Considering the fact that this was a movie starring two rappers, I wasn't expecting much. I was very pleasantly surprised. Outkast aren't just any old rappers, as their fans could no doubt inform you. Most of their material, even though much of it is anachronistic for a film set in the 1930s, nonetheless, fit the movie quite well. Some of the pieces, of course, aren't rap. Indeed, Andre 3000 might as well no longer be called a rapper, considering the breadth of his material. The plot was surprisingly well thought out. It had a certain symmetry, yet was not completely predictable. I enjoyed the whole thing, and didn't have to close my eyes thinking "this is so stupid" all through the film.
98 Reviews
Idlewild is a movie that tries to attain great musical heights, but fails as often as it succeeds.
torsloke-225 August 2006
Idlewild's greatest fault is that it is really uneven in tone. There were parts of it I really loved the prologue scenes, and some of the musical numbers, and then parts that just seemed to go splat on the screen. The tone of the beginning, very witty and hell-bent-for-leather, was great and seemed to be a great frame for a story about two hustlers - it seemed reminiscent of the winking, headlong tone of "The Sting" - and if the movie could have maintained that tone it might have been a tour de force. But other parts of the film were morose and uninteresting. Which leads us, unfortunately, to Andre 3000.
I understand making 3000 the Luke Skywalker and Big Boi the Han Solo, but Boi's character of Rooster was so much more interesting a character that whenever he wasn't on the screen the movie just went flat. It just seems to be a bad idea to have a main character who seemingly has no desire to attain his dreams he's kind of an anti-Joseph-Campbell hero and the other characters have to shove Percival toward his dreams like corralling a steer to slaughter. His mortician father is supposed to be his obstacle to the life Percival is meant to live, but it seems apathy is a more likely stumbling block; Percival looks more uncomfortable on stage than he does dressing bodies in the funeral home, instead of coming alive when he performs, which seems to be what the character requires.
I liked the music for the most part, but 3000 is the major failing here as well. His persona (it's hard to say that either he or Boi are acting since their characters hew so closely to the personas they have created for OutKast) is such the brooding artist that when the movie needs a shot of "I've finally made it!" razz ma tazz, he's not up to the task and the ending comes away like a lead balloon. I thought that for the most part they did a rather clever job blending the 30's music with the OutKast brand of the hippity hop, and my only complaint here is that Barber directed the music scenes like music videos and so the actors are obviously lip-synching, where a live performance captured for the film might have been exhilarating, here it comes off with the rote polished quality of any hip hop video with the actors seeming to walk through their performances rather than actually performing. The anachronistic quality of the songs isn't as jarring as I thought it might be, it's just the presentation of the music that takes you out of the time and place.
Otherwise, it's shot really well. There are some innovative visual effects that help guide the story, and the dances are staged with such vigor and bawdy realism that they have the gutbucket charm of the early "race" musicals.
The period look of the film is gorgeous; there's a whole lot of production value here - the sets and costumes notorious clotheshorses 3000 and Boi sport made me drool a little, and the ensemble cast is fantastic. It's Depression-Era Black South, but this particular vision seems to be a time and place little explored in cinema. With the exception of a touching scene late in the film in which Rooster, wayward after his long-suffering wife finally leaves him, encounters a religious woman literally at the end of the road, gives her some money and receives a Bible in return, the majority of the movie takes place among the black bourgeoisie and race or class is never an issue. Unfortunately, that touching scene is just an excuse to set up an unbelievably cliché and predictable scene later on when the Bible does what most cinematic Holy Books end up doing).
Overall, the plot is cliché at times and predictable more often than that, and gives the sense of a first-time writer/director finding his way, and there are some scenes that just don't make sense without spoilering, there's a glaring flaw that happens in the crucial first act that's both sloppy and stylistically cliché storytelling.
The biggest travesty, though is something that didn't hit me until I was on the way home. Ben Vereen is cast as 3000's mortician father, the supposed restraining influence. Toward the end of the movie they have a confrontation, which eventually leads to a reconciliation I can't possibly be giving anything away by saying that, or you've never seen a movie before. But on the way home it struck me - how do you have Ben Vereen in this movie and not write it into the script to have Ben Vereen DANCING?!? He's BEN VEREEN for crying out loud! Anyone who directs a musical and doesn't see the necessity of having the most talented cast member perform should have their DGA card revoked. All right, I got a little polemical there, but it seems a grievous oversight to overlook one of the film's greatest resources especially when you're supposed to be honoring the past, and this oversight is somehow indicative of the whole project (and now that I look at it, Patti LaBelle never sang in her cameo as the real Angel Davenport, either. Crispity Crunchity! All right, call the DGA, I'm serious, now.).
Idlewild is a movie that attempts some rather ambitious things; it's just a shame it achieved so few.
I understand making 3000 the Luke Skywalker and Big Boi the Han Solo, but Boi's character of Rooster was so much more interesting a character that whenever he wasn't on the screen the movie just went flat. It just seems to be a bad idea to have a main character who seemingly has no desire to attain his dreams he's kind of an anti-Joseph-Campbell hero and the other characters have to shove Percival toward his dreams like corralling a steer to slaughter. His mortician father is supposed to be his obstacle to the life Percival is meant to live, but it seems apathy is a more likely stumbling block; Percival looks more uncomfortable on stage than he does dressing bodies in the funeral home, instead of coming alive when he performs, which seems to be what the character requires.
I liked the music for the most part, but 3000 is the major failing here as well. His persona (it's hard to say that either he or Boi are acting since their characters hew so closely to the personas they have created for OutKast) is such the brooding artist that when the movie needs a shot of "I've finally made it!" razz ma tazz, he's not up to the task and the ending comes away like a lead balloon. I thought that for the most part they did a rather clever job blending the 30's music with the OutKast brand of the hippity hop, and my only complaint here is that Barber directed the music scenes like music videos and so the actors are obviously lip-synching, where a live performance captured for the film might have been exhilarating, here it comes off with the rote polished quality of any hip hop video with the actors seeming to walk through their performances rather than actually performing. The anachronistic quality of the songs isn't as jarring as I thought it might be, it's just the presentation of the music that takes you out of the time and place.
Otherwise, it's shot really well. There are some innovative visual effects that help guide the story, and the dances are staged with such vigor and bawdy realism that they have the gutbucket charm of the early "race" musicals.
The period look of the film is gorgeous; there's a whole lot of production value here - the sets and costumes notorious clotheshorses 3000 and Boi sport made me drool a little, and the ensemble cast is fantastic. It's Depression-Era Black South, but this particular vision seems to be a time and place little explored in cinema. With the exception of a touching scene late in the film in which Rooster, wayward after his long-suffering wife finally leaves him, encounters a religious woman literally at the end of the road, gives her some money and receives a Bible in return, the majority of the movie takes place among the black bourgeoisie and race or class is never an issue. Unfortunately, that touching scene is just an excuse to set up an unbelievably cliché and predictable scene later on when the Bible does what most cinematic Holy Books end up doing).
Overall, the plot is cliché at times and predictable more often than that, and gives the sense of a first-time writer/director finding his way, and there are some scenes that just don't make sense without spoilering, there's a glaring flaw that happens in the crucial first act that's both sloppy and stylistically cliché storytelling.
The biggest travesty, though is something that didn't hit me until I was on the way home. Ben Vereen is cast as 3000's mortician father, the supposed restraining influence. Toward the end of the movie they have a confrontation, which eventually leads to a reconciliation I can't possibly be giving anything away by saying that, or you've never seen a movie before. But on the way home it struck me - how do you have Ben Vereen in this movie and not write it into the script to have Ben Vereen DANCING?!? He's BEN VEREEN for crying out loud! Anyone who directs a musical and doesn't see the necessity of having the most talented cast member perform should have their DGA card revoked. All right, I got a little polemical there, but it seems a grievous oversight to overlook one of the film's greatest resources especially when you're supposed to be honoring the past, and this oversight is somehow indicative of the whole project (and now that I look at it, Patti LaBelle never sang in her cameo as the real Angel Davenport, either. Crispity Crunchity! All right, call the DGA, I'm serious, now.).
Idlewild is a movie that attempts some rather ambitious things; it's just a shame it achieved so few.
music/dancing - brilliant. plot - not so great.
lyzard7426 August 2006
I had been excited about seeing this movie for months since seeing the trailer. I love musicals and this looked to be really promising. In some ways, it completely lived up to its expectations and in others, it failed miserably. If you are interested in the musical aspect of it, it's brilliant. The dancing is good, the characters incorporate the songs with their personal lives and these scenes are a lot of fun to watch. One of the best production numbers is at the very end. The special effects are fun to watch and the cinematography is very well done. The show gets off to a fun start and the characters look promising. Yet, as they age, something gets lost. The story line between Percival and Angel was the only one I found natural and plausible. Rooster has little interaction with his wife which makes that storyline hard to believe and Trumpy's character comes out of no where and tries, unsuccessfully, to run the show. It was interesting to see the members of Outkast in such different roles, especial Percival. The movie was entertaining and I would sit through the boring parts again any time to see how brilliant the dancing and music was.
Outkast does it again
UrbanFilmCritic24 August 2006
What could Outkast do next to top the success of their double cd speakerboxx/love below? The Impresarios of Rap present Idlewilda hip hop love story set against the daily grind of running a juke joint during Prohibition in the town of Idlewild, GA. All the players were there, the piano player, the singer, and of course, the bootlegger. Whether it's a murder mystery, a gangsta tale, or a love story can be debated after you see it
just go see it.
Idlewild, a film by Bryan Barber starred Antoine Patton and Andre Benjamin. However, the music was done by Big Boi and Andre 3000. Outkast fans will get the difference. The rest will have to see to believe. Let us not forget, where there is a Big Boi and an Andre there will be a fair amount of quirky, a little bit of weird, a lot of imagination, and some stepping outside of the "speakerboxx".
The film had the musical stage appeal of Chicago with the black gangsta love of movies like Harlem Nights and Hoodlum. But unlike those Yankee tales, this story took place in the south before it became dirty or is it derty???? (where's my ebonics dictionary?) It speaks to a time and place accurately and without insult. It was clever and funny but also a little predictable. Which was ideal because the storyline is actually just scenery for all the incredible musical numbers and didn't need to be complicated. The characters had that two-dimensional feel reminiscent of the melodramas so popular in the 1930's. Idlewild rose to the challenge and very successfully captured the times, which is often a difficult task in a period piece.
Saying Outkast has an innovative approach to music is like saying that guy Picasso is alright with a paintbrush. The original score by Outkast blended the sound of the 30's, the jazz, the blues and the swing with rap and soulful rhythm and blues. It was kind of like a family reunion for home-grown syncopation. It was ingenious as well as inspired. The choreography only complimented the musical numbers giving the audience a complete juke joint experience.
The film also offered notable cameo appearances by Cicily Tyson, Ving Rhames, Bruce Bruce, Patty Labelle and the tease of Tony award winning Ben Vereen who doesn't dance. Also noteworthy is Macy Gray's performance as the falling diva Taffy.
If Rappers must make movies, they should all be so good.
Idlewild, a film by Bryan Barber starred Antoine Patton and Andre Benjamin. However, the music was done by Big Boi and Andre 3000. Outkast fans will get the difference. The rest will have to see to believe. Let us not forget, where there is a Big Boi and an Andre there will be a fair amount of quirky, a little bit of weird, a lot of imagination, and some stepping outside of the "speakerboxx".
The film had the musical stage appeal of Chicago with the black gangsta love of movies like Harlem Nights and Hoodlum. But unlike those Yankee tales, this story took place in the south before it became dirty or is it derty???? (where's my ebonics dictionary?) It speaks to a time and place accurately and without insult. It was clever and funny but also a little predictable. Which was ideal because the storyline is actually just scenery for all the incredible musical numbers and didn't need to be complicated. The characters had that two-dimensional feel reminiscent of the melodramas so popular in the 1930's. Idlewild rose to the challenge and very successfully captured the times, which is often a difficult task in a period piece.
Saying Outkast has an innovative approach to music is like saying that guy Picasso is alright with a paintbrush. The original score by Outkast blended the sound of the 30's, the jazz, the blues and the swing with rap and soulful rhythm and blues. It was kind of like a family reunion for home-grown syncopation. It was ingenious as well as inspired. The choreography only complimented the musical numbers giving the audience a complete juke joint experience.
The film also offered notable cameo appearances by Cicily Tyson, Ving Rhames, Bruce Bruce, Patty Labelle and the tease of Tony award winning Ben Vereen who doesn't dance. Also noteworthy is Macy Gray's performance as the falling diva Taffy.
If Rappers must make movies, they should all be so good.
Terrific Escapist Entertainment
sacovertons29 August 2006
We think this movie was just great fun. It is a bit chopped up, but that's a minor problem. Choreography is tight and excellent; music is deleriously hip. Casting and acting was a big plus - stellar performances all around. Cecily Tyson is such a master - adds richness to even the smallest role. Don't agree that we'll see award nominations here though. Directing could have been much much better. The Director failed this exceptional cast - but we're happy that the film was made. We felt like the screenplay could have been written for this cast, and the juxtaposition of rap music over 1930's rhythm worked in a crisp and welcome way. We never tire of those old cars, clothes and styles, but we're grateful for all of this "new" talent and exceptional music. WELL worth the time!
A 2 Hour Music Video
prystalcage25 August 2006
I saw the movie last night.
It opens beautifully. Young rooster is especially engaging and we get a sense of Percival's young life. Once we move into adulthood, the music video techniques and songs unfavorable to the story dominate. A lot of the story is there, but either because of editing or the choice of camera over story points makes the story less engaging then it could've been. It is clear that most of the actors can act, but it seems that their performances were underserved. In the end it feels like a series of music videos. Unfortunately, it is devoid of the emotion that I imagine was intended. Too, too bad...because it had such great potential.
It opens beautifully. Young rooster is especially engaging and we get a sense of Percival's young life. Once we move into adulthood, the music video techniques and songs unfavorable to the story dominate. A lot of the story is there, but either because of editing or the choice of camera over story points makes the story less engaging then it could've been. It is clear that most of the actors can act, but it seems that their performances were underserved. In the end it feels like a series of music videos. Unfortunately, it is devoid of the emotion that I imagine was intended. Too, too bad...because it had such great potential.
Outkast's cabaret idles on wild
omouallem16 September 2006
I am guilty of elitism. I miss the days when Outkast's music was an obscurity. When their music was my music and not everybody's. When I finally did meet someone who knew the hook to "Elevators", we were instant best friends. But alas, Outkast gave up their dark, celestial style for ubiquitous jubilation.
While I'm willing to give up smoking for another ATliens or Aquemini,I can still appreciate the festivity that now ensues when they pop up on the radio. I'm sure Andre 3000 and Big Boi, err... Andre Benjamin and Antwan A. Patton, appreciate it even more. After all, the new vaudeville-bass quirks that they adopted have transformed them into one of the most adored groups today. It also garnered them this opulent production with HBO films.
Andre is Percival, a wholesome son of a mortician with dreams of making the Harlem music scene. Until then he plays piano before a ruthless crowd in Church. Church is hardly that, it is a Speakeasy with wild music and chichi showgirls.
Percival's best friend since childhood is Rooster (Antwan), a suave player from a family of gangsters. When his uncle is gunned down by the shifty eyed Terrence Howard, he inherits Church and it's debt with bootleggers. To get out of the red, he relies on his star performer Angel Davenport, played by the stunning Paula Patton. Angel and Percival develop the love jones.
There are tons of other catalyst characters. So many that it takes the humble narrator (Percival) ten minutes to introduce them all.
The town Idlewild is a place where Caucasians and subtlety do not exist. The only practicing minimalist is Percival and he is viewed as a recluse. He doesn't get talkative until he is alone with a cadaver.
Idlewild is visually titillating and toe-tapping fun, but a very simple story with elaborate storytelling. A period piece with CGI dance numbers, singing cuckoo clocks, and a talking flask. The music doesn't so much forward the story as tease it. When Rooster raps in Church, he paves the way for a Soul Train spectacle.
Bryan Barber acquired the director's chair through a strong relationship with Outkast. He is the man behind their most popular music videos. While he has an eye for pageantry, his script is too thin and unconstrained. For example, the narrator tells us that Rooster and Percival are best friends, but once we transcend their childhood prologue and reach adulthood, there are three instances of interaction. Once in the middle and twice at the end. I got the sense of two separate stories interconnected through habitat instead of plot points.
In so many ways this film is a metaphor for the current state of Outkast's career. While a movie based on the "old" Outkast would probably be a ghetto story in outer space, this one borders on nostalgia and women. Like their solo careers, Andre's character is always artistic and progressive. Big Boi's character arch is so small you could hop over it.
In the last two years there have been intermittent rumors of Outkast's breakup. Since they did not collaborate on their last album, nor the soundtrack to this film, they are together only in plastic packaging. Idlewild does nothing to squash these rumors.
Either way, there's not much I can do but throw my hands up in hey-ya, and rejoice in their gaiety like the rest of the world.
While I'm willing to give up smoking for another ATliens or Aquemini,I can still appreciate the festivity that now ensues when they pop up on the radio. I'm sure Andre 3000 and Big Boi, err... Andre Benjamin and Antwan A. Patton, appreciate it even more. After all, the new vaudeville-bass quirks that they adopted have transformed them into one of the most adored groups today. It also garnered them this opulent production with HBO films.
Andre is Percival, a wholesome son of a mortician with dreams of making the Harlem music scene. Until then he plays piano before a ruthless crowd in Church. Church is hardly that, it is a Speakeasy with wild music and chichi showgirls.
Percival's best friend since childhood is Rooster (Antwan), a suave player from a family of gangsters. When his uncle is gunned down by the shifty eyed Terrence Howard, he inherits Church and it's debt with bootleggers. To get out of the red, he relies on his star performer Angel Davenport, played by the stunning Paula Patton. Angel and Percival develop the love jones.
There are tons of other catalyst characters. So many that it takes the humble narrator (Percival) ten minutes to introduce them all.
The town Idlewild is a place where Caucasians and subtlety do not exist. The only practicing minimalist is Percival and he is viewed as a recluse. He doesn't get talkative until he is alone with a cadaver.
Idlewild is visually titillating and toe-tapping fun, but a very simple story with elaborate storytelling. A period piece with CGI dance numbers, singing cuckoo clocks, and a talking flask. The music doesn't so much forward the story as tease it. When Rooster raps in Church, he paves the way for a Soul Train spectacle.
Bryan Barber acquired the director's chair through a strong relationship with Outkast. He is the man behind their most popular music videos. While he has an eye for pageantry, his script is too thin and unconstrained. For example, the narrator tells us that Rooster and Percival are best friends, but once we transcend their childhood prologue and reach adulthood, there are three instances of interaction. Once in the middle and twice at the end. I got the sense of two separate stories interconnected through habitat instead of plot points.
In so many ways this film is a metaphor for the current state of Outkast's career. While a movie based on the "old" Outkast would probably be a ghetto story in outer space, this one borders on nostalgia and women. Like their solo careers, Andre's character is always artistic and progressive. Big Boi's character arch is so small you could hop over it.
In the last two years there have been intermittent rumors of Outkast's breakup. Since they did not collaborate on their last album, nor the soundtrack to this film, they are together only in plastic packaging. Idlewild does nothing to squash these rumors.
Either way, there's not much I can do but throw my hands up in hey-ya, and rejoice in their gaiety like the rest of the world.
To Watch This Would Be A Mistake
finding-something12 April 2007
This film is simply outrageously bad. It's major failing point; it knows not what it is. Is it a syrupy gangster movie or a modern day musical experiment in the vein of Moulin Rouge? Songs are thrown in rather haphazardly, and only once does a song advance the plot at all. In the meantime, the story drags and is essentially tired and uninteresting. The acting is not over the top, but it's not subtle either, but just bad. Like watching a high school production but without any of the fun of knowing the people on the stage.
On the musical side of things, despite the musical group Outkast in charge of the music, the duo never did perform a song together. Perhaps this is the major failing of the story. It lacked intricacy. The love story was simple, the bootlegging problems were simple, the dynamics between characters was like watching a bunch of strangers thrown together for the first time. Everything going on was pretty obvious to the viewer, but then the movie had to explain it extremely slowly.
I really can't think of a single thing I enjoyed about this movie. I wish the duo would try again sometime. I think someone had a good idea, but most ideas need to be developed.
On the musical side of things, despite the musical group Outkast in charge of the music, the duo never did perform a song together. Perhaps this is the major failing of the story. It lacked intricacy. The love story was simple, the bootlegging problems were simple, the dynamics between characters was like watching a bunch of strangers thrown together for the first time. Everything going on was pretty obvious to the viewer, but then the movie had to explain it extremely slowly.
I really can't think of a single thing I enjoyed about this movie. I wish the duo would try again sometime. I think someone had a good idea, but most ideas need to be developed.
This movie is fun.
mvegas893-14 September 2006
It is a highly stylized slice of life. As usual, reading through the comments left here, I'm finding that many just can't leave their pretense at the door. It would seem that any film with an all African-American cast set in the American south is required to beat us over the head with an idea we are all (I would hope) aware of. ie; Jim Crow sucked. Instead, this film simply portrays people with hopes and dreams, faults and virtues, capable of love and hate, good and evil. in other words, people. Not "black people". That was refreshing. (and, IMHO, a far stronger statement than one could ever make through heavy-handed symbolism) Is the film perfect? Far from it. The plot is in many ways pedestrian. The film telegraphs plot twists rather than foreshadowing them. However, are there flashes of brilliance? Good Lord yes. These are two astonishingly talented men (Andre and Big Boi) and simply as a showcase for that talent, this film succeeds. If you just sit down and let the film wash over you, you will enjoy. If you over-think, and ask it to be something it isn't, you won't. It's that simple.
Great In Style But Low in Storytelling
eric26200313 February 2017
Warning: Spoilers
To all those from a younger generation than mine, who thinks that the 1990's are ancient history, it's very complex in telling a story set in the Prohibition Era situated in the small town of Idlewild, Georgia. Newbie director Bryan Barber thought he found the solution. First grab a bunch of singing sensations and provide a soundtrack that doesn't depend on the authentic sounds of jazz and blues, but instead replace the genre of music to hip-hop (just like Baz Luhrmann has done in his period piece films). Sadly even though Barber provides some of the set pieces, an important staple was missing in action here. The script was very spotty in detail and feels very loosely attached here. The clichés are aplenty and the transitions can be quite incongruent. Although I can appreciate Barber for his efforts as a director, he's still in heavy need of improvement when writing scripts.
"Idlewild" just doesn't have enough songs for it to pass off as a musical with the minimal selection of only five songs which in total last for about 15 minutes. And of the musical numbers three of them are situated at the club, even though they're catchy and the tempo is very uplifting. But the musical numbers feel like I'm in a music video than an actual movie. It's no surprise at that because Barber's first claim to fame was directing videos for OutKast who star in this vehicle. The scenery and photography look authentic and the costumes were stylish for the period, but the hip-hop score can be very distracting. It doesn't feel like a period piece at times.
The story centres around the lives of two friends since youth Percival (Andre "3000" Benjamin) and Rooster (Antwan "Big Boi" Patton) who go their separate lives into their adulthood. Percival becomes a dedicated worker at a mortuary with his father Percy Sr. (Ben Vereen) while fixated with his true passion, music at night at a club called Church. Rooster is the main act there and has a future as owner whenever the current owner Ace (Faizon Love) decides to step down. Even though Rooster is married with five children, he's still an inebriate and a philanderer. While Percival is single and without a girlfriend, he does develop some interest in the new attraction star Angel (Paula Patton). The plot starts to thicken when a local gangster named Trumpy (Terence Howard) enters the fray and kills his boss Spats (Ving Rhames) and then assassinates Ace leaving the Church at the hands of Rooster while Trumpy supplies him with moonshine. The duo despise and the conflict is inescapable.
The performances were overall really good, though nothing special. Benjamin and Patton don't have a lot of acting credits on their resume, they still manage to give it their all and never feel upstaged by the more established performers who also seem to excel in their respected roles. Paula Patton is amazing in her performance and her breakout number is extraordinary. You have great familiar stars like Ben Vereen, Patti LaBelle, Macy Gray and the late Bill Nunn here. It's a shame that we don't hear LaBelle or Vereen singing which is what I was expecting. And though his role is one-dimensional Terence Howard can still add that charm quite professionally.
For fans of OutKast, it will be treasured, but the appeal can be quite puzzling. The tone can be very uncertain at times. The musical and fantasy elements lack in cohesion especially when the gangster scenes come into play. Not only that the talking liquor flask and animated musical numbers seem to not fit in at times. The movie is way too serious in delivery and the tragedy has no room for spontaneous, jovial fantasy sequences. Sure it may be original in content, but familiarity seems to be inescapable. The product might be high in diversion, but there's nothing really that much special about the characters, the plot or the story which in the end makes this movie very disposable.
"Idlewild" just doesn't have enough songs for it to pass off as a musical with the minimal selection of only five songs which in total last for about 15 minutes. And of the musical numbers three of them are situated at the club, even though they're catchy and the tempo is very uplifting. But the musical numbers feel like I'm in a music video than an actual movie. It's no surprise at that because Barber's first claim to fame was directing videos for OutKast who star in this vehicle. The scenery and photography look authentic and the costumes were stylish for the period, but the hip-hop score can be very distracting. It doesn't feel like a period piece at times.
The story centres around the lives of two friends since youth Percival (Andre "3000" Benjamin) and Rooster (Antwan "Big Boi" Patton) who go their separate lives into their adulthood. Percival becomes a dedicated worker at a mortuary with his father Percy Sr. (Ben Vereen) while fixated with his true passion, music at night at a club called Church. Rooster is the main act there and has a future as owner whenever the current owner Ace (Faizon Love) decides to step down. Even though Rooster is married with five children, he's still an inebriate and a philanderer. While Percival is single and without a girlfriend, he does develop some interest in the new attraction star Angel (Paula Patton). The plot starts to thicken when a local gangster named Trumpy (Terence Howard) enters the fray and kills his boss Spats (Ving Rhames) and then assassinates Ace leaving the Church at the hands of Rooster while Trumpy supplies him with moonshine. The duo despise and the conflict is inescapable.
The performances were overall really good, though nothing special. Benjamin and Patton don't have a lot of acting credits on their resume, they still manage to give it their all and never feel upstaged by the more established performers who also seem to excel in their respected roles. Paula Patton is amazing in her performance and her breakout number is extraordinary. You have great familiar stars like Ben Vereen, Patti LaBelle, Macy Gray and the late Bill Nunn here. It's a shame that we don't hear LaBelle or Vereen singing which is what I was expecting. And though his role is one-dimensional Terence Howard can still add that charm quite professionally.
For fans of OutKast, it will be treasured, but the appeal can be quite puzzling. The tone can be very uncertain at times. The musical and fantasy elements lack in cohesion especially when the gangster scenes come into play. Not only that the talking liquor flask and animated musical numbers seem to not fit in at times. The movie is way too serious in delivery and the tragedy has no room for spontaneous, jovial fantasy sequences. Sure it may be original in content, but familiarity seems to be inescapable. The product might be high in diversion, but there's nothing really that much special about the characters, the plot or the story which in the end makes this movie very disposable.
Must see for Outkast fans
HollywoodVixen9019 April 2012
Warning: Spoilers
I wasn't sure how this movie was going to be. I hadn't heard much about it but I am a fan of Outkast so I was pretty sure I was going to like it. This movie was okay. It wasn't really anything too special. I didn't care for all of the musical numbers. I also thought it was weird that they used rap music in a movie set in the 1930's. I thought that the beginning of the movie was a little slow, and to me it was also kind of hard to hear the actors in the beginning, it kind of sounded like they were mumbling or else the background noise was just too loud. Who knows?? Maybe it was just my ears. I think this movie would have been better if it had focused wholly on Percival and Angel's romance. I thought Andre did a great job as Percival in this movie, he's a pretty good actor and he's really cute too. Paula Patton did a good job as Angel too. The both of them were pretty much the only entertaining parts of the movie. For me personally, I didn't really care for Roosters character much and also Terrance Howard's character was kind of strange. However, the costumes and the effects of this movie are great!! I love the way they did some of the shots of this movie like for example the part with the cuckoo clock, and I also think the sex scene between Angel and Percival was shot wonderfully. It was shot beautifully and tastefully. I'm glad I gave this movie a chance. It was good. I don't think I'll buy it but I'm glad I gave it a chance by renting it.
IDLEWILD - a film for people that love the cinema
zanity8 December 2006
There is a very good reason that films in general are getting significantly worse in every quality. Why? Because in our time, when a film is made that is intelligent or creative in some significant way, it is usually ripped to pieces by critics and the general audience, teaching 'Hollywood' a lesson that they take to heart all too well.
Idlewild is a first rate musical, and feast for the eyes. Like 'Running Scared (2006)', the director believes that there is no reason a movie made in the 21st century should not benefit from all the options modern film technology offers (and no, I don't mean the visual rubbish that assaults the eyes in recent Tony Scott efforts). However, the state-of-the-art methods are used strictly in the service of 'old fashioned' film entertainment values, and this seemingly 'insults' the 'too cool for school' types, for whom enjoyment seems to be the last reason to pay to see a movie.
The actors are great, the acting is fine, and the production values are top notch. The story is a little clichéd, and as a result, the writer does seem to have cut-n-pasted from various familiar sources. However, this is a very minor criticism in a film that uses music as much as the spoken word to tell a story.
While the music is (mostly) contemporary, it was written with the aim of slotting into a (fantasy) period drama, and does so beautifully. While many of the performers may seem to have a 'rap' background, if this puts you off seeing Idlewild you are seriously misjudging the creativity and range of their talent.
Some may claim the film is a little 'tame', but a much better description is 'inclusive'. In other words, Idlewild really wants to reach and impress a wide audience, and it is a great pity that this doesn't seem to have happened yet.
Idlewild is a sexy sophisticated 'feelgood' musical- a vanity project for OutKast no doubt, but also a wonderful treat for those that value todays's rarest treasure, a new movie worth making the effort to see.
By the way Idlewild is NOT 'one long music video' (and I'm hard placed to see such comments as 'innocent' given the power of this lie to put people off seeing the movie). So forget any fear of 'opera' (like Evita where everything is sung) or MTV masquerading as a film. This is a HBO production, like Deadwood or the Sopranos, and that means quality first, especially the quality of the dramatic presentation. However, although Idlewild is an 'adult' film (thank heaven- the PG13 sludge is killing me), it lacks the extreme and explicit content of many of HBO's TV productions, so may be safely viewed by more 'sensitive' types.
If you watch a lot of films, and have no greater pleasure than finding an unexpected gem, give Idlewild a go. It really is 'the one that got away'.
Idlewild is a first rate musical, and feast for the eyes. Like 'Running Scared (2006)', the director believes that there is no reason a movie made in the 21st century should not benefit from all the options modern film technology offers (and no, I don't mean the visual rubbish that assaults the eyes in recent Tony Scott efforts). However, the state-of-the-art methods are used strictly in the service of 'old fashioned' film entertainment values, and this seemingly 'insults' the 'too cool for school' types, for whom enjoyment seems to be the last reason to pay to see a movie.
The actors are great, the acting is fine, and the production values are top notch. The story is a little clichéd, and as a result, the writer does seem to have cut-n-pasted from various familiar sources. However, this is a very minor criticism in a film that uses music as much as the spoken word to tell a story.
While the music is (mostly) contemporary, it was written with the aim of slotting into a (fantasy) period drama, and does so beautifully. While many of the performers may seem to have a 'rap' background, if this puts you off seeing Idlewild you are seriously misjudging the creativity and range of their talent.
Some may claim the film is a little 'tame', but a much better description is 'inclusive'. In other words, Idlewild really wants to reach and impress a wide audience, and it is a great pity that this doesn't seem to have happened yet.
Idlewild is a sexy sophisticated 'feelgood' musical- a vanity project for OutKast no doubt, but also a wonderful treat for those that value todays's rarest treasure, a new movie worth making the effort to see.
By the way Idlewild is NOT 'one long music video' (and I'm hard placed to see such comments as 'innocent' given the power of this lie to put people off seeing the movie). So forget any fear of 'opera' (like Evita where everything is sung) or MTV masquerading as a film. This is a HBO production, like Deadwood or the Sopranos, and that means quality first, especially the quality of the dramatic presentation. However, although Idlewild is an 'adult' film (thank heaven- the PG13 sludge is killing me), it lacks the extreme and explicit content of many of HBO's TV productions, so may be safely viewed by more 'sensitive' types.
If you watch a lot of films, and have no greater pleasure than finding an unexpected gem, give Idlewild a go. It really is 'the one that got away'.
Support something new!
mssimmons-shopping17 September 2006
God don't make no mistakes. . .See the movie! Stop thinking about what the movie should have been and see what it is, Good! The vary nature of HIP HOP has borrowed influences, and with that in mind these two, 3000 and Big Boi, have stayed true to hip hop, always on the cutting edge, not being so mainstream, but broad enough to appeal to all audiences. Don't listen to critics that see a movie about a rapper in Detroit or watch a few cable documentaries and think they know what hip hop is and how it should be depicted on the big screen, or even what kind of flava it should add to the big screen. I believe their personalities are in this movie, which is what makes the movie a little quirky! If you understand them, you will understand the movie it is a . . .southernplayalisticadillacandfunkymuzikthing!
Nice Music Video - Wait For the DVD
jagooch3 September 2006
This would have been a great straight-to-DVD movie, but somehow it made it into theaters. While there is action, music, and some humor, there is no plot. That is not a problem if the film can keep the viewer entertained ( instead of involved ). This film fails to do that. Much like a music video, things are going on but with no background, and after a few minutes, you want to change the channel to something more interesting.
The music is good, and so is the dancing, but it would serve better as a background to something like food at a fine restaurant rather than being the main attraction.
The music is good, and so is the dancing, but it would serve better as a background to something like food at a fine restaurant rather than being the main attraction.
A much better movie than the rating might suggest.
TxMike16 December 2006
Warning: Spoilers
I will admit up-front that this is not the type of movie that will appeal broadly to most audiences. It doesn't fit neatly into a category. Much of it is funny, but people get killed. It might be classified as a musical, but most of it involves production numbers on stage in a night spot. And, all the actors are black.
But for a person who likes all kinds of movies, this one is a real treat because it is both different and very interesting. The camera angles and edits are often unique. The cast is an all-star one, including one of my favorites, Terrence Howard, playing a real bad guy. Also stars like Cicely Tyson, Macy Gray, Ben Vereen, Patti LaBelle, and Ving Rhames.
The story is set in Idlewild, Georgia, in the 1930s. Rooster and Percival grew up together but went in different directions. Percival works as a mortician with his dad, and pianist by night, while Rooster became an entertainer and hustler, always operating on the fringes of the law and hoping to not get caught cheating on his wife.
The movie involves disorganized crime, entertainers with false identifications, bootlegged booze, but is brought to life nicely by the ensemble cast. Worth a try for movie fans.
But for a person who likes all kinds of movies, this one is a real treat because it is both different and very interesting. The camera angles and edits are often unique. The cast is an all-star one, including one of my favorites, Terrence Howard, playing a real bad guy. Also stars like Cicely Tyson, Macy Gray, Ben Vereen, Patti LaBelle, and Ving Rhames.
The story is set in Idlewild, Georgia, in the 1930s. Rooster and Percival grew up together but went in different directions. Percival works as a mortician with his dad, and pianist by night, while Rooster became an entertainer and hustler, always operating on the fringes of the law and hoping to not get caught cheating on his wife.
The movie involves disorganized crime, entertainers with false identifications, bootlegged booze, but is brought to life nicely by the ensemble cast. Worth a try for movie fans.
Idlewild is an entertaining, wild, musical ride
dizzygirrrl20003 September 2006
Warning: Spoilers
As a fan of Outkast I was excited to see "Idlewild" with the simple hope that there'd be great, new music to be heard. On that point the movie excelled, but I was pleasantly surprised to find the movie itself to be absolutely entertaining too. I loved it!
Visually the movie is beautifully shot. Alternately whimsical with its vibrant colors, fabulous period costumes, and odd ball touches, (a talking Rooster flask anyone?), then color faded and drama laced when the mood turns serious. I thought the way it was shot was clever and endlessly interesting. I really have no idea what some critics are complaining about when it comes to the look of this movie. It's wonderfully done with unusual camera work and surprising edits, but rather than finding it confusing, I was constantly entertained by what I was seeing. I think the director was going for a visual spectacle, and he succeeded. "Idlewild" is a quirky, delightful movie musical with some surprisingly nuanced performances nestled within.
Big Boi and André are obviously gifted men when it comes to music, so it's no surprise they're at their best when they're performing one of the many songs throughout the movie. In addition to new music from the "Idlewild" album, I was surprised when they also performed some songs from their last record, "Speakerboxxx/The Love Below". Big Boi has a couple big numbers, and the most memorable are songs from "Speakerboxxx" - "Bowtie" & "Rooster" - then a wild action scene to "Church". André actually shines performing some of their new tunes, though some songs from his "The Love Below" record do make appearances.
As actors, they have moments where they're good, other times they slide over to the awkward side, but the good outweigh the awkward in my mind. Big Boi is best when he's playing the brash playboy, while André seems best when sing-emoting. They were smart to surround themselves with quality actors in the supporting cast.
Ben Vereen, as André's father, gets a little hammy considering his role, but I was happy with the other performances. Malinda Williams, as Big Boi's wife, is great. And each actor seemed to fit his or her role well. Cicely Tyson has a lovely cameo and Terrance Howard, I thought, was still excellent: *SPOILER* Maybe a little over the top, but he's basically playing a sociopath who various characters repeatedly call "crazy", in the most basic meaning of the word so, yeah.
In the end, I was happy after watching "Idlewild". I felt like I'd been thoroughly entertained and I also felt compelled to buy the soundtrack as soon as possible. Both good things in a movie musical.
Visually the movie is beautifully shot. Alternately whimsical with its vibrant colors, fabulous period costumes, and odd ball touches, (a talking Rooster flask anyone?), then color faded and drama laced when the mood turns serious. I thought the way it was shot was clever and endlessly interesting. I really have no idea what some critics are complaining about when it comes to the look of this movie. It's wonderfully done with unusual camera work and surprising edits, but rather than finding it confusing, I was constantly entertained by what I was seeing. I think the director was going for a visual spectacle, and he succeeded. "Idlewild" is a quirky, delightful movie musical with some surprisingly nuanced performances nestled within.
Big Boi and André are obviously gifted men when it comes to music, so it's no surprise they're at their best when they're performing one of the many songs throughout the movie. In addition to new music from the "Idlewild" album, I was surprised when they also performed some songs from their last record, "Speakerboxxx/The Love Below". Big Boi has a couple big numbers, and the most memorable are songs from "Speakerboxxx" - "Bowtie" & "Rooster" - then a wild action scene to "Church". André actually shines performing some of their new tunes, though some songs from his "The Love Below" record do make appearances.
As actors, they have moments where they're good, other times they slide over to the awkward side, but the good outweigh the awkward in my mind. Big Boi is best when he's playing the brash playboy, while André seems best when sing-emoting. They were smart to surround themselves with quality actors in the supporting cast.
Ben Vereen, as André's father, gets a little hammy considering his role, but I was happy with the other performances. Malinda Williams, as Big Boi's wife, is great. And each actor seemed to fit his or her role well. Cicely Tyson has a lovely cameo and Terrance Howard, I thought, was still excellent: *SPOILER* Maybe a little over the top, but he's basically playing a sociopath who various characters repeatedly call "crazy", in the most basic meaning of the word so, yeah.
In the end, I was happy after watching "Idlewild". I felt like I'd been thoroughly entertained and I also felt compelled to buy the soundtrack as soon as possible. Both good things in a movie musical.
In same Class as Harlem Nights
jodie-436 January 2007
I was in the local Blockbuster using my unlimited movie pass and realized I had seen the majority of the movies in the store. Obviously I have no life. The movie case caught my eye. Then I read the cast and rented it just on the cast. I found this movie to be an excellent musical as well as drama. The acting was very good. The dancing was upbeat and impressive. The wardrobe was excellent. The sets were also very good. The character of Taffy was almost written for Macey Grey. She delivered it very well and her singing was good. Even though the music was not typical of the time period, it was refreshing to hear music that took its beat from the 20's and 30's with lyrics you could understand. Hard to believe these guys are rappers.
Sprinkled throughout the movie is social issues of the 20's 30's (poverty, alcoholism, violence). Also touched on is infidelity (Roosters character) and being able to resist it with a good outcome.
Overall this movie was very well done and worth buying for your collection.
This movie is the the Halrem Nights of our generation.
Sprinkled throughout the movie is social issues of the 20's 30's (poverty, alcoholism, violence). Also touched on is infidelity (Roosters character) and being able to resist it with a good outcome.
Overall this movie was very well done and worth buying for your collection.
This movie is the the Halrem Nights of our generation.
No Grammys? No Oscars? Only Black Reel Nominations?
D_Burke14 March 2007
Okay, this movie could have been better in a lot of ways. For one, the acting wasn't great, but then again, it was better than Prince in every movie he was in. For instance, as bad a movie as "Purple Rain" was in regards to acting, it still won Oscars for its music.
With that said, although the movie wasn't great acting wise on Outkast's part or story wise, the musical numbers were outstanding, the supporting cast shined and was nothing to be scoffed at, and the visual effects were among the best I've seen in 2006.
I thought the marketing for this movie failed in a lot of ways. For one, it's theatrical release was very limited. I live in Maine, and the film wasn't even released anywhere up here. Second, I found it outrageous that the soundtrack, which was very entertaining, sold less than Danity Kane's debut album. And even though the Grammys don't usually pay attention to commercial success, and even awarded Outkast the Best Album award four years ago, they really overlooked the soundtrack for this album, which wasn't even nominated. I also thought "Idlewild Blue" by Andre 3000 should have at least been nominated for Best Original Song at this year's Oscars.
This movie was grossly underrated. It had some flaws, but it's strengths were undeniable. I just hate that it suffered the same fate as "Under The Cherry Moon", "The Cotton Club", and "Harlem Nights", movies that were set in the same time period and had all star casts, but didn't make a splash on the big screen. Anyway, I say Outkast was under rug swept for this movie and album, and they definitely deserved better.
With that said, although the movie wasn't great acting wise on Outkast's part or story wise, the musical numbers were outstanding, the supporting cast shined and was nothing to be scoffed at, and the visual effects were among the best I've seen in 2006.
I thought the marketing for this movie failed in a lot of ways. For one, it's theatrical release was very limited. I live in Maine, and the film wasn't even released anywhere up here. Second, I found it outrageous that the soundtrack, which was very entertaining, sold less than Danity Kane's debut album. And even though the Grammys don't usually pay attention to commercial success, and even awarded Outkast the Best Album award four years ago, they really overlooked the soundtrack for this album, which wasn't even nominated. I also thought "Idlewild Blue" by Andre 3000 should have at least been nominated for Best Original Song at this year's Oscars.
This movie was grossly underrated. It had some flaws, but it's strengths were undeniable. I just hate that it suffered the same fate as "Under The Cherry Moon", "The Cotton Club", and "Harlem Nights", movies that were set in the same time period and had all star casts, but didn't make a splash on the big screen. Anyway, I say Outkast was under rug swept for this movie and album, and they definitely deserved better.
What a mess.
beasymc3 February 2007
I feel bad for everyone involved in this disaster. Very ambitious, I admit. Creative too. But oh my gosh, what a mess. I can't even begin to list the things that didn't work. I usually don't give to much credence to professional critics, but in this case i guess i should have. That's not true, I would have seen it anyway. One thing i have to comment on: Have you ever met anyone dumber that Rooster. I haven't. Paula Patton was excellent, and i thought she was great in Deja Vu also. I know they were trying something totally different here, but i think they should have gone with a more experienced and accomplished director. But really it was the script. All over the place. On the fly I'm sure. Oh well. At least I can go watch "Black Snake Moan" again. Now that's a sexy movie. Samuel L. can boogie.
shame, shame, shame
EddieLeeHenderson22 September 2006
Here we have the most creative Hip Hop/Rap duo teaming with one of the most creative music video directors on a very good film. I can't believe people aren't seeing this movie...especially black folks. We support some of the most drab and unimaginative crap in music and film but won't support good art. (Maybe it needs more violence or ass shaking in it.)
Anyways, Idlewild has a great story, great music, and highly creative camera work and directing. The acting isn't excellent, but it does not detract from the film. I look forward to seeing more work from Mr. Barber. I wish there were more black filmmakers like him and more music artists like Outkast. Let's move forward people.
Anyways, Idlewild has a great story, great music, and highly creative camera work and directing. The acting isn't excellent, but it does not detract from the film. I look forward to seeing more work from Mr. Barber. I wish there were more black filmmakers like him and more music artists like Outkast. Let's move forward people.
Ode to a Corpse
justadventure-123 August 2006
Not a bad movie, though poorly edited especially towards the end. The car chase scene especially could have been classic if not for the choppy editing.
Nor can it decide what it wants to be: a music video, a gangster movie, a drama, a musical - it's a little of everything without being anything.
But the "Ode to a Corpse" musical number will go down in history as one of the unintentionally creepiest moments in movie history. If this were Rocky Horror Picture Show it would have been laughable, but the uncomfortable silence in the theater during this scene was deafening.
Nor can it decide what it wants to be: a music video, a gangster movie, a drama, a musical - it's a little of everything without being anything.
But the "Ode to a Corpse" musical number will go down in history as one of the unintentionally creepiest moments in movie history. If this were Rocky Horror Picture Show it would have been laughable, but the uncomfortable silence in the theater during this scene was deafening.
Idlewild is Wildly Off Base
Lauren_Simpson5 September 2006
Warning: Spoilers
"Idlewild" is almost unbearable to watch. It's "The Color Purple" crossed with "Moulin Rouge" crossed with "Hoodlum" crossed with "Six Feet Under." In short, it's two hours too long and makes a mockery of the four previously mentioned works.
Quite attractive is the prospect of a film with an all black cast. "Idlewild" could have been a welcome addition to the short catalogue of contemporary Blaxploitation films but this movie was less "Blax" and more "Blaggh!" Stereotypes are thick throughout, which is not always a problem except that, in "Idlewild," they serve no purposedidactic, comedic or otherwise. Indeed it seems as if director Bryan Barber half believes the crude and bizarre temperaments of his main characters. Do any of these people have genuine depth? Efforts to give them any turned out shallow.
Andre 3000 plays a lonely piano player in 1930s Georgia who stumbles upon the love of his life in the shape of Paula Patton (fellow band-mate Big Boi's wife). He then hangdogs his way through the rest of the movie, while Patton does her best Shug Averyvery very badly. Big Boi (Antwan Patton) can't do much better either but not because he lacks talent. As Rooster, the popular juke joint performer, he infuses the dance numbers with his own trademark laid-back charm, but the most his character is allowed to do offstage is drink and fire a gun. How's that for a stereotype? Terrence Howard is also weighed down by the same old bad-guy act that strangled his creativity and hid his range for years. At some point, his character's brutality becomes ridiculously gratuitous.
In fact, gratuitousness could be the main theme in "Idlewild" or is it morbidity? All I know is that the next time I want to see someone serenading a corpse is never.
Copyright (c) 2006 by Lauren Simpson
Quite attractive is the prospect of a film with an all black cast. "Idlewild" could have been a welcome addition to the short catalogue of contemporary Blaxploitation films but this movie was less "Blax" and more "Blaggh!" Stereotypes are thick throughout, which is not always a problem except that, in "Idlewild," they serve no purposedidactic, comedic or otherwise. Indeed it seems as if director Bryan Barber half believes the crude and bizarre temperaments of his main characters. Do any of these people have genuine depth? Efforts to give them any turned out shallow.
Andre 3000 plays a lonely piano player in 1930s Georgia who stumbles upon the love of his life in the shape of Paula Patton (fellow band-mate Big Boi's wife). He then hangdogs his way through the rest of the movie, while Patton does her best Shug Averyvery very badly. Big Boi (Antwan Patton) can't do much better either but not because he lacks talent. As Rooster, the popular juke joint performer, he infuses the dance numbers with his own trademark laid-back charm, but the most his character is allowed to do offstage is drink and fire a gun. How's that for a stereotype? Terrence Howard is also weighed down by the same old bad-guy act that strangled his creativity and hid his range for years. At some point, his character's brutality becomes ridiculously gratuitous.
In fact, gratuitousness could be the main theme in "Idlewild" or is it morbidity? All I know is that the next time I want to see someone serenading a corpse is never.
Copyright (c) 2006 by Lauren Simpson
I waited over a year for this movie, and it was worth it!!!
Cheffie35 September 2006
From the opening to the closing credits, this movie is exciting to watch and never disappoints. It has everything, great choreography great music (I normally dislike musicals), nice plot, and very good actors.
It opens with the saying that the world is a stage and the men and women are just actors, it goes on to show two very different friends grow up and deal with the choices they've made, or in some cases haven't made. It has the usual elements of a movie; love, loss, betrayal, murder, but what makes this movie stand out is the visual and audial stimulation, the 1920's/30's costumes which weren't afraid to show a woman's femininity and the men who didn't leave the house unless they were "suited" up. The stage performances were a little wild (and so is Outkast, which makes then so great) and unusual. I love Roosters' last performance. Outkast has a way of stating the obvious about life, but in a light you normally wouldn't see it in.
I highly recommend this movie, and don't leave until the very last words have rolled off the screen!
It opens with the saying that the world is a stage and the men and women are just actors, it goes on to show two very different friends grow up and deal with the choices they've made, or in some cases haven't made. It has the usual elements of a movie; love, loss, betrayal, murder, but what makes this movie stand out is the visual and audial stimulation, the 1920's/30's costumes which weren't afraid to show a woman's femininity and the men who didn't leave the house unless they were "suited" up. The stage performances were a little wild (and so is Outkast, which makes then so great) and unusual. I love Roosters' last performance. Outkast has a way of stating the obvious about life, but in a light you normally wouldn't see it in.
I highly recommend this movie, and don't leave until the very last words have rolled off the screen!
Sorry
ivandiejie25 August 2006
Okay, so it is supposed to be a Prohibition era movie set in 1930s Georgia. As far as the storyline goes, it did. As far as the music, dancing and language: no way. So, that required a leap of faith. That was not the problem.
There was a good storyline. The movie starts out right and that sets the expectations. Expectations that were not met. One regret is the choice for Andre's female counterpart. Together they were not able to make it believable or interesting. There was no magic.
The cast includes experienced actors like Ving Rhames, showman Ben Vereen and veteran Bill Nunn. Unfortunately that was not enough to carry the story. Terrence Howard played a part that is becoming a bit too stereotypical for him.
I was expecting more authenticity and soul, but was disappointed. I'm sorry to say, but feel a bit bamboozled...
There was a good storyline. The movie starts out right and that sets the expectations. Expectations that were not met. One regret is the choice for Andre's female counterpart. Together they were not able to make it believable or interesting. There was no magic.
The cast includes experienced actors like Ving Rhames, showman Ben Vereen and veteran Bill Nunn. Unfortunately that was not enough to carry the story. Terrence Howard played a part that is becoming a bit too stereotypical for him.
I was expecting more authenticity and soul, but was disappointed. I'm sorry to say, but feel a bit bamboozled...
Needed Some Real Acting/Actors/Actresses
fwomp14 December 2006
Not being a rapper fan, I can't identify with those who have a love for Outkast, the musicians responsible for the soundtrack (and much of the acting) in IDLEWILD. I do, however, occasionally enjoy rap-related films; 8-Mile was interesting, and Hustle & Flow I rate as one of my favorite films of 2005. But the cohesiveness of music and story held those two together, while the mish-mash of modern sounds, modern dance moves, and modern lyrics, clashed with the prohibition era time-frame of Idlewild.
Although some of the music was toe-tappingly enjoyable, the blurring choreographed dances made the film very stilted. Rushing from movement to movement with no rhyme and very little reason, the dances held no appeal. The only plus was the very well designed sets and the excellent period costumes.
The acting was also extremely sub-par when comparing Idlewild to other films of this genre (most notably Moulin Rouge and Chicago). Although these two films were more white-washed (i.e., had more Caucasians than black folks), their even-handedness when it came to telling the story through characters and their songs held truer. Part of Idlewild's problem obviously had to do with the main character, Percival.
Percival is played by Outkast member Andre Benjamin (Four Brothers). Although Benjamin is building his cinema repertoire, his acting skills often fall flat in Idlewild. His relationship with his father (legendary dance master Ben Vereen) is uninteresting and forced. Even his relationship with his best friend Rooster (Big Boi, another Outkast singer) feels unnatural from beginning to end. And Percival's love interest Angel (Paula Patton, Deja Vu) is believably drawn into their blossoming relationship, while Percival himself again seems detached and disinterested. I think this is proof positive that good rappers do not necessarily make good actors. The exception to the acting was no surprise Terrence Howard (Hustle & Flow). Playing bad guy Trumpy, Howard oozed depravity in nearly every scene; a shining light surrounded by dreary performances.
No musical film review would be complete without mention of the music itself, too. As stated at the beginning, I have no previous knowledge of Outkast or their musical style. In fact, I'd never even heard of them prior to watching this, so I come into it fresh and without a sense of connection to the artists. That said, I don't think I could listen to Outkast too long without going a bit bonkers. Their style is too disjointed and swings about in a very A-D-D fashion. Maybe it's a sign of the times. Or maybe I'm just getting too old for this style. But I hesitate to label myself as an old sour-puss. I enjoyed Hustle & Flow so much that I bought the DVD and the soundtrack. Perhaps there is a bridge to be found between modern musicians and the aging baby-boomer like myself. Unfortunately, Idlewild ain't it.
Although some of the music was toe-tappingly enjoyable, the blurring choreographed dances made the film very stilted. Rushing from movement to movement with no rhyme and very little reason, the dances held no appeal. The only plus was the very well designed sets and the excellent period costumes.
The acting was also extremely sub-par when comparing Idlewild to other films of this genre (most notably Moulin Rouge and Chicago). Although these two films were more white-washed (i.e., had more Caucasians than black folks), their even-handedness when it came to telling the story through characters and their songs held truer. Part of Idlewild's problem obviously had to do with the main character, Percival.
Percival is played by Outkast member Andre Benjamin (Four Brothers). Although Benjamin is building his cinema repertoire, his acting skills often fall flat in Idlewild. His relationship with his father (legendary dance master Ben Vereen) is uninteresting and forced. Even his relationship with his best friend Rooster (Big Boi, another Outkast singer) feels unnatural from beginning to end. And Percival's love interest Angel (Paula Patton, Deja Vu) is believably drawn into their blossoming relationship, while Percival himself again seems detached and disinterested. I think this is proof positive that good rappers do not necessarily make good actors. The exception to the acting was no surprise Terrence Howard (Hustle & Flow). Playing bad guy Trumpy, Howard oozed depravity in nearly every scene; a shining light surrounded by dreary performances.
No musical film review would be complete without mention of the music itself, too. As stated at the beginning, I have no previous knowledge of Outkast or their musical style. In fact, I'd never even heard of them prior to watching this, so I come into it fresh and without a sense of connection to the artists. That said, I don't think I could listen to Outkast too long without going a bit bonkers. Their style is too disjointed and swings about in a very A-D-D fashion. Maybe it's a sign of the times. Or maybe I'm just getting too old for this style. But I hesitate to label myself as an old sour-puss. I enjoyed Hustle & Flow so much that I bought the DVD and the soundtrack. Perhaps there is a bridge to be found between modern musicians and the aging baby-boomer like myself. Unfortunately, Idlewild ain't it.
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