Life’s never exactly been a walk in the park for Rooster (Antwan Patton) and Percival (Andre Benjamin) even when they were childhood best friends but things are about to get real messy. Now grown up and living in the 1930s South--Idlewild Georgia to be exact--they remain close and even work together. Rooster the more flamboyant of the two is the emcee and Percy the piano player at a place called Church which is “anything but.” Church is a speakeasy beloved by locals but after a gangster (Terrence Howard) forcibly removes the club’s former owner (Faizon Love) the new regime is considerably tighter especially for Rooster who has to answer to the new guy in charge. Rooster is all about business and is concerned about keeping Church in operation. Percy meanwhile is torn between love for a woman (Paula Patton) and allegiance for his widower dad (Ben Vereen). But nothing will get resolved before the gunpowder settles. As Outkast Benjamin (a.k.a. Andre 3000) and Patton (a.k.a. Big Boi) have set pop music on fire while maintaining hip-hop cred. In Idlewild they try to continue that along with taking over a new medium; the results are mixed. Patton the one with seemingly no aspirations of movie stardom actually gives the stronger performance of the two. This is just his second film yet he coolly slides right into this role one that should’ve entailed more dialogue and less rapping. For Benjamin he has certainly displayed acting chops before but his wounded puppy dog Percy does not suit the actor at all. A role with more external drama would seem optimal for him. Benjamin does seem deeply committed to acting though so there’s reason to have faith. But it’s Howard yet again who absolutely pilfers the show making everyone look like mere rappers trying to cross over. His Hustle and Flow hype now calmed Howard proves that he is anything but a one-hit wonder. Bryan Barber is Outkast’s go-to music-video director who’s making his feature debut with Idlewild; both of those facts speak volumes about his writing/directing effort here. As such the film is loaded with bright spots usually consisting of the dance sequences and the overall style and major cinematic blemishes as can be expected for a first-timer. In other words the core elements--i.e. the script and direction--are a mess but the peripheral elements--i.e. the look and sound--are dazzling. Part of the problem is the timing of the release: This film is supposed to do too many things from launching Benjamin into movie stardom to coinciding with the actual Outkast album/soundtrack release and that ambition is a microcosm of the flaws. But most of all there is simply too much going on here. Anachronisms run rampant where they shouldn’t and the same can be said for some of the songs--the vulgar rap played against the film’s Southern themes doesn’t always quite work as the intended contrast is sometimes overbearing.
February 08, 2002 2:07pm EST
Jonathan Cross (Chris Klein) is down and out in California when he runs into his old friend Marcus Ridley (LL Cool J) driving a pricey sports car and dripping in gold jewelry. As it turns out Ridley is making it big in an international Rollerball league and convinces Cross to do the same. Fast-forward four months into the future and Jonathan has become one of the biggest and most sought-after Rollerball stars. He's rich drives a nice car and is having a steamy relationship with his teammate Aurora (Rebecca Romijn-Stamos). From the looks of it Rollerball is a serious moneymaking operation: We are constantly shown million of dollars worth of currency going through money counters at record speed. And by the instant ratings numbers that appear on the organizer's monitors it's obvious that Rollerball fever has taken over the world. When conniving Rollerball creator Petrovich (Jean Reno) discovers that the ratings go through the roof when blood gets spilled things start to go very wrong. Cross and his teammates suddenly find themselves playing for their lives.
Chris Klein (American Pie 2) is Jonathan Cross the all-American Rollerball player but he underplays the role. You would expect a character in his position to have a certain amount of charisma and charm but Klein's delivery is a bit deadpan and lacking in attitude. His best pal Marcus Ridley is played by LL Cool J (Kingdom Come) who manages to add a bit of dimension to his otherwise underdeveloped character. In fact he may have been better suited for the lead. The only good part about model-turned-actress Rebecca Romijn-Stamos' (X-Men) role is that it didn't incorporate too many lines. Sounding like Natasha from Rocky and Bullwinkle you have to wonder what she was thinking with that accent which (contrary to the actress' recent statement on MTV that a bad accent is not necessarily bad acting) certainly is part of the acting and certainly is bad. Jean Reno (Just Visiting) was probably the most interesting character. He was all bad without a single redeeming quality which he at least pulled off with flair whether it was in his delivery or his elaborate fur coats.
Rollerball is director John McTiernan's (The Thomas Crown Affair) take on the 1975 classic directed by Norman Jewison. There is definitely enough action in Rollerball to keep viewers interested but the major problems lies within the characters' development-there isn't any. So while the action may keep your eyeballs glued to the screen momentarily you will find yourself indifferent to the characters their plight and what happens to them. Cross and Aurora's relationship for example is implied through one hastily done sex scene in the gym. Consequently when the evil Petrovich threatens to hurt her if Cross tries to leave the game we could care less because we don't really know her or how important she is to Cross. Being such an internationally renowned sport the accents which play a big part in the film are done too shoddily. The French accents go from Canadian to European within a sentence and that's only from the ones I could pick up. Who knows what other languages were massacred in the process?