Starting near the end of his short 24-year life and then told in flashback this film version of Christopher “Notorious B.I.G” Wallace’s (Jamal Woolard) rapid rise from the streets of Brooklyn to fame is told in standard-issue Hollywood biopic style. We see this Catholic honors student (played by his real life son Christopher Jordan Wallace) become a teenage drug dealer and accidental father before a chance recording finds its way to Sean “Puffy” Combs (Derek Luke) who engineers an almost immediate rise to fame fortune -- and trouble. “Biggie” now must juggle his newfound recording career a marriage to fellow artist Faith Evans (Antonique Smith) his romantic encounters with female rap comer L’il Kim (Naturi Naughton) and a major East Coast/West Coast rivalry with Tupac Shakur (Anthony Mackie) that leads to tragedy for both. As Wallace Brooklyn rapper Woolard is almost indistinguishable from the real man himself. He’s completely convincing performing B.I.G’s biggie hits and proves himself to be a first-rate dramatic actor as well -- at least in a story like this that he can clearly relate to. As his mother Angela Bassett makes the most of limited screen time (despite top billing) and expertly conveys the angst of a parent fighting a losing battle for her son. Luke again shows why he is so promising playing Puffy with just the right amount of flash and supreme confidence. Unfortunately the “balanced” portrait of Combs and many others in B.I.G’s life is tainted by the fact this film was produced by some of the real life players including his managers mother and executive producer Combs. George Tillman Jr. (Soul Food) directs this by-the-numbers account of Biggie’s life in a style we have seen countless times before. Except for a couple of occasions he doesn’t even let the rap sequences play out to give us an idea of how this guy whose songs reflected his rough Brooklyn lifestyle could climb to the top so fast. Whatever was special is lost in what appears to be a brazen attempt to sell soundtrack albums.
Based on the life of New York City police detective Vincent LaMarca City by the Sea vacillates between a true-crime mystery and a family drama. As Vincent (De Niro) investigates the murder of a Long Beach N.Y. drug dealer it becomes painfully clear that his estranged son junkie Joey (James Franco) known on the street as Joey Nova is the prime suspect. Vincent is of course taken off the case but when his partner is killed while pursuing Joey the search becomes the Long Beach police department's top priority--and saving his son from a police department eager for cop-killer blood becomes Vincent's. The fact that Vincent discovers that he has a grandson Angelo doesn't help the situation especially when Joey's supposedly clean ex-junkie girlfriend (Eliza Dushku) leaves the kid at Vincent's apartment when she goes to buy cigarettes and fails to return. Vincent who's always defined himself against his criminal father finds himself forced to decide whether he's a cop or a father and grandfather first a quandary that naturally leads to some pretty compelling if slightly melodramatic scenes for De Niro. Interestingly despite the somber subject matter and the dramatic tone the film still manages a few lighthearted moments which really save it from the pitfalls of its own seriousness.
Sometimes a great cast can make even a mediocre film good and that's what happens in City by the Sea. Even though the dialogue they're given to work with isn't always completely natural--in fact sometimes it's downright contrived--the cast still manages to create a compelling final product. You just can't go wrong with De Niro as a hardened streetwise emotionally distant cop and he makes everyone opposite him look great especially relative newcomer Franco (whose performance as a young James Dean in TNT's James Dean earned him some critical kudos of his own). The young actor swaggers onto the scene like a very young Bob Dylan a hollow-body vintage guitar slung across his back. Of course he's selling it for drugs not heading for a gig. Patti LuPone really sinks her teeth--and catty claws--into her role as LaMarca's bitter ex-wife creating some of the film's most dynamic scenes while Frances McDormand lends her subtly expressive style to the most emotional moments as De Niro's sometime girlfriend Michelle.
Director Michael Caton-Jones delves into the dark side of his imagination with images of a desolate Long Beach: graffiti-covered walls crumbling casinos and a rickety boardwalk--all the detritus of a once-thriving tourist destination. In this grim setting Joey wanders virtually empty streets and beaches where as a child he played happily; meanwhile in Manhattan Vincent is wandering his streets in much the same way. It's an interesting device Caton-Jones uses to show the similarities between the two men and it's as effective at establishing their relationship as the relatively few scenes they have together. At moments like this when the film is making its emotional impact visually it shines; unfortunately City by the Sea relies a little too often on its average dialogue and does a little too much telling and not enough showing.