Movie Review Idlewild

Idlewild (2006) 

Directed by Bryan Barber

Written by Bryan Barber

Starring Andre Benjamin, Big Boi, Terrence Howard, Faizon Love, Paula Patton, Ving Rhames

Release Date August 25th, 2006 

Published August 26th, 2006 

I've seen bad movies and I've seen disappointing movies but I have never had a movie leave me with the kind of disappointment and frustration as Idlewild. After a sensational trailer that made the film look like an epic musical from hip hop's reigning duo, Idlewild turns out to be a wildly eclectic misfire of both filmic and musical proportions.

Idlewild tells two stories at once. Two pals, Rooster (Big Boi) and Percival (Andre 3000) are living their lives in Idlewild Georgia circa 1935, give or take a year. Rooster is a nightclub performer and part time thug who helps a mobster (Ving Rhames) move booze. Percival is Rooster's piano player but most of his time is spent working as an undertaker in his father's (Ben Vereen) mortuary.

Both Rooster and Percival have dreams well beyond the juke joints and southern climes of Idlewild. Rooster is a family man who longs for the days when there won't be a bullet with his name on it. Percival is a talented musician; who writes terrific songs that no one has ever heard. He dreams of one day leaving Idlewild for the big city's up north to perform his songs.

The two friends' lives are changed in a matter of days when a rival gangster named Trumpy (Terrence Howard) kills his way to the top of the liquor trade by killing Rooster's boss Ace (Faizon Love). This leaves the club in Rooster's hands and the ruthless mobster at his back.

Percival meanwhile is hit with a bolt of lightning in the form of Angel (Paula Patton); the feature act that Ace hired before he met his untimely end. Angel takes an immediate liking to the piano player and the two make beautiful music together on stage and off. Angel encourages Percival to leave Idlewild with her for a shot at stardom in Chicago, this despite a secret that threatens to cost both of them their lives.

These two plots compete for attention in a picture crowded with colorful characters whom director Brian Barber cannot find time for. Consider for a moment the supporting cast that includes Ving Rhames, Ben Vereen, Terrence Howard and makes little room for Patti LaBelle -in a blink and you miss it cameo-, Macy Gray, Paula Jai Parker (Hustle and Flow), and Bill Nunn. Characters are introduced very briefly, often unnamed because there is simply no time.

Barber simply has too many balls in the air, from his sprawling cast, to his lavish musical numbers to the love story and the gangster story and finally trying to coalesce all of this into a coherent conclusion. That he does manage to reign it all in at the end to give the film at least a sensible finale is quite a feat.

The story experience of Idlewild runs a distant second to the music of Idlewild which is seemingly the purpose of it all. Idlewild plays like an overlong concept music video collection. The competing storylines, gangsters and booze vs art and love story, play not unlike the last Outkast project, the dueling albums Speakerboxx/The Love Below.

Like that 2 disc collection, Andre 3000 and Big Boi in Idlewild are essentially working on different projects in which each makes a cameo in the other's story. The only differences are that this is a movie, not just a CD and it all comes together under one title instead of two.

Of course, the star of Idlewild is the music and again drawing parallels with Speakerboxx/The Love Below, Andre 3000's music is more daring, unique and entertaining than Big Boi's, only lacking Big Boi's showmanship which he uses to sell his best contribution to Idlewild, the song "Bowtie" a rousing introduction of his slickster character Rooster.

Andre 3000's musical contributions to Idlewild are a wildly eclectic mixture of hip hop and old school rhythm and blues piano arrangements. His musical repertoire, as he demonstrated on The Love Below and previous Outkast records, is seemingly limitless and he shows that once again in Idlewild. And Andre is as unique with his lyrics as with his music in Idlewild. Check the song "Chronomentrophobia" and don't bother looking up that title in the dictionary.

Idlewild as a movie is a jumbled, messy enterprise. As a collection of music videos, this a good, not great concept soundtrack. Andre 3000's work on Idlewild, much like on Speakerboxx/The Love Below, is superior to his partner Big Boi's but neither really reaches the heights of their previous works.

For Outkast fans, Idlewild is an easy recommendation, the music is by no means sub-par, just not as good as what came before. For non-fans Idlewild is an okay introduction to the work of Outkast, but you are better off grabbing a copy of Stankonia or Speakerboxx/The Love Below to get a real idea of the genius of Outkast.