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.
Slackers stars Devon Sawa as Dave a lazy college bum who along with his two cronies Sam (Jason Segel) and Jeff (Michael Maronna) cheats his way through school in a variety of schemes that involve elaborate ways of getting advance peeks at test questions and then paying the smart nerdy kids to provide the correct answers. (Methinks it would be far easier for them to just do the work themselves.) While stealing the midterm test from a physics class Dave meets a pretty girl Angela (James King) and asks her out. It turns out to be a big mistake because Angela has previously attracted the attentions of Cool Ethan (Jason Schwartzman) a psychotic geek who is stalking poor Angela without her knowledge. Happening upon a document that will expose Dave's misdeeds Ethan blackmails Dave and his gang--in return for not incriminating them they must work their magic and get Ethan the necessary information to win the heart of unsuspecting Angela.
Ethan is clearly the film's antagonist and Schwartzman's (who was brilliant in Rushmore) fearlessly repellent performance is as insanely funny as it is completely disturbing. (It's also the one true thing that sets Slackers apart from complete anonymity.) There's no sweet side to this guy that Angela might fall for if she only got to know him. Schwartzman's Ethan is abrasive aggressive unrelenting hyperactive socially inept and full of ill-advised impulses he never filters. Meanwhile Sawa and King come off as a bland cut-and-paste Ken and Barbie who never set the screen on fire. Aside from the sock puppet gag bit Maronna and Segel are wasted as Sawa's slavishly devoted friends. Laura Prepon (TV's That '70s Show) tantalizes us as King's lascivious roommate but we just don't get to see enough of her fine performance.
There's little wittiness found in Dewey Nicks' direction or in the writing though there are a handful of moments that rise above the film's generally uninspired technique. Nicks effectively rips off Spike Lee's floating camera movement in a scene where Dave walks through an operatic graduation celebration and the alternate reality sequences (Cool Ethan's kissing threesome; Jeff's sock puppet; the cheaters imagining themselves as superheroes rap stars and Peter Pan) are genuinely funny and almost innovative. Nicks almost inserts enough of this to make Slackers more than just your routine gross-out romp rife with weird sex masturbation and toilet humor--but just almost. Ultimately in Nicks' hands the movie never rises above its pedestrian plot and dialogue.