violence. However, the fact is that its part of the story and how can you tone it down or pretend it wasnt part of the true story? Intertwined is what fame does to people, how ruthless the record industry is, how people get tricked in contracts, how people dont get their fair share of the money earned, personal goals, dreams that can take you away from a violent normality etc. People seem to forget these layers and only focus on the layers that upsets them. Thats good with upsetting layers. It makes you think and question. The first part of the film is the best, while the latter part feels maybe a bit rushed. I was sceptical before I saw "Straight Out Of Compton" as I dont really believe in the biopic format, but I would rate this amongst the better biopics I have seen.