Krush
Groove resides firmly on my list of guilty
pleasures -- a film that generates unintentional laughs from its worst
moments, but which only makes me love it all the more for it, to the point
where I actually think it’s a fun and interesting flick. A big part of why I
like it comes from the fantastic old school hip hop, featuring early glimpses
at rap’s second generation, including Run-DMC, Kurtis Blow, The Fat Boys, LL
Cool J, Beastie Boys, among others. Back then, these acts were almost never
played on MTV, or most radio stations, leaving it up to our imaginations as to
just what it was like in the middle of the rap scene. Not only could we now
see all of our favorite performers, we could also enjoy them act (well,
trying to act), and perform in a mainstream format.
Krush Groove is loosely based on the story of how Russell Simmons
(called Russell Walker here, and played by Blair Underwood ("LA Law",
Rules of Engagement),
in his big screen debut) and Rick Rubin created the breakthrough hip hop
label, Def Jam (called Krush Groove in the movie), and the kinds of problems
they had starting from nothing, and the dealings with some unsavory characters
in order to get the cash to keep these acts together. Back then, artists
flocked to get recording contracts, which were mostly obtained by appearing in
talent shows or competitions, and the winner is signed to a record label.
Amid the dog-eat-dog world of urban music, Krush Groove also features a
love triangle between Russell and Run (of Run-DMC) for the affection of funk
talent, Sheila E.
There isn’t a second that goes by in Krush Groove where I’m not
thoroughly entertained by its juvenile, wide-eyed charm, and I’ll admit, there
is a huge nostalgic factor that comes into play hearing such songs as “King of
Rock” (Run-DMC), “A Love Bizarre” (Sheila E., featuring Prince), “I Can’t Live
without My Radio” (LL Cool J), “If I Ruled the World” (Kurtis Blow), “Tender
Love” (Force MDs, an early track produced by mega-producers, Jimmy Jam and
Terry Lewis) and many other lesser known, but cult hip hop hits. There are
very few examples of seeing what it would be like to witness these acts
perform live on stage, and although they are obviously lip-synching here, it’s
as close as we’re likely to get without an 8th generation dub of an
underground bootleg. Fresh, vibrant, and among the best of the genre, this is
a terrific pool of talent that paved the way for all of the artists of today,
especially the all-time greats to ever hold a mic, Run-DMC.
There is a curiosity factor to many of the decisions employed by the makers of
the film, which may be known, but I’ve yet to hear satisfactory answers. For
instance, nearly everyone plays himself or herself in the film, except for
Russell, who is being portrayed by Underwood. Perhaps the part needed a
better actor? Also a large curiosity -- while every single one of the rap
acts in the film are born and bred in New York City, in the middle of all of
this distinctly Bronx-Queens hip hop is Sheila E., Oakland-native, with the
trademark sounds of Minneapolis funk, of course, produced by Prince. There’s
no way a band with this dynamic sound or ability could be struggling to gain
acceptance in the ghettos of NYC, nor would it be able to without the
necessary street cred. Perhaps Sheila, being a Warner Bros. artist, and this
being a Warner Bros. film, tells the true tale. Prince's music was red-hot at
the time.
Despite the good music, entertaining dialogue, and colorful situations,
Krush Groove will never be considered a good movie. The acting is very
spotty. I suppose one should cut a little slack to these actors, since almost
none of them have ever performed in roles before, and seeing Run, Sheila, and
Markie D. show some decent chops actually did make a good impression. It
doesn’t help that the script has a silliness that doesn’t allow them to get
away with much seriousness, especially when the strictly comedic Fat Boys take
up a great deal of the film’s screen time.
Krush Groove is a film so dated, and so quintessentially 80s, I can’t
imagine recommending it to anyone who isn’t a fan of old-school hip hop,
except perhaps someone who just wants to laugh at its cheesiness. For those,
like me, who love all of these songs, acts, and the era it was made in, we
just learn to overlook its substantial flaws, letting the music and nostalgia
infuse us with a feeling of the fun and good-nature with which this movie is
intended. Yes, you can have good times with a bad movie, and there’s no
better example than Krush Groove.
Qwipster's rating:
©2005 Vince Leo
