Starring: Andre “3000” Benjamin, Antwan “Big Boi” Patton, Paula Patton
Directed by Bryan Barber
Rated R

Rappers have been trying to break into film ever since Krush Groove introduced us to LL Cool J in 1984. With the exception of 1998’s Belly, the majority of feature films featuring hip-hop stars and rappers lack quality, purpose and often plot.

Idlewild is a refreshing change from the usual gangster/drug dealer/shoot-’em-up rapper vehicles. Oh, there’s a little bit of all of that, but it’s packaged in a flashy, upbeat style that incorporates the vibe of Harlem Nights, with the comedy replaced with music.

A musical set in a 1930s Prohibition-era sleepy Georgia town, Idlewild has something that its predecessors don’t: hip-hop’s most eclectic duo, Andre “3000” Benjamin and Antwan “Big Boi” Patton, of OutKast.

Benjamin plays Percival, a mortician’s son torn between his love of the piano and his obligations to his father. Patton is his best friend Rooster, manager of the local speakeasy, Church. The boys have chosen separate paths, but their love of music holds them together. Percy’s stage fright stilts his dreams of making it on his own and instead he backs up Rooster’s house band.

The difference between the two performers, in life as on camera, is fully realized here. There’s a depth to Benjamin’s performance that is lacking with Patton’s. While it seems Big Boi is just out to have a good time, Andre is cultivating his art, as evidenced in last year’s Four Brothers. The characters vary little from their onstage personas and Andre seems way more at home. First time director Bryan Barber is comfortable with the guys, having honed his visual style with videos for OutKast songs like “The Whole World” and the ubiquitous “Hey Ya!” Several of the music sequences play like music videos and though they’re fun, they also get a little wearisome. Maybe if Barber hadn’t used old songs from the duo’s 2003 CDs Speakerboxxx/The Love Below they wouldn’t seem so tired.

My No. 1 complaint with this film is the use of old music. I understand that is where the concept for it came from, but with a soundtrack of new tracks, I was hoping for something new and innovative. Instead, the music is played out and though they saved us from the album’s singles, I still kept expecting them to bust out into “Hey Ya!” and I think we can all agree, no one needs to hear that song for at least another decade.

The role of Angel, a performer who comes to town to take the stage and Percy’s heart, is played by relative newcomer Paula Patton and if it weren’t for the energy of OutKast, she would totally steal the show. Her voice is incredible, her beauty is stunning and she might just break your heart by the end of the film.

One of the best features of the flick is Shawn Barber’s flawless costuming. The look is perfect for the era, save for the flashy sparkling make-up, but it works. There’s a certain glamour to the decade and Idlewild capitalizes on that. The suits worn by the men are sharply tailored and the women’s dresses hug their curves and show just enough skin.

The supporting cast, too, is strong and reads like a who’s who of black entertainment with Cicely Tyson, Patti LaBelle and Ben Vereen all making appearances. Most impressive here is Terrence Howard in his performance of Trumpy, who’s eyes are set on the bootlegging market. The Oscar nominee holds his own among these legendary performers by proving his acting skills transcend the small-time rapper role that made him famous.