Aggiungi una trama nella tua linguaAn in-depth look at the artist Dwayne LIL' WAYNE Carter Jr, proclaimed by many as the "greatest rapper alive" With comprehensive and personal interviews with Lil' Wayne, this film will also ... Leggi tuttoAn in-depth look at the artist Dwayne LIL' WAYNE Carter Jr, proclaimed by many as the "greatest rapper alive" With comprehensive and personal interviews with Lil' Wayne, this film will also feature insight from those that know him best. The world will finally get to know the hist... Leggi tuttoAn in-depth look at the artist Dwayne LIL' WAYNE Carter Jr, proclaimed by many as the "greatest rapper alive" With comprehensive and personal interviews with Lil' Wayne, this film will also feature insight from those that know him best. The world will finally get to know the history surrounding one of the most prolific artists of this generation.
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Again so great waht an example for our youth. Wow, after seeing this im so into blm!! I totally get it now. Wow, what a level. This is not a monster at all.
I was completely unfamiliar with Lil Wayne's rap music before I watched this movie. While I can't say that I am a newly converted fan, I feel that he is undoubtedly an artist in the truest sense. He exists in his own world, makes his art pretty much for himself because he has to, and is utterly dedicated to his art, whether or not anyone else considers it art. The fact that he is a commercial success is just cake. This guy could be doing any other sort of art and be the same person as far as I can tell. He reminds me of another great unique artist, Syd Barrett. I have no idea how harmful his Syzzurup is, I just hope it doesn't kill him and leave the world with another brilliant casualty. He is definitely an "out there", bizarre person, and who knows what he'd be doing if he didn't find a creative outlet. I find him completely fascinating and I was moved by at least a couple of his pieces. I don't care for the p***y and drugs stuff, and I don't know that he really does either, but he sure knows how to apply them to his art. The guy is just a bottomless creative force, and I think it's great that he has an audience. I will definitely try to stay informed about his career.
First and foremost let me clarify all the bias and ignorant, yet frequent, comments that are swirling around "The Carter": this film does not glorify Lil Wayne. Period. What it DOES glorify, however, is his addictive and downright inhuman work ethic. The man does not stop...ever. Recording over 1000 songs in the year 2008 alone is a perfect example of his constantly-creating lifestyle, in which he somehow manages to raise an adorable (and loving) daughter, all while forever-high off his choice of drugs: Promethazine syrup and lots and lots of marijuana. It is inarguable that Wayne is far from a normal, functioning human being...and if that isn't an engaging film premise, I don't know what is.
The film begins with montages of Wayne recording songs in his tour bus and hotel room, places that only HE manages to make music in. It's safe to say that, along with Wayne himself, his manager Cortez Bryant is the "narrator" of the film, sharing his opinions and love for the artist through interviews and footage of his constant phone-calling and dollar sign negotiations.
The film is very "Tyson"-esque in the sense that you are brought into the mind of this bizarre individual by the individual himself. When asked the question "What would you do if you were President?", he answers "I would put cocaine back into Coca-Cola, I would legalize marijuana first AND second. Then I would eliminate all drug-use laws in sports: if you wanna take steroids, that's cool with me...as long as you playin' good." You can't help but laugh at the sheer foolishness of the man's comments, however Wayne has no shame in being downright immature; this is HIS world that he's explaining. We just all live in it.
As "The Carter" dives into his self-destruction drug addictions, we see a darker side of the artist, a side that his manager barely even comments on for he is "too heartbroken to see him like that." Once again, no one in Wayne's extensive clique of assistants and errand-runners support or enjoy his addiction...and he doesn't expect them too. "Who gives a f--k what I'm drinking or what I do or what's in my cup? It's in MY cup!" This is practically common sense to Lil Wayne, confused as to why everyone cares what he does. He's going to do it either way, whether we like it or not. We might as well all just accept it now.
The film doesn't shove anything in your face or add unnecessary melodrama. It doesn't portray the addicted martian-like rapper as an icon or role model whatsoever. It simply takes you for a ride into the world and mentality of Lil Wayne, such a bizarre, conceited, and uncomfortable place that it is ultimately somewhat of a wonder. This film exposes us to the real Lil Wayne, one of the most interesting characters ever put on video.
The film begins with montages of Wayne recording songs in his tour bus and hotel room, places that only HE manages to make music in. It's safe to say that, along with Wayne himself, his manager Cortez Bryant is the "narrator" of the film, sharing his opinions and love for the artist through interviews and footage of his constant phone-calling and dollar sign negotiations.
The film is very "Tyson"-esque in the sense that you are brought into the mind of this bizarre individual by the individual himself. When asked the question "What would you do if you were President?", he answers "I would put cocaine back into Coca-Cola, I would legalize marijuana first AND second. Then I would eliminate all drug-use laws in sports: if you wanna take steroids, that's cool with me...as long as you playin' good." You can't help but laugh at the sheer foolishness of the man's comments, however Wayne has no shame in being downright immature; this is HIS world that he's explaining. We just all live in it.
As "The Carter" dives into his self-destruction drug addictions, we see a darker side of the artist, a side that his manager barely even comments on for he is "too heartbroken to see him like that." Once again, no one in Wayne's extensive clique of assistants and errand-runners support or enjoy his addiction...and he doesn't expect them too. "Who gives a f--k what I'm drinking or what I do or what's in my cup? It's in MY cup!" This is practically common sense to Lil Wayne, confused as to why everyone cares what he does. He's going to do it either way, whether we like it or not. We might as well all just accept it now.
The film doesn't shove anything in your face or add unnecessary melodrama. It doesn't portray the addicted martian-like rapper as an icon or role model whatsoever. It simply takes you for a ride into the world and mentality of Lil Wayne, such a bizarre, conceited, and uncomfortable place that it is ultimately somewhat of a wonder. This film exposes us to the real Lil Wayne, one of the most interesting characters ever put on video.
This may be one of the most compelling and interesting documentary ever made of such a unique person and artist. It hides nothing showing everything about Wayne and his world. Wayne is such a character that no one has ever seen before in cinema history. Who at times is really crazy and outrageously weird. This shows how original and different Wayne is making the documentary more entertaining because the kind of character being presented. He does and says what he wants when he wants. With originality and talent which does make him the greatest rapper alive right now. If you are not Wayne fan this documentary may be a waste of your time but Wayne fans will really enjoy this beginning to end.
The Carter opens with Lil Wayne in his lavish home, working at his table when he aimlessly wanders over to his couch right in front of his TV. The TV is airing some random show and Wayne quickly takes note that one of the show's characters is wearing a shirt with his face on it and boasting the caption "BEST RAPPER ALIVE." Wayne is humbled, almost awestruck. "That's my name on that m***********," he tells one of his associates.
This is one of the many, many reasons why Lil Wayne is one of the most charismatic and captivating artists of our generation. His ability to be boastful one minute, humble the next, and a crazy genius nearly all the time is precisely his attraction as an artist. His cocky, assured swagger isn't only present in his music, but in his interviews, many of which he'll stop halfway, as seen in this documentary, if he doesn't like the interviewer or their questions. This "short-fuse" nature he brings to the table is also evident when we are told in the beginning of the documentary that Wayne withdrew his support from the film halfway through and then tried to sue to prevent it from seeing the light of day.
The funny thing about that is The Carter is not a disrespectful film; it's decidedly impressionistic, following Lil Wayne during the most successful time in his career which was before, during, and after the release of his sixth album Tha Carter III. Following monstrous success with the album's many singles - the infectious "Lollipop," with the late Static Major, the rowdy and briskly paced "A Milli," and the crazy "Get Money" featuring the likes of T-Pain - Tha Carter III went on to go platinum in one week, eventually earning that accolade twice more from the RIAA to cap out at over 3.6 million albums sold.
The Carter shows him at the height of his game and during one of his most tumultuous stints in pop culture. This was a time when Wayne's weed and purple drank (a famous concoction amongst rappers including promethazine/codeine cough syrup, Sprite, and a Jolly Rancher) use was just as out of control as his public persona. Journalists and rap fans were, in a way, waiting for Wayne to kill himself with the famous beverage like rapper Pimp C did just a year prior, and all eyes were on Wayne, his music, and his unique character. Shot like a Frederick Wiseman documentary, with no interviews and an emphasis on situations instead of talking heads, The Carter has Wayne in numerous scenes, rapping, freestyling, preparing for a concert, or sipping his beloved purple drank. In one scene, Wayne opens a suitcase filled with supplies he uses in emergencies and one of the items, placed precariously next to about perhaps $100,000 in cash money, is a large bottle of Vitamin Water, however, its contents are deceiving. Wayne swishes the liquid in the bottle around, so we can see its thickness, "s*** ain't no Vitamin Water," he says with a smile.
The thing about Wayne's music is even his weaker songs have brights spots, specifically Wayne's outlandish metaphors and one-liners ("we pop 'em like Orville Redenbacher," ""I peel off in the Lamborghine like a tangerine. Got the industry straight shaking' like a tambourine," and so forth). He's even more fun to watch perform; consider the scene when he gives a ribald performance of his song "A Milli," whilst shaking his dreadlocks, rolling on the floor, and almost break dancing in front of an energized crowd. This comes minutes after he was sipping drank and purring the lines, "I'm getting' nervous" in front of his affiliates and saying a prayer for his fans and themselves.
Wayne's dualities make him such a fascinating character, worthy of a documentary that could've been twice the length of the seventy-five minute Carter. Even his songwriting methods are intriguing, largely because they are nonexistent. Wayne doesn't believe in writing down anything in journals or notebooks because that is evidence that could either be sold or distributed (his Carter III album was already leaked eight days before its release). With this practice, all Wayne's benign thoughts and quirky lyricism remain in his head, and it's a tellingly bold way to write, given how elaborate, layered, and sometimes breakneck fast Wayne songs can be.
The Carter could've even kept going past Wayne basking in the fame and the success Tha Carter III brought by focusing on production of Wayne's seventh album, the frequently mocked and critically panned Rebirth. Rebirth was a turning point for Wayne because it was his rock album, where he placed strong emphasis on raucous heavy metal instrumentals, loud guitar riffs, and a brazen change in direction. Coming off of 2008's bestselling album, Wayne had made yet another questionable move that may have resulted in a complete change in perspective (Wayne's mainstream status began to falter with the singles of Rebirth failing to assert themselves the same way "Lollipop" and "Get Money" did and a subsequent prison sentence for the artist about a year later resulted in less publicity centered around music). While Rebirth may not be an amazing album, I've found that it's a true testament to Wayne's complete craziness and unpredictability as an artist, though I do not challenge anyone who claims to hate it. The few recording sessions of the album we get to see in The Carter are a real treat, though, no matter which way you slice it.
The Carter is a beautifully low-key documentary on rap's biggest rock star and renaissance man, a soul who cannot be matched as far as being an intoxicating (and largely intoxicated) presence.
This is one of the many, many reasons why Lil Wayne is one of the most charismatic and captivating artists of our generation. His ability to be boastful one minute, humble the next, and a crazy genius nearly all the time is precisely his attraction as an artist. His cocky, assured swagger isn't only present in his music, but in his interviews, many of which he'll stop halfway, as seen in this documentary, if he doesn't like the interviewer or their questions. This "short-fuse" nature he brings to the table is also evident when we are told in the beginning of the documentary that Wayne withdrew his support from the film halfway through and then tried to sue to prevent it from seeing the light of day.
The funny thing about that is The Carter is not a disrespectful film; it's decidedly impressionistic, following Lil Wayne during the most successful time in his career which was before, during, and after the release of his sixth album Tha Carter III. Following monstrous success with the album's many singles - the infectious "Lollipop," with the late Static Major, the rowdy and briskly paced "A Milli," and the crazy "Get Money" featuring the likes of T-Pain - Tha Carter III went on to go platinum in one week, eventually earning that accolade twice more from the RIAA to cap out at over 3.6 million albums sold.
The Carter shows him at the height of his game and during one of his most tumultuous stints in pop culture. This was a time when Wayne's weed and purple drank (a famous concoction amongst rappers including promethazine/codeine cough syrup, Sprite, and a Jolly Rancher) use was just as out of control as his public persona. Journalists and rap fans were, in a way, waiting for Wayne to kill himself with the famous beverage like rapper Pimp C did just a year prior, and all eyes were on Wayne, his music, and his unique character. Shot like a Frederick Wiseman documentary, with no interviews and an emphasis on situations instead of talking heads, The Carter has Wayne in numerous scenes, rapping, freestyling, preparing for a concert, or sipping his beloved purple drank. In one scene, Wayne opens a suitcase filled with supplies he uses in emergencies and one of the items, placed precariously next to about perhaps $100,000 in cash money, is a large bottle of Vitamin Water, however, its contents are deceiving. Wayne swishes the liquid in the bottle around, so we can see its thickness, "s*** ain't no Vitamin Water," he says with a smile.
The thing about Wayne's music is even his weaker songs have brights spots, specifically Wayne's outlandish metaphors and one-liners ("we pop 'em like Orville Redenbacher," ""I peel off in the Lamborghine like a tangerine. Got the industry straight shaking' like a tambourine," and so forth). He's even more fun to watch perform; consider the scene when he gives a ribald performance of his song "A Milli," whilst shaking his dreadlocks, rolling on the floor, and almost break dancing in front of an energized crowd. This comes minutes after he was sipping drank and purring the lines, "I'm getting' nervous" in front of his affiliates and saying a prayer for his fans and themselves.
Wayne's dualities make him such a fascinating character, worthy of a documentary that could've been twice the length of the seventy-five minute Carter. Even his songwriting methods are intriguing, largely because they are nonexistent. Wayne doesn't believe in writing down anything in journals or notebooks because that is evidence that could either be sold or distributed (his Carter III album was already leaked eight days before its release). With this practice, all Wayne's benign thoughts and quirky lyricism remain in his head, and it's a tellingly bold way to write, given how elaborate, layered, and sometimes breakneck fast Wayne songs can be.
The Carter could've even kept going past Wayne basking in the fame and the success Tha Carter III brought by focusing on production of Wayne's seventh album, the frequently mocked and critically panned Rebirth. Rebirth was a turning point for Wayne because it was his rock album, where he placed strong emphasis on raucous heavy metal instrumentals, loud guitar riffs, and a brazen change in direction. Coming off of 2008's bestselling album, Wayne had made yet another questionable move that may have resulted in a complete change in perspective (Wayne's mainstream status began to falter with the singles of Rebirth failing to assert themselves the same way "Lollipop" and "Get Money" did and a subsequent prison sentence for the artist about a year later resulted in less publicity centered around music). While Rebirth may not be an amazing album, I've found that it's a true testament to Wayne's complete craziness and unpredictability as an artist, though I do not challenge anyone who claims to hate it. The few recording sessions of the album we get to see in The Carter are a real treat, though, no matter which way you slice it.
The Carter is a beautifully low-key documentary on rap's biggest rock star and renaissance man, a soul who cannot be matched as far as being an intoxicating (and largely intoxicated) presence.
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- 1h 12min(72 min)
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