The legend of arguably the most influential rapper of all time gets the big screen treatment, in the musical biopic “All Eyez On Me”. The story, directed by Benny Boom, tells the true and untold story of prolific rapper, actor, poet and activist Tupac Shakur. The film follows Shakur (Demetrius Shipp Jr) from his early days in New York City hustling to make ends meet, to his evolution into being one of the world’s most recognized and influential voices alongside Notorious B.I.G (Jamal Woolard), all before his untimely death at the age of 25 in 1996. Against all odds, Shakur’s raw talent, powerful lyrics and revolutionary mind-set propelled him into becoming a cultural icon whose legacy continues to grow more than twenty years after his passing. “All Eyez On Me” is rated R for adult language throughout, drug use, violence, some nudity and sexuality.
For nearly two-and-a-half hours, Tupac Shakur lives on again in the latest rap music biopic that depicts for fans young and old to embrace the voice of the man who spoke for them. With previous efforts like “Straight Outta Compton” and “Notorious” leading the way for the genre, the idea of Shakur’s life on the big screen seems like a no-brainer, and while “All Eyez On Me” does play to an accurate depiction of the man’s brief time in the public eye, it fails to reach the uncovering satisfaction and production values of the previous two movies. Being a big Tupac fan myself, I was greatly looking forward to this film, but I can’t help but taste a distinct taste of disappointment coming out of the theater from people who were thirsty for a refreshing look at Tupac Shakur the man, not the superstar. For any great musical biopic, you must carry an equal importance of knowledge and entertainment to instill upon your audience. The film has no struggles with the latter, but greatly neglects the former by speeding through some trait defining moments in his life, in favor of fast-forward pacing that cuts short far too much.
On that distinct trait of the movie, the pacing early on feels like it’s in a hurry to get to a certain finishing point, rushing harshly through the earlier points of Tupac’s life living in the slums and searching for a positive male role model like so many other youths who support Tupac can relate to. It was almost surreal how the movie was already at the start of Tupac’s amateur rap career a half hour into the movie, and it begs the question why so many other biopics, both music and non, feel it is important to push through the backstory in exposition so you can see the entire growth of the central protagonist? For a movie that shocked me at being 135 minutes, there is simply no excuse as to why some of these moments and relationships couldn’t use further emphasis early on, as it would touch on more of the sentimental peaks that the film reaches for later on that simply isn’t there. One positive that I can say about this aspect is that the movie never drags, nor slugs along for too long. It constantly keeps getting back up on its feet, and signals one of the easiest two-plus hour sits that I have had in a long time. The third act of the movie is undoubtedly my favorite, as Tupac’s time with Death Row seems to be the established direction that the movie was focusing on for its majority. Everything during this time feels appropriately paced, and finally it doesn’t feel like our backs are up against the wall, despite a hearty run time that should offer no handicaps for storytelling measures.
As far as story goes, the film feels like it is catering more to the casual fans of Tupac, whom occasionally heard through the grapevine some chilling occurrences within the rapper’s past. I say this because so much of what makes up the material in this movie plays to the rhythms of a glorified television movie-of-the-week production, choosing to hit all of the high points in Tupac’s life, and leaving so little for what fills in the gaps along the way. My favorite parts were finally seeing behind the walls of Death Row Records, and the horrors that befell its clients every single day. I found the character of Shug Night to be the snake in the grass that waits for vulnerability to strike, a true villain in the purest definition. I mentioned the pacing earlier, and why it plays such an important role in this film in particular is because not every scene can be a shootout or a high-stakes fight. You need those scenes and sequences of exposition building along the way to fill in the gaps, but the trio of screenwriters that make up this script fire off one round after another at the audience, and after a while it feels muddled in repetition, even to the point of redundancy on this long-winded script that constantly keeps punching. No hardcore fan will take much new away from “All Eyez On Me”, and there’s certainly nothing wrong with opening the eyes to new fans, but I think it’s a huge misstep to ignore the droves of fans who will see this movie to get one step closer to their favorite rapper for one more night knowing that they may never get this chance again.
The editing too showcases possibly my least favorite aspect of editing films that I have mentioned a time or two in my reviews. I have never been a fan of fading to black until the end of the movie, but “All Eyez On Me” repeatedly chooses this route, damaging the cohesiveness of a script that jumps in many avid directions because a majority of it is being told in flashbacks. This often gives the film a bunch of scattered pieces feel, instead of one well-working machine, and I greatly wish that the production of this film would’ve instead ushered for quick cuts, as I feel it would do wonders with keeping up with the story chronologically. One example of such a mess in editing comes in Tupac meeting his eventual girlfriend in the third act. The scene in which they meet has them at odds, but after fading to black, they are immediately together and living together in the next scene. This is a fault on the writers as well, but the editing makes it feel like so much was left out from the night of their meeting that was ommitted from our presentation.
One immensely positive area for the film is in its Oscar-worthy casting direction that single-handedly blew me away for the attention to detail that often left me riveted. Casting director Winsome Sinclair has outdone any and everyone before her, ensembling a cast of mostly fresh faces that chillingly indulges in the likeness of their respective characters. To name just two, Shipp Jr is Tupac Shakur, make no mistakes about it. I don’t believe for a second that Demetrius Shipp Jr is his actual name because there were moments in the film when I actually thought footage from Tupac’s life had been taken to mold into this movie. While we could use a closer look at the person, Shipp Jr does more than enough in radiating the charisma of the rapper, juggling valuably the way he saw the world, as well as the naivity that came with being so young at the time of his death. “The Walking Dead’s” Danai Gurira steals the show however, as Tupac’s Mother Afeni. Early on in the film, Afeni struggles to be the positive adult influence in her children’s lives, and it’s clear the demons within her are often at war for a distilling anger that she feels towards this unfair world. That’s why it’s such a pleasure to watch Gurira steer this character to such a satisfying transformation; she’s essentially playing two halfs that make up this depthful complex African American woman, a theme that is often neglected in modern cinema.
THE VERDICT – “All Eyez On Me” steers a bit too conventionally to the rapper’s well known events in biography to ever open the eyes of anyone seeking a broader canvas of the revolutionary’s life behind the lens of a camera. There’s some truly compelling performances in the work of Shipp Jr, as well as Gurira that prove visually and emotionally that no one better could’ve been cast, but the muddled waters of shoddy editing, as well as a flawed script early on that pushes along without stopping, does very little to value the immense run time given to Boom’s production. The movie flounders this opportunity, but Keep Ya Head Up Tupac fans, the real story is in the lyrics of perhaps the most gifted MC to ever pick up a mic.