6.9/10
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106 user 165 critic

Get on Up (2014)

PG-13 | | Biography, Drama, Music | 1 August 2014 (USA)
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A chronicle of James Brown's rise from extreme poverty to become one of the most influential musicians in history.

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Writers:

(screenplay), (screenplay) | 3 more credits »
6 wins & 16 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Syd Nathan
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Maceo Parker
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DeeDee Brown
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Ralph Bass
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Little Richard (as Brandon Smith)
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Yvonne Fair
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Pee Wee Ellis
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Nafloyd Scott
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Storyline

On route to the stage, singer James Brown recalls a life with a turbulent childhood where music was his only constructive release for his passions. A chance demonstration of that in prison led to a new friend who helped get him out and into a musical career. With his fire and creative daring, Brown became a star who defiantly created new possibilities in show business both on and behind the stage in face of racism and conventional thinking. Along the way, James would also become a peacemaker who redefined and raised the African-American community's feeling of self-worth when it was needed most. However, those same domineering passions would lead James Brown alienating everyone around him as his appetites became ever more self-destructive. Only after he hit rock bottom with a serious mistake does Brown realize what he needs to do make his life as the Godfather of Soul truly worthwhile. Written by Kenneth Chisholm (kchishol@rogers.com)

Plot Summary | Plot Synopsis

Taglines:

The Funk don't Quit

Genres:

Biography | Drama | Music

Motion Picture Rating (MPAA)

Rated PG-13 for sexual content, drug use, some strong language, and violent situations | See all certifications »

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Details

Official Sites:

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Release Date:

1 August 2014 (USA)  »

Also Known As:

Get on Up: Príbeh Jamese Browna  »

Filming Locations:

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Box Office

Budget:

$30,000,000 (estimated)

Opening Weekend:

$13,585,915 (USA) (1 August 2014)

Gross:

$30,513,940 (USA) (12 September 2014)
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Company Credits

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Technical Specs

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Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Aunjanue Ellis appeared with the real James Brown in Undercover Brother (2002) See more »

Goofs

When James walks to the private jet after talking to Velma at the airport, modern cars can be seen parked behind the control tower. Later, when the police are chasing James in his truck through an industrial area, modern cars can again be seen parked in the background. See more »

Quotes

Bobby Byrd: Look at these people, James. When is it going to be when we up there?
James Brown: Right now!
Bobby Byrd: What?
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Soundtracks

Don't Go 'way Nobody
Traditional
Arranged by Harvey Mason Jr.
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User Reviews

 
Big Let DOWN
20 August 2014 | by (United States) – See all my reviews

All the time, effort and money that went into making this movie represents nothing more than a lost entertainment opportunity. There probably won't be another movie made about James Brown and his unique music, and instead of using all those resources to tell a story that celebrates the origins and making and performance of his incredible music, we get a beginning-to-end mish-mash of rank stereotypical negativity: angry black-man abusive father, absent uncaring mother, obligatory scenes of racism, and the ever present non-stop bickering.

Even worse, this whole sad story is told via the ridiculous overuse of senselessly jumping back and forth from time period to time period. The movie begins in 1988 with one of the worst opening scenes (and dialog) in movie history. Another cheap and senseless effect was to have our lead actor (whose vocal inflections often channeled Chris Rock) repeatedly look into the camera and speak directly to the audience.

The performance scenes, which should have been the highlight of the movie, had visual production value (he did a reasonable facsimile of JB's dance moves), but were musically weak (even though I believe they were JB's original tracks) because they never lasted long enough to capture nor portrayed the repetitively driving funky "groove" that was THE signature sound of James Brown and his kick-ass band.

One bright and intriguing performance was the brief scene by the actor who played Little Richard. One can only hope when and if a movie about HIS life is ever made, the screenplay will be written featuring and celebrating the music, not simply the gimmicky, amateurish editing of cheap, stereotypical drivel, as was done here.


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