Here is a rare example where style saves the content from failing. Despite a typical story, music that doesn’t pop as much as it should and some awkward moments, the film is still entertaining, mainly do to a fun whimsical style and the charm of its cast.
Mixing Prohibition-era jazz with hip-hop, this musical follows piano player Percival (Andre Benjamin, FOUR BROTHERS) as he begrudgingly works at the family mortuary with his father (Ben Vereen, ALL THAT JAZZ) and spends his nights playing the ivory at a speakeasy called the Church where his best friend, Rooster (Antwan A. Patton, ATL) works. After cold gangster Trumpy (Terrence Howard, HUSTLE & FLOW) murders Church owner Ace (Faizon Love, ELF) and gangster boss Spats (Ving Rhames, BABY BOY), Rooster inherits the speakeasy, but also inherits its debts, which Trumpy immediately wants to collect. While Rooster deals with Trumpy and his disgruntled wife Zora (Malinda Williams, TV’s SOUL FOOD), Percival starts a relationship with the pretty, but insecure, singer Angel Davenport (Paula Patton, DEJA VU). The all-star cast also includes Cicely Tyson, Macy Gray, Patti LaBelle and Bill Nunn.
OutKast rap duo Benjamin (aka Andre 3000) and Patton (aka Big Boi) are charming performers and solid actors, especially Benjamin. His romance with Patton is sweet and compelling. Even though nothing about their stories is surprising, they sell the roles and make us care about the characters. What is surprising is the endless inventive style that director Bryan Barber creates. The former video director brings a quirky flare with Rooster’s talking rooster flask and Percival’s very animated cuckoo clocks. Along with editor Anne Goursaud, he also brings an energetic editing style, which reminded me of free jazz, which is very suiting.
I generally like OutKast’s music, but few songs really pop the way tunes need to in a musical. It’s interesting to see a rap musical and the mixing of the 1920’s era dance and dress with the hip-hop music works. Again the flare of Barber’s direction keeps the film moving when the songs aren’t sparking as well as they should.
In the end, OutKast and the other top-notch performers bring so much energy and conviction to the film that we care, because the actors seem to care about their characters. This slick professionalism is also infused in the production design, directing style and choreography. Narrative and even musical problems are quickly forgotten, because we’re having too much fun. Even a musical number with a corpse in the mortuary has a strange charm. The wealth of talent that is on display both in front of and behind the camera makes this flawed film worth one’s time.
Rick DeMott
Animation World Network
Creator of Rick's Flicks Picks
