Let me introduce myself. I'm an occasional film goer who likes to support mostly indie films and documentaries. I'm also a young African-American woman who's never owned an Oukast CD in my life and the only songs I've heard by them were their "Hey Ya" and "Ms. Jackson" hits.
I went to see "Idlewild" based on the fact that, well, the previews looked interesting. I was out of town the weekend it opened, so I missed all the reviews and buzz the opening weekend. Finallly saw it tonight and my expectations were way exceeded.
The strongest points of this part-musical/part-gangster tale/part-love story were its score, choreography, cinematography and cast. After never owning an Outkast CD, I plan to buy the "Idlewild" soundtrack tomorrow. Both the incredible dancing and excellent acting really make this film believable, even if you have a problem suspending your belief to accept the rap songs circa 1930s. The special effects, lighting, editing and cinematography really make the film shine. This should get an Oscar nod for something, if not best picture.
The plot isn't without special merit either. Despite a few minor holes (Who is Terence Howard's character anyway? And what happened to the real "Angel Davenport?"), the plot was at all times, engaging, well-flowing, inspirational and entertaining. The main love story was especially poignant, with a love scene that is among the most tastefully erotic that I've seen in a mainstream film. I could have dealt without some of the violence scenes, but, hey, I'm in the minority these days. And, besides, most of them were necessary to the plot (and to the ability to attract an audience that likes a little "bang" for their buck).
And I give both the Outkast crew and the screenwriter special credit for tackling elements that are unusual for black films. I'm not going to give it all away here - see the film and you'll find out.
"Idlewild" was a pleasant surprise. I have no idea how well this film is doing at the box office, nor do I know if the critics like it or not. All I know is that I left the theater with a greater appreciation for Outkast, as well as a renewed faith in black filmmakers who want to release interesting, challenging and quality films that are an alternative to the cliché-filled nonsense that the mainstream studios feed us all too often.
I went to see "Idlewild" based on the fact that, well, the previews looked interesting. I was out of town the weekend it opened, so I missed all the reviews and buzz the opening weekend. Finallly saw it tonight and my expectations were way exceeded.
The strongest points of this part-musical/part-gangster tale/part-love story were its score, choreography, cinematography and cast. After never owning an Outkast CD, I plan to buy the "Idlewild" soundtrack tomorrow. Both the incredible dancing and excellent acting really make this film believable, even if you have a problem suspending your belief to accept the rap songs circa 1930s. The special effects, lighting, editing and cinematography really make the film shine. This should get an Oscar nod for something, if not best picture.
The plot isn't without special merit either. Despite a few minor holes (Who is Terence Howard's character anyway? And what happened to the real "Angel Davenport?"), the plot was at all times, engaging, well-flowing, inspirational and entertaining. The main love story was especially poignant, with a love scene that is among the most tastefully erotic that I've seen in a mainstream film. I could have dealt without some of the violence scenes, but, hey, I'm in the minority these days. And, besides, most of them were necessary to the plot (and to the ability to attract an audience that likes a little "bang" for their buck).
And I give both the Outkast crew and the screenwriter special credit for tackling elements that are unusual for black films. I'm not going to give it all away here - see the film and you'll find out.
"Idlewild" was a pleasant surprise. I have no idea how well this film is doing at the box office, nor do I know if the critics like it or not. All I know is that I left the theater with a greater appreciation for Outkast, as well as a renewed faith in black filmmakers who want to release interesting, challenging and quality films that are an alternative to the cliché-filled nonsense that the mainstream studios feed us all too often.
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