Idlewild (Widescreen Edition) Reviews

• OutKasts Other Musicals by 8 Mile

  
  By A14QAT1XDSCLEO on 2006-08-23
  Had this movie sustained the cinematic brilliance of its first few minutes, there is no question that it would have been something so out of the ordinary as to become an instant classic. As it is, it may have some cross-and-jostle work to establish itself as one of the Movies of the Year to see, but its flashes of original genius strung together with an operatic plot and dynamic cinematography, make a necklace of great flash and fire. Surely this one, with its embarrassment of talent, will be mentioned in several categories, not only music, at Oscar time. Worth seeing--- absolutely. I can hardly wait for the DVD, so that I can watch its excess to excess.
  
  The film is going to have a generational promotional gap, not just the much-discussed racial one. It can't be dismissed as "the hip-hop Moulin Rouge", as I heard one member of our preview audience critique it coming out of the theater. If she were old enough, she would know that it's more akin to a "hip-hop Caberet", with Rooster (Antwan Andre "Big Boi" Patton of Outkast) as Sally Bowles. Plot and camera work similarities to Moulin Rouge do not necessarily a "Moulin Noir" make, but yes, the similarities are there.
  
  Let's don't go there. Let's talk about what's blazingly new and fresh about this musical. For people who "hate musicals", this one (as Cabaret did) solves the problem of two people in face-to-face dialogue embarrassingly and improbably breaking into song. The musical numbers are the entertainment at "The Church", a speakeasy in the South during Prohibition Era. Entertainment which is akin to Moulin Rouge's flamboyance, combining a jazz age lindy-hop with hip hop is dazzlingly choreographed by Tony Award winner Hinton Battle. While Macy Gray is wonderful as a hard-edged club singer, it is Rooster's first musical number at the Church, fusing jazz, cabaret and hip-hop, which blows the lid off.
  
  OutKast fans (I count myself one) have to wait for plot development for the introverted Percival, played by Andre Benjamin, to display his musical talent. We are told it is there from the beginning of the movie, but it is not until he breaks out of his shell to coax the beautiful singer Angel Davenport (Paula Patton) to live her dream that he overcomes his stage fright and showcases his music. And there, ladies and gentlemen, is the centerpiece musical sparkler of this necklace, an impossible fusion number which turns sensational when
  performed with confidence and style. Oh, my! What talent will do with notes on a page!
  
  "The Church", wryly named to showcase the corruption of bootleg liquor running, gambling and prostitution, is the hang-out for the dapper gangsta-land "Spats", Ving Rhames, who keeps the lid on violence in the "Showtime at the Apollo" club atmosphere and the dangerous business of squeezing both his booze supplier and the club owner, Sunshine Ace. We despise Ace more than anyone in the movie, until we get to know Trumpy (chillingly played by the gorgeous Terence Howard), who also comes out of his "shell" to reveal himself as a stupid and sadistic killer. The odd flatness of Howard's voice is powerfully used here to underscore his stupidity and the delight he has in killing people.
  
  When greats like Ben Vereen and Cicely Tyson are little more than
  cameos, you know you have talent to spare. My one concern is that the music style may be too much fusion to keep the hip-hop fans happy, and the movie may be too hip-hop to attract the general audience it deserves. The horrid truth is that I am a middle-aged white woman, one of the two demographic segments supposed to love musicals. But while my credibility is suspect, my general film-critiquing skills are generally pretty solid. Abandon your preconceptions and your prejudices, whatever they are, and Just Go See.
  
  
  

• Well...

  
  By AZKXH0J59TK11 on 2007-01-20
  There's a funny thing about "Idlewild" that few movies can achieve: you know you've seen everything on screen here before, but the movie is filmed, and put together, with such gusto and energy that it's next to impossible not to like.
  I would reiterate the plot for you, but I'm not exactly sure what it is. Rooster, played by Antwan "Big Boi" Patton, "inherits" a Depression-era speakeasy called Church and must deal with a ruthless gangster played by "Hustle and Flow" star Terrance Howard. Percivel, played by Andre "Andre 3000" Benjamin, is the son of a mortician who dreams of being a jazz composer who meets and falls for a mysterious woman who comes to sing in the speakeasy.
  Or something like that.
  "Idlewild" has it's share of problems, that's for sure. The movie is twenty minutes too long and occasionally, mostly during the films final half an hour, gets bogged down in cliches and predicatability. Any moviegoer who has seen there fair share of movies can figure out what's going to happen to him and when about twenty minutes into the picture.
  But you know what? Forget all that. "Idlewild" is a movie to be watched, not thought about, and sometimes that's okay. And you get a lot of good stuff to look at. Bryan Barber, who also wrote the script and has directed many OutKast videos as well, has an excellent eye for popping visuals, and he brings them all out here. The musical numbers are excellent and have an energy that is lacking from most movies. And I can honestly say that I have never seen a movie before that blends the French classic "Amelie", the old 1940's Warner Brothers film noir and gangster pictures and hip-hop music into one film before. And even if it doesn't all blend together flawlessly, you'd have to have a grey heart not to at least respect that.
  The acting is pretty top notch as well. In addition to the always great Cicley Tyson and Ben Verren, both of whom are underused sadly, the film features some nice supporting turns, most notably from Ving Rhames, still the coolest actor on the planet not to get enought quality work. Newcomer Paula Patton, no relation to Antwan, is excellent in the role of love interst to Andre, Big Boi and Andre both perform their roles well, Big Boi full of energy and swagger, Andre full some still motions as if he were sculpture coming to life. It's a performance that some have written off as dull, but is in fact more layered then it first appears.
  Again "Idlewild" is flawed and isn't going to save the world or change your mind about anything. But I don't think it's trying to. Rather "Idlewild" just wants to entertain you for two hours and for the most part it does that in spades.
  Well worth a rental.
  
  

• Interesting Visuals Don't Compensate for Acting

  
  By A3M2WW0PO34B94 on 2006-08-30
  "Idlewild", the new musical featuring Andre Benjamin and Antwan Patton, both members of the musical group OutKast, is a mess. This is both a compliment and a criticism. The result is a wildly uneven film filled with bland performances and a very unique, interesting visual appeal.
  
  Georgia. The Prohibition Era. Percival (Andre Benjamin, "Four Brothers") works at his father's (Ben Vereen) funeral home during the day, slowly taking over all responsibilities as his dad boozes the day away. At night, he sings at a local speakeasy called Church, which is run by Ace (Faizon Love). His lifelong friend, Rooster (Antwan Patton), also sings at the club, but runs his former mentor's (Ving Rhames) illegal activities during the day. Every night, his wife drops him off at the club complaining that he isn't spending enough time at home, with their five kids. One day, Trumpy (Terrence Howard), a local gangster who also runs booze, has a fight with Ace and before he knows it, Rooster is in charge of Church. Adding the stress of running the club isn't easy and Rooster doesn't like paying Trumpy's increased charges for booze. As Rooster looks for a new source of booze, Percival falls in love with Angel (Paula Patton), a beautiful new singer, who has dreams of going to Chicago to make it big.
  
  "Idlewild", directed by Bryan Barber, probably would not have been made without the success of "Moulin Rouge" a few years ago. The two films share many characteristics. Like its predecessor, "Idlewild" exhibits a frantic sense of editing; the musical numbers more closely resemble music videos, with most cuts lasting just a few frames. This isn't surprising given the background of the director and his two stars. Both films also use contemporary music in a historical context providing each with an undeniable energy and appeal.
  
  Barber is clearly more comfortable with the visual than the dramatic. From the moment the film begins, as we watch an old phonograph start playing a record, the director uses a blend of animation, live action, graphics and music to depict the fast moving story of the two friends during the Prohibition Era. As the record begins playing, the camera swoops up to a series of old photographs, slowing dissolving between them. But then, a figure in each begins to move a little, growing slightly, and these photos help to establish the setting and the tone of the story. As we flip through these photos, color begins to dissolve into an old photo and we watch as the film starts and the characters are introduced. Barber returns to this technique, in modified ways, throughout, providing a unique transitional device.
  
  There is also the unusual addition of a talking flask. Rooster inherits the item from his mentor (Rhames) and frequently looks at it. As he looks at it, the rooster in the logo on the silver vessel comes to life, talking to him, providing a sort of Greek chorus. This idea doesn't really gel and seems to be a distraction.
  
  The musical numbers have a unique energy, a lot of which comes from the fast-paced editing style. This technique adds interest to this portion of the film, but they also help to cover up any inconsistencies in the song or choreography. Strangely, Benjamin and Patton almost never sing together in the film and the songs suffer because of it. Early, Benjamin sings a song which we can barely hear over the din in the club. Later, Patton does a song, rapping through the lyrics as showgirls dance around him. This song is better, but the choreography seems a little stiff. But because of the editing, many of these flaws are covered up. We simply don't have time to concentrate on any one aspect for long. However, we can hear the song better and the two singers alone are not nearly as dynamic as they are when paired. Late in the film, Benjamin sings a song which is very reminiscent of Cab Calloway (one of Percival's idols) and seems clearly influenced by Busby Berkeley. Everyone is dressed in white, moving around white pianos in front of a shiny black backdrop. It is an interesting attempt to recreate the look and feel of a bygone era.
  
  The filmmaker and stars deserve a lot of credit for not taking the easy route. Instead of telling a modern day story, they attempt a period piece and the attention to detail is impressive. Dialogue, production design and costumes all appear authentic and the only time the period is lost is during the songs. It had to be a difficult sell to get a studio to make this film. Imagine how much easier it would've been to make a modern day tale featuring the popular group's music. The studio probably would've preferred it, but by taking this more challenging approach, the film becomes more memorable. It still isn't perfect, but it is fun to watch.
  
  Movies featuring singers are often problematic. They are trained for different things and are not always able to make the transition to the big screen. Of the two, Benjamin has an undeniable screen charisma. In his previous film, John Singleton's "Four Brothers", he worked with a seasoned director and turned in an interesting, believable debut performance. His work in "Idlewild" is good, but bland. He almost never changes his facial expression through good and bad. He clearly needs a more seasoned director to guide him to an interesting, believable performance. Patton is more effective trying to display varying emotions, but his delivery is as bland as Benjamin's performance. His voice never changes volume, so everything coming out of his mouth (including lyrics) becomes a monotone that fails to reach any highs or lows.
  
  Terrence Howard turns in his least interesting work to date. It is odd to me that he would take such a small, supporting role, after his work in "Hustle and Flow" and "Crash". He is essentially playing the same character he played in "Four Brothers", but in a different era, and both characters are uninteresting and stereotypical. We have seen corrupt cops and gangsters before, so if an actor with the skill of Howard is going to take on such a role, he should bring something new to it. In "Idlewild", he seems to play a stock gangster. There is little, if anything, to make this character memorable.
  
  The supporting cast is impressive, but many of these actors appear for brief glorified cameos. Ben Vereen, Cicely Tyson, Macy Gray, Ving Rhames, Patti LaBelle all pop up, but they are rarely given the chance to add anything to the film musically. What a disappointment.
  
  Barber is clearly comfortable with the visual aspects of the filmmaking process. Hopefully, he will soon be able to match those talents with improved skills in storytelling. When this happens, we might have a filmmaker who creates some memorable escapes. Until that point, his efforts will be very hit and miss.
  
  
  

• An extended hip hop video

  
  By AJMU8VVFKMZI4 on 2008-08-10
  I think everyone can agree that visually Idlewild hit all the right points. It's the bad acting and predicable plot that has you cringing in your seat. I understand wanting to do something different with the rap-they were trying to reach their target audience, but it's so jarringly out of place that you can't quite forgive them for it. The shootout scenes are the best part of the film, but overall the film doesn't have that much to say. Did I mention that the acting is bad???
  
  

• i'm angry at all of you that don't see the genius here...

  
  By AEF6EJZJ63D49 on 2007-07-07
  has anyone that reviewed this seen many classic films? do any of you live in the south? are you educated on the time period in which this film takes place? you probably like Moulin Rouge better.
  
  this film actually held the time period in place while adding and implimenting modern elements without losing any of the frame of reference, UNLIKE SO MANY OTHER 'FUSION' FILMS. i'm not even considering this film in the same bracket as that other crap. and this wasn't attempt to bring Broadway to the Silver Screen; this was a high concept story. that's it.
  
  Idlewild is a "must see" and "must share" film. i'm disgusted by the lack of attention and credit that Idlewild has recieved.
  
  AND BY THE WAY! THERE'S SOME DAMN FINE ACTORS IN THIS FILM THAT DO A BANG-UP JOB... (this is directed to the reviewer that says quite visciously to contrary). i can only hint as to what the singular reason may be that you have not taken notice of these fine players.
  
  
• And I don't even like Outkast
  By A1FMJJKSVQDDQ on 2007-03-18
  I'm not much into the hip hop songs created by Andre 3000 & Big Boi, but I've seen this movie a few weeks ago, and I was pleasantly surprised. The plot was a cliché, but the music and the acting were superb (the music was a few notches above the acting, but that's beside the point). Every song in this movie (except for one slow-moving one that's sung in the morticians' chamber) made me want to dance along (but I'm a bad dancer, so. . .). All the 30's dancing in this movie, especially during the end credits, were carefully & beautifully choreographed (mad props go to Hinton Battle). As for the acting, some performances were disappointing and 2-dimensional, like Paula Patton as Angel & Faizon Love as Ace, while others were brilliant and believable, like Terrence Howard as Trumpy and the incredible Ving Rhames as Spats.
  
  In conclusion, I liked this movie. But I wouldn't recommend it to everybody. This is a movie not only for fans of Outkast, but also for fans of the old Speakeasy atmosphere.
  
  
• Out of place and time
  By A126KX6FVI4T66 on 2008-04-09
  In the speakeasy of the prohibition era both jazz
  and blues got their start. Musically rap and hip hop
  came much later: break dancing is also a later result.
  To be fair the music and plot are pretty good,
  but King Arthur doing rock and roll is as likely as
  30's blacks doing rap. Historically it shames the heritage
  of jazz.
  
  
• An Overlooked Gem!!!!
  By A1S3IEVZI29T7H on 2007-07-02
  I saw Idlewild last night for the first time and all the advance buzz on this project, still does not do it justice. This is a top-notch production with dazzling performances, excellent production standards and very imaginative cinematography.
  
  The production numbers are quite simply unstoppable and the blending of the music of the period with the sensibilities of today works beautifully. Obvious care was taken to recreate the look and feel of the period and some of the shots and film sequences, most notably a love scene and a death scene were simply mesmerizing.
  
  I indeed admit that the script itself could have been more compelling but there is no denying the power of Andre Benjamin in this production. His performance is measured, believable, poised, and poignant. He has a more than promising future in films.
  
  This is an excellent and a most worthy representation of another dimension/time in African-American culture and a MUST for your collection if you want quality productions of African-American life.
  
  I highly recommend!
  
  
• Excellent editing, brilliant cinematography.
  By A1FQD19BXJ6CD9 on 2006-12-18
  Sure, I will agree with previous reviews that the script is cliched, and that it could have been more. What the script lacks, the movie makes up for with incredible cinematography, good casting, and great sound editing.
  
  Big Boi really shines in this one, and I always tended to favor Andre more. But scenes in this film, with Big Boi outrunning the gansters, and his smooth rap peppers the audio, to me is one of the finest moments in the film.
  
  The love scene between Andre and Angel Davenport, when they meet each other in the rain, is beautifully shot.
  
  The most compelling parts of the movie, as others have mentioned, are in the beginning, when the different musicians perform on stage @ the Church. Big Boi's rooster routine, with the camera flickering on the flawless crowd dancers, Macy Grays number, and Angie Davenport singing are the finest moments of the movie.
  
  So if you can get past the part that this movie is a string of cliches, as SO MANY other movies are, you can see this as an historical tribute with some flawless editing, and some truly great moments in film.
  
  
• "Idlewild" is a quirky and wildly entertaining!
  By A3C6CZC2JP67VK on 2006-12-09
  Idlewild is truly a great musical film, either about music or featuring music, are not very common. HBO films deserves a lot of credit for making this one happen. Because this is not a typical film by any means. The written script was an amazing piece. This movie contains almost all genres of movies. It has the beautifying passion of Romance, the suspense of a drama, real good comedy, plus amazing music by Outkast. It will be outrageous for people to think that it is a bad movie.
  
  The film is going to have a generational promotional gap, not just the much-discussed racial one. It can't be dismissed as "the hip-hop Moulin Rouge," it's more akin to a "hip-hop Caberet", with Rooster (Antwan Andre "Big Boi" Patton of Outkast) as Sally Bowles. Director Bryan Barber may have modeled some camera work on Baz Lurman's spinning kaleidoscopic style, but it is more likely that his music video background was a stronger influence. While there are some similar plot points, this is not really "Moulin Noir."
  
  I wouldn't have wanted to see any other hip-hop artists or anyone else, for that matter making this movie. It wouldn't have worked. Outkast are so unique in their style and approach to music, and they took that same mindset to the big screen. Andre 3000 is no Luther Vandross, but he's just as great for being as good at what he does as well as the part he played in the film. Big Boi does a fine job as well. I kind of wonder if he was coaxed into the part by Dre, or if he did it on his own accord. Either way, I loved seeing the two of them on screen together. Big Boi shines, as does the rest of the cast.
  
  They are able to synthesize a lot of sources and come up with very new and wonderful sounding pieces that are just plain fun to hear. There is also the excitement of seeing so many great black actors on screen. The film has the feel of an ensemble piece-these wonderful faces haunt the screen with a warmth that is irresistible. It is pretty amazing that America's black actors are able to achieve real energy and passion in film after film. When greats like Ben Vereen and Cicely Tyson are little more than cameos, you know you have talent to spare. My one concern is that the music style may be too much fusion to keep the hip-hop fans happy, and the movie may be too hip-hop to attract the general audience it deserves. It is a tribute to craft and their perseverance. But the bottom line is this is a soulful movie.
  
  The film is not real, not a documentary of the times, and outside of any type of accurate historical context. But film art must grow and evolve for the medium to have any relevance at all. This movie places events, sounds and sights in the dimension of the here and now. And as such, it is a brave, powerful and loving fantasy. I thought the movie was great for what it was: a film made by Outkast. If you watch the movie with that mindset, and you feel like you really *get* the bizarre humor from their lyrics and skits, then you'll love the movie.
  
  
  
• One for the Money, Two for the Show
  By A18G7GG53G2X8A on 2006-09-04
  "Idlewild" is a very creative musical movie, cleverly balancing the look of a straight-laced period piece with the style and fierceness of a present day crowd pleaser. While the story is based in 1935--specifically in a rural Georgia town called Idlewild--the freewheeling visuals, imaginative dialogue, and modern music (courtesy of Outkast) make it difficult to get completely absorbed in pure nostalgia. This is despite the bold costume and set designs, both of which are more or less authentic to the time period. But from the audience's perspective, that doesn't matter; it was a fun and fascinating reinterpretation, the likes of which haven't been seen since Baz Luhrman's "Moulin Rouge."
  
  Truth be told, both films are similar in several ways, aside from their playful manipulations of era and music. For one, each film includes a love story, one that meets several obstacles along the way. Also, the heroes of both stories are young artists trying to find their way in the world. Most importantly, both use the genres of comedy and tragedy to convey a relatively simple message. To some, these conventional storytelling methods may hurt "Idlewild" more than they help. The plot is incredibly predictable, having been used many more times that anyone would care to count. However, the film's look and music are quite original, and it makes for a film that's so interesting to watch, the formulaic plot can easily be overlooked. It has a special kind of quality to it, the kind that can suck you in and leave you eager to see how everything unfolds.
  
  The film is narrated by Percival Jenkins (Andre Benjamin), a young man with aspirations of becoming a songwriter. By day, he lives a humdrum life as an assistant mortician for his father's funeral home. By night, he plays gigs at a nightclub called Church, a swinging joint overflowing with bootlegged alcohol and scantily clad showgirls. While Percival pounds away on the piano, his lifelong friend, Rooster (Antwan A. Patton, also known as Big Boi), performs rap solos to a roomful of dancing customers. Almost every musical number located within Church is a highly choreographed, frenetic showstopper, each cut lightening quick, each shot loose and untamed. When combined with a hip-hop soundtrack, they make for some rather unique sequences that I couldn't take my eyes off of.
  
  At times it gets a little too distracting, which is problematic considering there's so much more to the story. There are actually two distinct storylines, both of which are simple enough to allow for minimal confusion. The first story specifically relates to Percival. He meets Angel Davenport (Paula Patton), a seductive singer from St. Louis who hopes to kick-start her career in Idlewild before moving to Chicago. As the film progresses, she simultaneously tries to win the affections of both the Church staff and Percival, the latter of which is proving much easier to accomplish. There's no doubt he finds her beautiful, but more importantly, he seems genuinely interested in helping her become successful. What he has yet to realize is just how insecure she is with herself and how much help she needs in finding the courage to follow her dream.
  
  Unfortunately, this interaction is only worsening the conflict between him and his father, Percival, Sr. (Ben Vereen). He's an extremely distant man who has yet to accept the death of his wife. Because of that, he barely speaks to his son, save some moments of work-related dialogue (most of which involve scolding over improper behavior). What's worse is that he sees Angel as nothing more than a floozy who'll leave his son the first chance she gets. All this gives Percival, Jr. quite a bit to think about: does he want to spend the rest of his life as a mortician, or does he want to have a future with Angel in Chicago? He's known since he was a child that his true love was music; early on in the film, we see him as a child practicing the piano (initially forced on him by his strict aunt). When he looks at a sheet of music, he sees it very differently than the way other musicians do: to him, the notes are living cartoon characters wreaking havoc on the page. It may be a bizarre method of visualization, but it enables him to play with greater passion than just studying the melody.
  
  The other side of the story specifically relates to Rooster. From a very early age, he had a natural propensity towards number crunching, and it enabled him to make some shrewd "business" deals as he grew. Now as an adult, he's the womanizing main attraction of Church. He's also very close with a crime boss known only as Spats (Ving Rhames), the man responsible for supplying the club with booze. At one point, Spats proposes a business deal that doesn't sit well with his right hand man, Trumpy (Terrence Howard). Rather than lose the chance at greedily snatching up extra money, the power-hungry Trumpy takes matters into his own hands.
  
  It's an act that turns Rooster's world upside down, forcing him to become the new manager of Church (all he can rely on for words of wisdom is a flask with a talking rooster emblem). It's a tense situation, especially since a lot of illicit debts need to be repaid. At this point in the film, Trumpy goes from a quiet skeptic to an immature bully, an expected personality shift in stories with villains. His new position becomes a means of intimidation over Rooster, who tries to reason that debt can only be paid so quickly. But as Trumpy is quick to point out, "When you inherit a club, you inherit the debt."
  
  How fortuitous that should be said, especially since Rooster's business troubles are second only to the strained relationship with his wife, Zora (Malinda Williams), and his children. When it comes to them, he's emotionally in debt, and what he owes Zora is much more valuable than the money he owes Trumpy. She tries her hardest to look past her husband's faults, but as he spends more and more time in Church, it becomes less and less possible for her to do so. Ultimately, Rooster must decide if he wants a life of wealth or a life of happiness (in this case, they're not one and the same; the proof is in an especially touching scene featuring an impoverished family living in their car).
  
  As you might expect, the two separate narratives come together during the final scenes. The ultimate outcome is more than a little cliche, as are a lot of the other structural elements of the film. But oddly enough, it didn't bother me that much; if anything, the fact that the film was so highly stylized allowed me to view it less critically. It's modern hip-hop soundtrack and elaborate digital effects were too unique to allow me to dismiss this film. Despite a worn story, it's not a rehash; it's a fun, entertaining musical, filled with convincing drama, tense conflict, and some decent humorous moments. For good measure, the filmmakers even included a couple of memorable cameos, including Patti LaBelle, Macy Gray, and Cicely Tyson. What a fitting way to cap off "Idlewild"; it's a truly imaginative film that captures the spirit of classic musicals while being fresh enough for today's audiences.
  
  
• Finally
  By A2C5VLIJMDPWHI on 2006-08-26
  A couple months ago I was ranting on the "So You Think You Can Dance" boards about how Hollywood is forever snubbing sistas in hip-hop movies and never letting them be the dancers or the stars. In the middle of typing a message, I saw the commercial for "Idlewild" and excited wasn't the word. I am CRAZY about Outkast and they are my favorite hip-hop/funk group hands down, so to be able to see them perform together in a musical (I am a diehard musical/dance fan) was a strike of luck.
  I counted the days down to see this movie and I thought it was so charming when I finally sat in the theater to watch it. To sum it up, the movie is about two boys who grew up together, one grew up to be a family man/hustler and the other is the more innocent gentleman/mortician. They both work at a club, one as a piano player and the other as an assistant turned boss. After a murder from a villain who tries to gain ownership of the club, the hustler/family man (Big Boi's character) gets the club and all the problems that go with running a club in the 30s. Money, women, morality, friendship, fatherhood, marriage, and all those struggles with being grown.
  In addition to a great plot, what made me fixated on the screen was the way the club dances combined hip-hop/break/swing moves--some shots in slow motion just to show-off that much more. I could rewind the dance scenes all day, especially when Big Boi and Andre 3000 performed. When Andre started playing one of my absolute favorite Outkast songs "Movin' Cool," I wanted to stand up and clap.
  The only thing that caught me offguard was so much of the vocabulary was that of today's style rather than 30's style, but it's all good with me. Like Big Boi's video "Morris Brown," "Idlewild" had some interesting animation (ex. a talking whiskey bottle) and ofcourse it was a very COLORFUL film. Terrence Howard played his role well, as usual, and Patti LaBelle is still looking good. I loved watching the goofy character that the guy who played T.I.'s best friend in ATL played--he's moving on up in the world.
  I'd give Big Boi the "Most Swagger" award of 2006 and Andre 3000 "Best Love Scene." Keep the creativity going, men! Black hip-hop musicals? What?! I love it!
  
  
• Nothing New, Perhaps, But It Is So Much Fun To Watch!
  By A328S9RN3U5M68 on 2007-01-08
  IDLEWILD as conceived, created and directed by Bryan Barber is an all black cast version of the 1930s gangster/prohibition/big crime scene that bubbles over with energy and music and a lot of fun. While the story is not unique by a long shot, the technique of making it comes alive with some of our most talented actors around. Barber wisely incorporates hip hop music (a nod to his own career and talents of the two stars André Benjamin and Antwan A. 'Big Boi' Patton) resembles the way 'Moulin Rouge' was recently remade using contemporary music for a turn of the century story. It works and polishes off a snappy evening of entertainment
  
  The story is an old one: two young boys carry their friendship into adulthood, taking over their fathers' businesses (mortician and bootlegging) and encounter crime bosses, speakeasy snags in Idlewild, Georgia, snarls from wives and lovers, romance, loss of friends, surprise stardom, and learned lessons as they discover their own lives. The cast is overflowing with talent: Ben Vereen, Ving Rhames, Terence Howard, Cicely Tyson, Macy Gray, Malinda Williams, Paula Jai Parker and the gorgeous Paula Patton, to name only a few of the cast of many. The dance numbers are terrific, the music fits in well, and the exuberance displayed by the actors overcomes the rather weak standard of acting that Barber draws from these bonafide stars.
  
  For a period piece from the 1930s pepped up with some truly fine choreography and musical numbers, this tasty little film is a winner. Even the added cartooning for once complements the story. It is a film well worth a visit! Grady Harp, January 07
  
  
  
• 5 stars for ambition, but This movie sucks...................
  By A1P6NTDL1BKLDV on 2006-12-31
  The Technology on here is great but the storyline is going no where. What's the point? 3000 is creepy as usual and Big Boi's acting is horrible when he's paired against Terrence Howard. They only got 1000 screens nationwide for this movie but it doesn't matter. 3000 screens or 1000 screens, the bottom line is that This movie sucks.
  
  
• Intriguing new take on the musical genre....imaginative and beautiful, but not for everyone.
  By A278AF56R7J86 on 2006-12-03
  
  Set in the American South during the prohibition of the early 1900's, "Idlewild" produces a fairly refreshing look at the era by utilizing talented young musicians and actors to produce a musical that can appeal to a younger generation.
  
  The cinematography was imaginative and innovative. The big shoot-out scene at the end was astounding, and well worth an award of some kind. The music and choreography are incredible, and illustrate the film's tone and mood beautifully.
  
  A negative to this film would be it's inherent predictability, and it's tendency to rely too heavily on cliche characters and storylines. This film tells the tale of two brothers/friends, one is a quiet and straight-laced musician, and the other a speakeasy nightclub owner who is more prone to bad boy tendencies and drawn to the darker side of the human nature. Together they run into all kinds of trouble, inlcuding murder and the mob. The ending is predictable, and can be seen a mile away. However, there's no reason not to watch this film simply to enjoy the music and stylistic nature of it.
  
  This film has pizzaz and style, there's no question about that. Not everyone is going to enjoy it, but the same can be said of just about every movie.
  
  Bottom line: If you enjoy musicals and dancing, then give this movie a try...it might drive you wild!
  
  
• Idlewild (Widescreen Edition)
  By A35ZK3M8L9JUPX on 2010-01-30
  A musical set in the Prohibition-era American South, where a speakeasy performer and club manager Rooster must contend with gangsters who have their eyes on the club while his piano player and partner Percival must choose between his love, Angel or his obligations to his father. The movie telegraphs plot twists rather than foreshadowing them, there are flashes of brilliance. These are two astonishingly talented men (Andre and Big Boi) and simply as a showcase for that talent, this movie succeeds. If you just sit down and let the movie wash over you, you will enjoy.
  
  
• Good movie.
  By A1E3T0C3ZDLPSJ on 2009-12-06
  When I saw this movie the first time, i gave it to my daughter. I watched it again a year later and liked it. The music was what did it in this movie for me. It definitely holds your attention is all I can say about it at this point.... and now I actually have another copy of it.
  
  
• IDLEWILD FILM REVIEW
  By A2PV7M69333L26 on 2007-05-27
  There is know doubt that this film is brilliant to say the least ... watched this film twice and the second time round just re-confirmed my thoughts. Definetly recommended as one for the collection and is sure to be timeless and watchable for years to come. Excellent movie... Just watch it!!! Hope these guys just keep making movies with with same amount of energy and soul!!!
  
  
• Offers a glimpse of what cinema can be when hip-hop and filmmaking meet at their highest level.
  By A31F8SIN4XENUB on 2006-12-05
  Since Run-DMC's TOUGHER THAN LEATHER, rap artists have been making attempts to merge their creative vision with cinema. At their best, you get 8 Mile (or even House Party). But generally. low budgets and lack of vision have churned out tons of vanity driven schlock that fans gobble up like candy but don't have any lasting value.
  
  Written and directed by Music Video master Bryan Barber, Idlewild is, hands down, the most visually adventurous African-American film of the decade. For those unfamiliar with the Atlanta rap group OutKast, they've spent the last decade making Black Music that exists completely "out of the box" but is still funky. In the past few years they've scored massive radio hits with "BOB," "Miss Jackson," "The Way You Move," and "Hey Ya," with memorable videos for all.
  
  Members Andre Benjamin (Four Brothers) and Big Boi (ATL) have appeared in films before, but this is the first one that exists entirely as a reflection of their imagination. In their first movie together, they deliver a gangster film/ hip-hop musical set in the prohibition-era that features an amazing supporting cast, fantastic costumes and dance numbers (by Hinton Battle) and some pretty good music. Idlewild captures the past, present and future of Black Culture in one film.
  
  Both stars and the supporting cast seem to be having fun with their roles. Terrence Howard steals every scene he's in. Bobb'e J. Thompson, as the 10 year-old Big Boi is a find as is Paula Patton, an ingénue to be sure, but could be the next Halle, especially after her co-starring turn in DeJa Vu.
  
  The minuses: We don't get a chance to see Dre and Big Boi perform together onscreen. One of the songs, She Lives In My Lap, is recycled from Speakerboxx/Love Below and used in a very dark and morbid scenario. Barber's plot runs out of steam long before the running time ends and Patti LaBelle is all but wasted in a non-singing cameo.
  
  True OutKast fans have already added this to their shopping cart. This may not be a "must own" for the uninitiated, but Idlewild will prove to be an important film in the new Black Film Revolution because it shows what film and hip-hop look like when they meet at their highest possible level.
  
  
• Love It
  By A27IEH7MJOOA8R on 2006-09-22
  I loved this movie. If you were expecting a rapper movie, I guess you would be disappointed. I don't even like rap. However, I always appreciated their videos because they weren't typical and very creative. I believe that people who aren't that fond of contemporary rap will love this movie.
  
  It obviously that these young men have knowledge of their people's history and incorporated it. They are not your typical rappers. If you expected them to be clowning and wearing outrageous outfits and all, then disappointment would be inevitable. The men and the women generally where classically dressed. They reminded me of old pictures of my grandparent during their youth. They were dressed to the nines.
  
  In addition, I suspect some fans did'nt like it because it did not cater to sterotypes. This is the reason I love it. Their is no cooning and buffoning here. Sorry y'all. Please turn on MTV and BET for that.
  
  The cinematography was so freakin' excellent. Andre Benjamin is absolutely not a singer and his acting skills are something to be desired, yet I still love him in the movie.
  
  Big Boi was a suprise to me. He is usually in the background and doesn't get the play that Andre gets. He is a pretty good actor, and I can see him doing big things that have nothing to do with rapping. Both of these young men are very talanted in their own individual ways.
  
  I suggest y'all look at some classic African American films. I loved the ending with the tap dancing. I almost jumped up and shouted. I felt the spirit tryin' to creep on me.
  
  Nothing in this world is new. If you want to see where they lifted the idea for the tap dancing scene, check out the movie Stormy Weather with the Nicholas Brothers, starring Lena Horne.
  
  This movie did not get its just deserts, butI feel that it will be a classic. I think folks over 30 and don't care for rap generally will appreicate a movie like this. I really think more mature audiences will appreciate this film. I thoroughly enjoyed it, and as far it being cliche and predictable, in my opinion 90% of commericially released films fits this category - boring, uninspiring and cliche. I rarely go to the theatre because I feel that most movies released aren't worth the time, money or effort to get to the theatre.
  
  Big Sistah Pat
  
  
  Gone on wit yo bad selves! I gots to go. "I ain't got much time now. I got to funk you now!"
  
  
  
  
• EXCELLENT!
  By A2Z962SV799FEZ on 2006-08-31
  I just came from seeing this movie and I was blown away! I am a die hard Outkast fan and seeing this movie has given me more of an appreciation for the group and their talents. I thought the movie was artistic and entertaining.
  
  Idlewild is not a typical film, nor is it a musical. It is a story of many different components brought together to make a masterpiece. Andre Patton has a family but struggles with infidelity and new responsibility; while Andre Benjamin finally finds love and then loses it. Terrence Howard is the hard nose he usually is and the other characters were just as valuable.
  
  I am impressed by the movie and I encourage everyone to see it for themselves. It seems that some of the negative comments are simply due to not understanding the basis of the film and the background of that particular era for a black man. Perhaps too much has been read into the film and they should have taken the time to enjoy it instead of analyzing it.
  
  
• What a debut - superb
  By A14TTMRNMNPEV7 on 2007-04-09
  Hey Ya! was so full of genius it inspired me to buy my first album by a Hip Hop/Rap artist - Outkast's Speakerboxx and The Love Below. The purchase was justified, both albums are fantastic productions. My pleasant surprise was that Idlewild uses great music from both halves of that double release. Hard to believe such contemporary music could be blended so effectively into a story set during prohibition. These guys are geniuses and have the knack for surrounding themselves with genius. The film stands up as a great piece of entertainment. The acting, the music, the choreography, the cinemetography and editing - all great! Thanks Andre 3000 and Big Boi. (Nice performance Antwan) Andre, you have a great future assured in any medium. Yes, I'm a white guy. I appreciate good quality entertainment and don't mind giving props where they are deserved.
  
  
• MUST SEE!!!
  By A2TPRJUD33HN7Y on 2007-03-31
  This movie is a "must see". The choreography is the highly technical, and superbly executed. There were times in which you gave crying serious consideration. You know exactly where the plot is going but getting there is a joy ride. If you love "Chicago", you will love this.
  
  
• Great start, excellent dance, outstanding music, script needs work.
  By A2QLKGXV6SFDIY on 2006-08-27
  Wow this movie started with great promises. The movie itself is entertaining to watch, the music is just fantastic, and the dance sequences are spot-on. The costumes, digital effects and art direction are interesting and tasty. I enjoyed seeing Andre move around the screen. They have all of the elements here to make an outstanding, spectacular musical that could have put Chicago to shame.
  
  But it didn't.
  
  The problem lies in the script and director. First of all, there were scenes that were simply out of order. Characters had information before they should have. Had they flipped the scenes around, it would have nudged closer to fulfilling its promises. But there are some basic directing pitfalls from which a lot of new filmmakers suffer. Not enough time passes. Days lasted entirely too long. Many individual scenes go on too long, thereby omitting the opportunity for a new scene that would have better developed the characters and plot.
  
  There are some technical flaws as well. There's a night scene early on that uses rack focusing to draw your attention between characters. However there's one angle that has neither character in focus and jars you out of the scene. There's a great profile master shot between Andre and Ben Vereen is overly backlit thereby washing out the characters.
  
  And Ben Vereen is simply wasted in this movie. He plays one note. Had the script been allowed to breathe, they could have given him life and the opportunity to shine. There's neither growth nor resolution with Ben. In fact, most of the movie suffers from a lack of growth.
  
  Terrence Howard gets off to a rocky start. His character is far too stiff jawed. By the end of the movie he finds his cool and salvages the role from its poor direction.
  
  Antwan Patton dominates when performing, but he winds up a frustration in character development. He meanders through the dramatic scenes lacking purpose.
  
  There is nudity in the film that feels thrown into the mix for nudity's sake. It felt gratuitous and unnecessary.
  
  This is supposed to be a musical. But the script doesn't take advantage of the musical numbers as a device to advance the story. Yet the musical scenes that were included were so well done, so exciting, they left me wanting more.
  
  It's a movie worth seeing, but put in the hands of a seasoned director, it could have been brilliant.
  
  
• Idlewild Review
  By A20N3OLIHRWUYM on 2010-09-03
  Having seen many musical films over the years, I wasn't quite sure what to expect. However, Idlewild delivered. It was fun and exciting. The plots and subplots were easy to follow. The acting and directing were superb. The music and dancing were amazing. In fact, that's why after I saw this movie on the big silver screen, I had to own a copy of it. Thanks!
  
  
• Idlewilde review
  By A2YXT7UEMNPPAR on 2009-09-10
  All black cast. Video full of adventure , Period video, excellent music, dance and story.
  
  
• Disappointed with the soundtrack tho...
  By A1QX09TNF1LNYY on 2008-11-19
  The movie is awesome... A little crazy, but Outkast would have no other way.. I love the music, but the soundtrack is missing a few songs that are very popular in the movie... What's up with that?
  
  
• Best movie seen since a long time
  By A24ODQN954PJX on 2008-04-18
  Everything's in it: gangsters, love story, great actors, exceptionnal musicians with Andre 3000, Big Boi, Patty Lavelle, among others. The sound tracks are really good, Outkast beeing lifted by that southern jazz heritage.
  We loved it here in Geneva, Switzerland...... Go for it!
  
  
• Mine Eyes Deceive Me
  By ADBNPCR3IYFBX on 2008-02-23
  Visually, this movie was excellent. Storywise? Actingwise? Could've been better. But I have to give a few kudos to Bryan Barber for his effort here. Andre Benjamin. The camera LOVES this man and I love to see him on film. He's got such a promising career in the movies. But I digress. Once more, visually on point, but the story, the dialogue, the acting? NO.
  
  
• Predictability? Cliches? I'll Take It! One Spirited, Entertaining Movie!
  By A30XJD08JER43V on 2007-08-21
  Enjoyed the fun! Enjoyed the music! Enjoyed the dancing! Enjoyed the sass! Enjoyed the "talking flask!" I'm not particularly a fan of musicals, but this one made me sit up and take notice. I had fun with the movie. Some parts weren't particularly pleasant, but the movie kept me cranked. I loved ALL the music and the dancing was something definitely to be seen! So much attitude! Andre Benjamin, Paula Patton, Antwan Patton, and Terrence Howard wrapped it! And, Macy Gray was just...just outrageous! Loved it!!
  
  

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