Hustle & Flow

I just saw this flick to a packet house in NYC and the entire audience, myself included was with every frame of this film. Every single beat hits exactly where it is supposed to. Every review I read talks about the music and the acting, but how about how genuinely funny this film is a way that few are?

They took the material seriously rather than letting it devolve into schmaltz or comedy. The direction is straight on, no BS, no showy shots. They take their time with each scene.

Good story, perfect characters well realized. Witty, crackling dialogue. You can't make this stuff up. And comparing this to 8 mile is like comparing dogshit to gold.

A deeply flawed protagonist who is able to reach into himself and transform himself through the power of art, larger themes involve the disillusion with fame, consumer culture.

This is everything a film is supposed to be. If it makes you feel good to knock this film, then you are a snob. If you think can make a better movie than this, then go ahead!

People who love movies love this film. This is what film is about.

Movies and music, that's the winning combo when it comes to industry amalgams but haven't we seen it all? We have the good; The Bodyguard and 8 Mile, the bad Honey and the downright ugly aka Glitter (put the crossbow down, I had to mention it). However, this John Singleton produced flick snipes at the genre from a different angle.

The increasingly talented Terence Howard (recently seen in Ray and Crash), plays DJay, a pimp turned rapper who wants to prove his worth and swap his tricks for a trade in America's crunked up south.

Newcomer Craig Brewer takes the helm as we visit Memphis and see it through the eyes of the down but not outters consisting of DJay and his working girls. When he reunites with school friend Key (Anthony Anderson) they decide to take charge of their lives and realise their dream by putting together a demo tape of their skills, with the hope of hitting the big time.

This is not a bad movie, in fact Howard is equally as convincing as a pimp with a newly found heart and as a rapper, something that was both a bold and a fruitful choice. If the star hadn't convinced on any level it is a sure-fire guess to say a non-rapper would never be allowed to rap in a movie, but he did and he did it well.

The standard underdog making it to the big time route has been bypassed and replaced with a story that hold's your attention and has an unpredictable and real conclusion.

Amongst Flow's supporting cast, Isaac Hayes takes stage as the bar-owner who puts DJay in touch with the hometown's former star- Skinny Black, played sneeringly by Chris 'Ludacris' Bridges. As well as these two familiar songsters, Anthony Anderson and DJ Qualls, of Road Trip fame, make up the group and put in solid performances. The female cast who constitute DJay's trade are Eminem's ex-girlfriend in 8 Mile, Taryn Manning and Paula Jai Parker as the outspoken Lexus, again all providing non-sterling but convincing turns as part of the phat pack.

But it is Taraji P. Henson's part as the heavily pregnant Nola who catches the eye as a sweet and naïve part of the outfit. It is her who seems to be the only person that allows DJay to relinquish his sometimes brutal pimp suit and put on something more responsible and caring as he ventures out hustling for his right to fame.

This is not your standard cheer at the screen rise-to-fame story that Americans seem to love, too much. What it is, is a well thought out project that takes you on a journey of trials and tribulations that are the all more convincing when performances by Howard, Manning and Henson garnish the story.

This is not a movie as much as it is a film. It depicts the seaming underbelly of the drug-infested music scene in the poor areas of Memphis. The cinematic properties and writing are like something out of a rap video crossed with a John Woo movie. It allows the viewer to delve into the life of an up and coming rapper slash drug dealer going through a mid-life crisis. Everything is so miserable that you can't help but develop a sense of compassion for the struggling performer that is the protagonist. You find yourself wishing for a happy ending. There is actually a sense of purpose within watching the film; something rather rare in this genre. All in all this is definitely a film worth watching.

I recently had the pleasure of viewing a local Hustle & Flow screening. I referred to this site beforehand to look at the technical details of the movie and to gain a general understanding of the buzz from the message boards. All I seem to recall reading were negative comments about the movie saying that it was such a cliché. Well, maybe I haven't seen as many movies in the hip hop coming of age genre, but the only movie I recall being remotely close to this one was 8 Mile (which I liked btw). Anyways, I saw the movie and I really don't think it was that cliché. The dialog is definitely original, the characters are original, the location is original, and there is a lot of depth within the character of DJay, the pimp trying to become a rapper. I thought the acting in the movie was excellent and I am glad that there is a wide release movie out this summer that isn't a sequel and didn't cost $200 million to make. This movie is bound to do very well, it only cost $3 million to make and it is a pretty good movie. The only problems I had with this movie were with some of the logic and character motivation. I don't think the movie explained very well WHY DJay (the pimp) wanted to become a rapper all of a sudden. They make the entire music making process seem like a piece of cake, but hey it is a movie and there are ultimately time constraints. I thought DJ Qualls was gonna be just a really lame piece of comic relief, but he actually adds depth to the film. I found Hustle & Flow to be very enjoyable and much more memorable than Batman Begins (which I saw last night!). This movie is definitely worth seeing this summer.

Terrence Howard plays a Memphis pimp who decides to give hardcore rapping a shot in this arresting, gritty drama. Howard plays DJay, who pimps girls out of his beat-up Chevy Nova. When he comes into the possession of an electronic keyboard, DJay plays around with it and finds he has a talent for writing and performing hard, violent lyrics.

On its face, this seems like a typical "man rises from the ashes of his hardscrabble life to experience success and then watches it all crash down around him" kind of movie. It's not a movie about suffering, success, and redemption, in other words. But it's not as predictable as it may seem at first blush, and Howard is not your typical actor, by any shot.

DJay lives with his small stable of prostitutes in a tumble-down shack in the Memphis ghetto. As pimps go, he's not exactly Donald Trump. Some dance for an exotic club during the day and hook at night; some hook all day. But the money's not rolling in for DJay, who remains somewhat confident that he'll someday come out ahead. When he obtains the keyboard, inspiration strikes, and a chance encounter with an old classmate (Anthony Anderson) who's now a producer (of sorts) gives DJay the opportunity to jump out of the rotten life he's carved for himself.

This never feels like a typical rise-and-fall story, and that's thanks in no small part to the powerful performance by Howard, who's much better here than in the critically lauded (by some) Crash. Appearing with Howard in Crash was Ludicrous, who also has a big role in Hustle and Flow - hey, some rappers are very good actors, it turns out. Howard, aided by a crisp script from Craig Brewer, who also directed, never portrays DJay as simply a nice guy with some flaws, someone who's been handed a bad hand and is making the best of it. It's clear that DJay's made all of his own choices, and the situation he finds himself in - depending on hookers for his livelihood - is of his own doing.

But neither does the script show DJay as being entirely bad, either, as evidenced by some surprisingly tender, moving scenes between DJay and Key (Anderson) and DJay and Shug, his pregnant woman. These scenes don't come off as stilted or insincere, and that's thanks especially to Howard's strong performance. True, too, are the scenes in which DJay lays down a rap track in his home; you can feel the rage seeping through your television.

This movie might be a difficult sell to those who have trouble relating to the environment and atmosphere in which DJay operates. Undoubtedly those who grew up on the wrong side of the tracks will recognize aspects of their own lives, identifying strongly with one or more of the characters. But even those of us who have never lived in squalor, who've generally had advantages that others do not, can appreciate the intense, gray world in which DJay and his associates live. Had this been a simple, typical biography of a musician from the mean streets, it wouldn't have had near the effectiveness, the passion of Hustle and Flow. The movie intrigues you, makes you want to know what happens to DJay, even when it's obvious he's a bit of a jerk. But because he's not a stupid man, his actions cannot be painted as simply good or simply bad. Howard, in particular, is well deserving of his critical accolades here.