Spanning from November of 1986 to March of 1993, the film follows the wrongful arrest and conviction of Walter “Johnny D.” McMillian over the murder of a young white woman in Ronda Morrison as he would be represented three years later by an idealist young attorney from Delaware in Bryan Stevenson who would do what he can to exonerate McMillian and prove his innocence. It’s a film with a simple premise yet it is more about a young man dealing with a world that he doesn’t know much of despite having to deal with the prejudices that he also faces as an African-American. The film’s screenplay by Destin Daniel Cretton and Andrew Lanham is straightforward as it opens with McMillian’s arrest after a hard day’s work cutting trees as he’s accused of killing this young white woman as the film then pushes a couple of years later where Stevenson meets a young convict just before Stevenson is officially an attorney where it is a scene that establishes the idealism that follows him and his determination to make things right in the unforgiving environment that is the American South in Monroe County in Alabama.
The script also play into Stevenson not only focusing on McMillian and trying to gain his support as well as the support of his family but also look into the cases of others including a former war veteran in Herbert Richardson (Rob Morgan) who is suffering from PTSD as Stevenson tries to save him from execution. Aiding Stevenson in these cases include a local in Eva Ansley (Brie Larson) who helps him find the Equal Justice Initiative as she is disgusted by not just the racism in her home state but also the indifference of prosecutor Tommy Chapman (Rafe Spall) who declines to help Stevenson out in favor of protecting the state. While Stevenson was able to get an alibi from a family friend of McMillian who later backs out, the script shows Stevenson’s determination where he questions another prisoner in Ralph Myers (Tim Blake Nelson) where some major revelations occur about why McMillian was convicted as it leads to major challenges for Stevenson to free McMillian.
Cretton’s direction is largely straightforward to play into its grounded presentation about a real-life story. While the film is set in Alabama and shot partially in Montgomery, much of it is shot on location in and around parts of Atlanta to play into the look and feel of late 1980s/early 1990s Alabama. Cretton does make the locations feel like a world of its own with prison cells also being characters as it is this place of fear where Stevenson has to endure some humiliation in his first visit in Alabama by stripping down where Cretton brings that sense of claustrophobia in the medium shots and close-ups. The usage of those shots add to the prison cell where McMillian is alone with Richardson next door to him on the left and another in Anthony Ray Hinton (O’Shea Jackson Jr.) who was also wrongly convicted. Cretton does use some wide shots to showcase some of the locations including images of trees during a scene where McMillian offer words of comfort to Richardson in one of his PTSD moments.
Cretton also play into this air of racism that is prominent in Alabama where Stevenson is an outsider of sorts as he does get a closer look of what it’s like being a black man in Alabama where a lot of the cops and local authorities are white. Cretton doesn’t paint them as typical villains as a young guard in Jeremy Doss (Hayes Mercure) becomes more sympathetic towards McMillian while the revelations about Myers showcase the similarities towards those who live below the poverty line as he too is a victim. The first act is about Stevenson’s idealism and his attempts to try and get McMillian a retrial while the second act is about these revelations and this retrial for McMillian. Yet, there’s this third act where Cretton goes into deep into the many injustices towards McMillian but also for black men as well as Chapman’s role who is someone disconnected from what is really going on as he has to deal with the status quo who are resistance towards change. Overall, Cretton crafts an engaging and evocative film about a young attorney who tries to free a wrongly-convicted man of murder in Alabama.
Cinematographer Brett Pawlak does brilliant work with the film’s cinematography with its usage of low-key lights for many of the interior/exterior scenes at night as well as some understated colors for some of the daytime exterior scenes. Editor Nat Sanders does excellent work with the editing as it is largely straightforward with a few jump-cuts to play into some of the film’s intensely-dramatic moments. Production designer Sharon Seymour, with set decorator Maggie Martin and art director Peter Borck, does amazing work with the look of the house that Stevenson and Ansley bought as their headquarters as well as the look of the jail cells the prisoners live in and the court rooms. Costume designer Francine Jamison-Tanchuck does fantastic work with the costumes as it is largely straightforward with some of the refined clothes of McMillian’s family during the trials and church scenes along with the expensive suits that Chapman wears. Makeup artist Bridgit Crider and hair stylist Crystal Woodford do terrific work with the look of McMillian early in the film as it played into the period of the times along with the look of Ansley in her ragged yet simple look.
Special effects supervisor Nicholas Coleman and visual effects supervisor Chris LeDoux do some fine work with the special effects as it is largely set-dressing for some of the film’s locations along with a few scenes in the prison. Sound editors Onnalee Blank and Katy Wood do superb work with the film’s sound as it help play into the tense atmosphere of the prisons as well as some of its sparse moments and scenes in some of the locations in the film. The film’s music by Joel P. West does wonderful work with the film’s music score as it features elements of orchestral music with some gospel to play into the world that is the American South while music supervisor Gabe Hilfer cultivate a soundtrack that largely features elements of soul, gospel, rock, and R&B as it features pieces from Martha and the Vandellas, J. Alphonse Nicholson, Alabama Shakes, Hilton Felton, Sister Emily Braum, The Mighty Indiana Travelers, Atlantic Starr, Ella Fitzgerald, and a few others.
The casting by Carmen Cuba and Tara Feldstein is incredible as it feature some notable small roles from Rhoda Griffs as a judge late in the film, Norm Lewis as the voice of a newscaster, Hayes Mercure as the young prison guard Jeremy Doss who becomes sympathetic towards McMillian during the film as he realizes that McMillian is innocent, Dominic Bogart as Eva’s husband Doug, C.J. LeBlanc as McMillian’s son John, Karen Kendrick as McMillian’s wife Minnie, Darrell Britt-Gibson as a family friend in Darnell who has an alibi for McMillian only to be spooked by the authorities, and Michael Harding as the racist Sheriff Tate who doesn’t care if McMillian is innocent as he is someone trying to instill his authority. O’Shea Jackson Jr. is fantastic as Anthony Ray Hinton as a wrongfully-convicted man who is a cell-neighbor of McMillian as he believes that Stevenson is a man of hope as Stevenson also tries to help him with his own case.
Rafe Spall is superb as Tommy Chapman as a prosecutor who is unwilling to help Stevenson as he would be the opposition as a political figure who is trying to protect his own community while dealing with the fallout of his own actions. Tim Blake Nelson is excellent as the convict Ralph Myers as a white man who made the claim that he saw McMillian commit the murder as he makes some startling revelations where Nelson provides some chilling monologues and moments that showcases a man who had been used as a pawn for a cruel system. Rob Morgan is amazing as the convicted war veteran Herbert Richardson as a man who suffers from PTSD as he awaits his execution as he hopes to save as his performance is heartbreaking to watch as someone who is consumed with guilt while coping about his own fate. Brie Larson is brilliant as Eva Ansley as a local who becomes Stevenson’s right-hand woman as well as a mother who is aware that she is targeted while also doing what she can to help as well as give Stevenson an understanding of the cruelty that is Alabama and the American South.
Jamie Foxx is tremendous as Walter “Johnny D.” McMillian as a man who is wrongly accused of murder as he is skeptical of Stevenson’s intentions due to past attempts by others as he also copes with the many challenges in getting a retrial where Foxx is just understated in his performance as well as a man who clings on to hope knowing that truth can save him. Finally, there’s Michael B. Jordan in a phenomenal performance as Bryan Stevenson as a Harvard-graduate attorney from Delaware who moves to Alabama with ideas to change the world only to deal with some reality that is intense yet Jordan maintains that determination of someone who wants to do what is right as well as understand his own identity as a black man in the South who is just trying to make a small change to a cruel world as it is a career-defining performance for Jordan.
Just Mercy is a sensational film from Destin Daniel Cretton that features great performances from Michael B. Jordan, Jamie Foxx, and Brie Larson. Along with its ensemble cast, understated presentation, an engaging music soundtrack, and its exploration of racism and injustice in the American South. It is a film that manages to explore a young man trying to save another man from injustice while also learning about what to do to combat hate in a world that is prejudice and resistant to change. In the end, Just Mercy is a phenomenal film from Destin Daniel Cretton.
Destin Daniel Cretton Films: (I Am Not a Hipster) – Short Term 12 - (The Glass Castle (2017 film)) – Shang-Chi and the Legend of the Ten Rings
© thevoid99 2021
Directed by Jonathan Levine and screenplay by Dan Sterling and Liz Hannah from a story by Sterling, Long Shot is the story of a journalist who accompanies his former babysitter who is now the U.S. Secretary of State as she is mulling a possible run for the U.S. presidency. The film is an offbeat romantic-comedy where a journalist rekindles his friendship with his former babysitter as they also deal with their own feelings for one another just as she is about to step into the spotlight. Starring Seth Rogen, Charlize Theron, Alexander Skarsgard, O’Shea Jackson Jr., June Diane Raphael, Bob Odenkirk, and Andy Serkis. Long Shot is a witty and heartfelt film from Jonathan Levine.
The film revolves around a controversial yet unemployed journalist who attends a fundraiser where he meets his former babysitter, now U.S. Secretary of State, as they reconnect as he accompanies her on a world tour to push an environmental initiative that she hopes would mean something as she is also thinking about running for the U.S. presidency. It’s a film that has an idealistic journalist who just lost his job after the company he works for had been bought by a media conglomerate as he helps this U.S. government official trying to get many countries to go on board this environmental initiative that she hopes would help the world. The film’s screenplay by Dan Sterling and Liz Hannah explore these two people who knew each other as teens as they’re both at crucial points in their lives where they want to accomplish something but also have to deal with compromises.
For the journalist Fred Flarsky (Seth Rogen), he doesn’t believe in compromise as he lives to expose hypocrisies and such where he is first seen infiltrating a white supremacist group. Then he loses his job when he refuses to compromise and work for the immoral media mogul Parker Wembley (Andy Serkis) who buys the publication Flarsky works for. Flarsky’s former babysitter in Charlotte Field (Charlize Theron) is someone trying to make things happen and other duties expected in her job as she learns that U.S. President Chambers (Bob Odenkirk) is not seeking re-election as the former TV actor wants to go into films. Upon meeting Flarsky at a fundraiser whom she remembered as a teenager, she decides to hire him as her speechwriter despite the advice of her chief of staff Maggie (June Diane Raphael) who thinks that Flarsky is a slob. Yet, Flarsky would inspire Field to push her initiative as well as loosen up a bit while Flarsky learns that life is full of compromises and be less judgmental just as the two are to reach a crucial point in their lives.
Jonathan Levine’s direction is largely straightforward as it play into this whirlwind journey of two people who knew each other as teens as well as to try and do some good in the world. Shot largely in Montreal and Cartagena, Colombia with some shots in New York City, Levine doesn’t go for a lot of style in order to tell this simple story while also playing into some of the things that Flarsky would do as a journalist starting with his infiltration at a white supremacist group. While there are some wide and medium shots to establish some of the locations, Levine does create some unique compositions as it play into some of the humor such as Flarsky being humiliated in wearing a traditional Swedish suit suggested by Maggie as he is outside of a palace smoking a cigarette and not feeling happy. There are also moments that are stylized such as a terrorist attack that also plays for laughs including a scene of Field, high on the influence of drugs, negotiating with a world leader over the release of a hostage.
Levine also does some satire as it relates to the Wembley character as he also runs a fake news channel similar to Fox News as he is someone that would play a key role in trying to influence Field in its third act. It play into this dark world of politics as it does go into conventional territory but also some character-revelatory moments for both Field and Flarsky. The latter of which has often been clouded by his own morals and idealism as he has to realize what Field had to do to not just succeed but also to make serious changes for the world. Levine does manage to play with the conventions but also find ways to create a resolution that allow both Field and Flarsky to find a common ground to be together on all-levels without compromising their own beliefs and feelings for one another. Overall, Levine crafts a funny yet endearing film about an unemployed journalist who reconnects with his former babysitter as she deals with possibility of becoming the next U.S. president.
Cinematographer Yves Belanger does excellent work with the cinematography as its usage of low-key lighting for some of the scenes at night give the film a unique tone in its look while being straightforward for the daytime interior/exterior scenes. Editors Melissa Bretherton and Evan Henke do terrific work with the editing as it has a few stylish moments in a montage sequence and a slow-motion part of the film as much of it is straightforward. Production designer Kalina Ivanov, with set decorator Manon Lemay plus art directors Sharon Davis, Donna Noonan, and Zoe Sakellaropoulo, does fantastic work with the look of some of the places that Flarsky and Field stay at around the world as well as Flarsky’s messy apartment and Field’s clean home. Costume designer Mary E. Vogt does nice work with the clothes that the characters wear including some of casual look of Field when she goes out clubbing with Flarsky.
Special effects makeup artists Bruno Gatien and Jonathan Lavallee do amazing work with the look of the Wembley character in the way he looks like certain political figures in the conservative world. Special effects supervisor Mario Dumont and visual effects supervisor Dan Schrecker do brilliant work with the terrorist attack sequence as well as some bits of set dressing for some of the locations. Sound designer Ando Johnson and sound editor Branden Spencer do superb work with the sound as it play into the atmosphere of the locations as well as quiet moments in the film that add to some of low-key comical moments that occur in the film. The film’s music by Marco Beltrami and Miles Hankins is wonderful for its usage of strings and electronics to play into some of the humor and drama while music supervisor Gabe Hilfer creates a fun soundtrack that features music from Boyz II Men, the Cure, Roxette, Thunderfist, Sonny Rollins, DMX, Cameo, Blondie, Big Thief, Bruce Springsteen, Frank Ocean, Robyn, the Crystals, Aretha Franklin, Big Boi with Troze, and the Tango Project.
The film’s marvelous ensemble cast feature some notable small roles and cameo appearances from Boyz II Men as themselves, Lisa Kudrow as a polling expert, Lil’ Yachty as himself, Randall Park as Flarsky’s boss early in the film, the trio of Kurt Braunohler, Paul Scheer, and Claudia O’Doherty as Wembley News reporters, Ivan Smith as the Indian prime minister who has issues with the U.S., Aviva Mongillo as the young Charlotte, Braxton Herda as the young Fred, Tristan D. Lalla as Field’s bodyguard Agent M who is among the first to witness Flarsky and Field’s romance, Ravi Patel as one of Field’s key staffer in Tom who is close to Field as he also serves as a mediator between her and Flarsky, and Alexander Skarsgard in a hilarious performance as Canadian prime minister James Steward whom Field is romantically-linked to despite the fact they don’t have any chemistry as Skarsgard plays him for laughs while sporting an incredibly bad Canadian accent.
Bob Odenkirk is terrific as the U.S. President Chambers as a former TV star who played the President on TV as he decides to go into movies yet becomes troubled by Field’s initiative as it threatens his own career prospects. Andy Serkis is fantastic as Parker Wembley as this media mogul who likes to push his own ultra-conservative views to the point that he buys Flarsky’s publication and gets him fired while trying to do whatever he can to stop Field and her initiative. O’Shea Jackson Jr. is excellent as Flarsky’s friend Lance as someone who is trying to help but also give him advice while bringing some revelations about himself that would surprise Flarsky and his own faults. June Diane Raphael is brilliant as Maggie Millikins as Field’s right-hand woman who doesn’t like Flarsky much but does realize his value as she sees how it would inspire Field prompting her to be more concerned for Field’s happiness than ambition.
Finally, there’s the duo of Seth Rogen and Charlize Theron in phenomenal performances in their respective roles as Fred Flarsky and Charlotte Field. Rogen brings a laid-back approach to his character but also someone who is an idealist that doesn’t like to compromise and wants to do good things but is often unhappy until he reconnects with Field as he begins to think about a future that isn’t cynical. Theron brings a realism to her character as someone that is hoping to do something that matters but often has to compromise to get what she wants until reconnecting with Flarsky gets her to loosen up and not be compromised. Rogen and Theron do have this chemistry that is endearing but also allow both of them to be funny as well as having Rogen be straight and Theron being the funny one during a scene she’s high on drugs as she’s negotiating with a foreign minister.
Long Shot is an incredible film from Jonathan Levine that features two great performances from Seth Rogen and Charlize Theron. Along with its supporting cast, offbeat take on the romantic-comedy genre, and its exploration of politics and compromising one’s ideals. It is a film that manages to bring in lots of laughs but also a lot of heart and wit that have audiences be engaged by characters wanting to make the world a better place. In the end, Long Shot is a remarkable film from Jonathan Levine.
Jonathan Levine Films: (All the Boys Love Mandy Lane) – (The Wackness) – 50/50 - Warm Bodies - The Night Before (2015 film) - (Snatched)
© thevoid99 2020
Directed by F. Gary Gray and screenplay by Jonathan Herman and Andrea Berloff and story by Berloff, S. Leigh Savidge, and Alan Wenkus, Straight Outta Compton is the story about the formation and rise of the legendary hardcore hip-hop group N.W.A. (Niggaz with Attitude) who created controversy through their music as it spoke about life in the ghettos of Compton near Los Angeles, California. The film is a dramatic take on the group’s story from their early years to the death of one of their founders in Eric “Eazy-E” Wright of AIDS in 1995. Starring O’Shea Jackson Jr., Corey Hawkins, Jason Mitchell, Aldis Hodge, Neil Brown Jr., and Paul Giamatti as Jerry Heller. Straight Outta Compton is a gritty yet intense film from F. Gary Gray.
In the late 1980s, N.W.A. emerged from the Los Angeles-based ghettos of Compton where they released their breakthrough album Straight Outta Compton that featured no-holds-barred lyrics on life in the ghetto, violence, racial tension, and run-ins with the LAPD whom they have a very testy relationship with. The group that featured Andre “Dr. Dre” Young (Corey Hawkins) O’Shea “Ice Cube” Jackson (O’Shea Jackson Jr.) Eric “Eazy-E” Wright (Jason Mitchell), Lorenzo “MC Ren” Patterson (Aldis Hodge), and Antoine “DJ Yella” Carraby (Neil Brown Jr.) weren’t afraid to be controversial while also took criticism where they were accused of being misogynistic which wasn’t entirely true. Despite their success, the group would fall apart not just due to mismanagement but also other things that led to Ice Cube and Dr. Dre to eventually have very successful solo careers while Eazy-E would run Ruthless Records until his death in 1995 of AIDS.
The film’s screenplay does play into some dramatic liberties and does play with some of the timeline as much of the film is told in the span of an entire decade from 1986 to Dr. Dre‘s departure from Death Row Records in 1996. It does help tell the story of the group’s formation as well as what lead to them falling apart just as they were becoming very successful. Eazy-E is first seen as a crack dealer trying to survive as well as living in the ghetto where houses are often being destroyed by the LAPD while Dr. Dre and DJ Yella are part of a group known as the World Class Wreckin’ Cru where they’re frustrated by playing music they don’t like. One of Dre’s friends in Ice Cube would get a chance to rap where it would give Eazy and his friend MC Ren some ideas about forming a group and make a song that would become Boyz-n-the-Hood that led to them being discovered by music industry veteran Jerry Heller (Paul Giamatti) to manage them and help Eazy for the label Ruthless Records.
Heller would be the man to not only make N.W.A. successful but would also cause the seeds of its dissolution once Ice Cube begins to raise questions about money and contracts that led to his departure in late 1989 and Dre‘s own departure in 1991 with the aid of a former bodyguard in Suge Knight (R. Marcos Taylor). While the script doesn’t give members like MC Ren and DJ Yella much to do other than be supporting players as it’s more focused on Dre, Cube, and Eazy. It does also play into the diverging directions the three would endure in the course of the story as well as the controversy they had to carry in their lives. The third act isn’t just about post-N.W.A. life for the three but also the attempt to reform the group just as everyone is growing up.
F. Gary Gray’s direction does have some air of style in the way the film opens as it establishes not just life in Compton but also this world where the LAPD will do things to establish their authority regardless if anyone did anything wrong. It is an inventive opener as it play into the world of the ghettos where Gray shot the film on location in Compton as well as parts of Los Angeles and other cities in California. It’s a world that is quite chaotic but also exciting where Gray would use some wide and medium shots to play into the look of the town as well as some of the other areas in Los Angeles. Yet, Gray maintains an intimacy as it play into these characters trying to deal with the police as well as trying to survive all of the things in the world as well as touring and all of the things that come into the world of success.
The direction doesn’t shy away from the fact that it has women not just acting like groupies and be naked in pool parties as it was part of the world and success N.W.A. had encounter while there would be some female characters that are positive figures for some of the characters. Especially in the third act where Dre, Cube, and Eazy would grow up and go into different directions while they would also endure some of the controversy they encounter as it relate to their music. There is a sequence that is a recreation of 1992 L.A. riots as it play into everything that N.W.A. would foretell in their music as well as Gray plays up that sense of reality as well as some of the struggle that Dre, Cube, and Eazy would go through after N.W.A. that would lead to its attempted reunion. Overall, Gray creates an exhilarating and provocative film about the world’s most dangerous group in popular music.
Cinematographer Matthew Libatique does amazing work with the film‘s cinematography from the usage of different colored lights and schemes for many of the interior scenes at the clubs as well as some of the lighting at night while going for something very natural in the daytime exterior scenes. Editors Billy Fox and Michael Tronick do excellent work with the editing as it has some bits of style while creating some unique rhythms for the intense moments such as the opening sequence. Production designer Shane Valentino, with art director Christopher Brown and set decorators Christopher Carlson and Jeffrey Kushon, does fantastic work with the look of the homes in Compton with its steel bars in the windows as well as the mansions the guys would live in later on as well as the look of the clubs and recording studios. Costume designer Kelli Jones does nice work with the costumes from the clothes that the group wear onstage as well as what they would wear offstage as it‘s mostly casual.
Makeup designer Debra Denson does terrific work with some of the makeup as it relates to the tattoos of some of the characters such as the look of Suge Knight‘s entourage. Visual effects supervisor Bernhard Kimbacher does superb work with some of the visual effects as it‘s mainly bits of set-dressing as well as in some of the recreation of the 1992 LA riots. Sound editors Greg Hedgepath and Mark P. Stoeckinger do brilliant work with the sound to capture the way music is sound in the recording studio and in the clubs as well as the sound of gunfire and such to play into some of the darker moments in the film. The film’s music by Joseph Trapanese is wonderful for its mixture of hip-hop and ambient music to play into culture of the LA ghettos while music supervisors Angela Leus and Jojo Villanueva create a fun soundtrack that features a lot of music from N.W.A., Dr. Dre, Snoop Dogg, 2Pac, Ice Cube, Eazy-E, Parliament-Funkadelic, Roy Ayers, and several other music in the world of hip-hop and R&B.
The casting by Victoria Thomas and Cindy Tolan is phenomenal as it features some notable small roles from Marcc Rose as Tupac Shakur (voiced by Darris Love), Keith Stansfield as Snoop Dogg, Sheldon A. Smith as Dre’s stepbrother/rapper Warren G., Keith Powers as Dre’s younger brother Tyree, Lisa Renee Pitts as Dre’s mother, Angela Elayne Gibbs and Bruce Beatty as Cube’s parents, Cleavon McLeadon as early Cube collaborator Sir Jinx, Mark Sherman as Interscope co-founder Jimmy Iovine, Elena Goode as Dre’s future wife Nicole, Tate Ellington as Priority Records executive Bryan Turner, and Corey Reynolds as World Class Wreckin’ Cru leader Alonzo Williams. Other noteworthy small roles include Marlon Yates Jr. as N.W.A. collaborator/lyricist The D.O.C., Alexandra Shipp as Cube’s future wife Kimberly Woodruff, and Carra Patterson as Eazy-E’s wife Tomica Woods-Wright who would make a major discovery about the business dealings in Ruthless.
R. Marcos Taylor is superb as Suge Knight as a former bodyguard who would co-found Death Row Records with Dr. Dre as he is this intimidating and dangerous figure that handled business in a brutal way as he would eventually alienate Dre. Paul Giamatti is fantastic as Jerry Heller as a music industry veteran who would manage N.W.A. and create Ruthless Records with Eazy as he would give the group success but also dissension once money and contracts come into play. Neil Brown Jr. is terrific as DJ Yella as the group’s DJ who would help mix and record much of the music as well as be someone who just loves the ladies. Aldis Hodge is excellent as MC Ren as an emcee who can spit rhymes while being Eazy’s loyal friend before and after N.W.A.
Corey Hawkins is amazing as Dr. Dre as the group’s DJ/emcee who is the musical talent of the group as he would create the music as he would later felt taken advantage by Heller forcing him to leave the group and form an alliance with Knight which he would later regret. Jason Mitchell is brilliant as Eazy-E as the group’s leader who would be a character of sorts for the group as well as the most outgoing as he would also be in charge of their destiny unaware of the chaos he’s causing in the group. Finally, there’s O’Shea Jackson Jr. in an incredible performance as his real-life father Ice Cube as he displays someone who has a lot of talent as a lyricist and as an emcee as he is also suspicious of Heller where he would go solo while dealing with the dark aspects of the music business.
Straight Outta Compton is a remarkable film from F. Gary Gray. Featuring a great cast, a compelling story, and a cool soundtrack, it’s a film that manages to be a fascinating bio-pic despite some of the dramatic liberties it took to tell the story of the world’s most dangerous group. In the end, Straight Outta Compton is a marvelous film from F. Gary Gray.
F. Gary Gray Films: (Friday (1995 film)) - (Set It Off) - (The Negotiator (1998 film)) - (A Man Apart) - (The Italian Job (2003 film)) - (Be Cool) - (Law Abiding Citizen) - (Fast 8)
© thevoid99 2016
