Recensioni di Metacritic

It’s not the convoluted yet obvious plot of this 1998 drama about the domestic lives and criminal careers of two childhood friends (DMX and Nas) that draws you in—it’s the splendid visuals. Set mainly in New York City and Omaha, where these drug dealers do business according to their different ambitions, the movie is an image opera that deftly turns visual gimmicks into potent symbols.

The medium overwhelms the message, but music video director Hype Williams' feature debut still has far more on its mind than it first lets on.

The film is never boring -- there's no question that filmmaker Hype Williams has the fancy moves -- but the rhythmic, stylistic repetition becomes tedious, and serves to keep the audience removed from the story.

Part incomprehensible GoodFellas rip-off and part feature-length music video, Belly is a millennial head film that subscribes to the sort of logic usually found only in acid trips, nightmares, and big-budget music videos.

Belly is a film that begs for a pat on the head for its virtue while catering to cinematic tastes more interested in crotch shots, topless dancers, wall-sized television screens, ganja galore and, wherever possible, crime without punishment, all to the accompaniment of a high-octane soundtrack.

This sickeningly violent film, starring a bevy of rap stars, marks the feature debut of hot video director Hype Williams, and while there are hints of his trademark trippiness, this is basically an utterly joyless endeavor. [04 Nov 1998, p.E6]

The heart of the picture has to do with the heroes realizing the error of their ways and finding redemption, but it takes a lot for an audience to forgive two murderers. Belly comes up short.

The bad acting — make that nonacting — of rappers DMX and Nas merges, all too well, with the shallow dehumanized vision of director Hype Williams.

The rap stars-turned-actors who populate this film exude a real presence, if not a wealth of acting chops. Williams' script is a real muddle, however, reinforcing the worst clichés about video directors who make the leap to feature filmmaking.

The lesson to be learned here is that movies are far more complex than music videos. Most videos require little or no thought of plot, structure or characterisation, but look great. Which is probably why Williams is so good at them.