I just wish Xia Mu would have more dialogues, but I understand he's a stoic and emotionless character from the start so he wouldn't speak much. The cinematography and the amazing music went well with all the scenes. (on unrequited love)Įnding: Hopeful (That's a hint that it ended well.) Director Spike Lee, producer Martin Scorsese and writer Richard Price, along with music by Seal, Marc Dorsey, Des'ree and Chaka Khan, deliver a film so riveting, you'll feel it grab you by the collar and toss you into the middle of an urban battlefield, prompting Jeffrey Lyons of Sneak Previews to call it "One of 1995's most powerful films.Near halfway: Heartbreaking. The other is Rocco (Harvey Keitel), who's looking for something much harder to find - the truth - and when Strike's law-abiding brother confesses to the murder, Rocco vows not to rest until he's sure the real shooter is behind bars. One is Mazilli (John Turturro), who's only looking for an easy bust. When the local drug kingpin (Delroy Lindo) tips Strike off about an opportunity for advancement, a rival dealer ends up dead, and Strike suddenly finds himself caught between two homicide detectives. Sweet Sixteen review A "clocker" is a 24-hour drug dealer, and Strike (Mekhi Phifer) is the hardest-working one on the streets. With jaw-dropping cameos from Jay-Z, Common, Mos Def, and the Harlem Boys Choir plus the feel-good club tune of the year, "Slow Jamz" featuring Twista, College Dropout is as explosive, contradictory, and complex as rap music gets.
Maybe it was this brush with mortality that kicked his lyrics into high gear on "All Falls Down." The skits on here are just as potent, one poking fun at the overeducated underclass that makes a small fraction of the loot he does. On the catchy "Through the Wire," fuelled by a Chaka Khan hook, he spits some impeccable rhymes despite his jaw being wired shut after a near-fatal car accident. On "Breathe In Breathe Out" he raps "I gotta apologize to Mos and Kweli/is it cool to rap about gold if I told the world I copped it from Ghana and Mali"-tongue firmly planted in cheek. What is freakish is that in West's world, rhymes about strippers, God, college life, and guns can co-exist tidily and not undermine each other. The envelope-ripping beats shouldn't come as a surprise given that he's supplied the soundscapes to monster singles by everyone from Alicia Keys ("You Don't Know My Name") to Talib Kweli ("Get By"). This debut from the most sought-after hip-hop producer not named Pharrell delivers the unthinkable: West magically sledgehammers home his opinions on taboo topics over beats that are equally daring.
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