154 reviews
Belly (1998) is a movie I recently rewatched for the first time in a long time on Tubi. The storyline follows some friends as young adults deciding their direction in life as a new pure blend of crack is about to hit the streets making them richer than their wildest dreams; however, one of the friends lack of discipline and tendency for pushing buttons makes things more dangerous than they need to be.
This movie is directed by Hype Williams in a rare major motion picture project for him and stars DMX (Exit Wounds), Nas (Big Momma's House), Tionne 'T-Boz' Watkins (House Party 3), Method Man (Power) and Oliver 'Power' Grant (When Will I Be Loved).
This is one of those movie that had some potential but ends up being more style than substance. The character development, acting and storyline is pretty interesting and worthwhile, especially since the cast is made up solely of rap artists. The script is solid and the cinematography and use of colors is awesome. The soundtrack and narration is legendary and almost makes the film worth watching alone. There's a club shoutout with Method Man that could have been executed better and an obvious Scarface ripoff scene that is eye rolling. I did like the actual ending of the movie and what ends up ultimately happening to the characters which feels realistic.
Overall this is an uneven movie that is worth a viewing. I would score this a 7/10 and recommend seeing it once.
This movie is directed by Hype Williams in a rare major motion picture project for him and stars DMX (Exit Wounds), Nas (Big Momma's House), Tionne 'T-Boz' Watkins (House Party 3), Method Man (Power) and Oliver 'Power' Grant (When Will I Be Loved).
This is one of those movie that had some potential but ends up being more style than substance. The character development, acting and storyline is pretty interesting and worthwhile, especially since the cast is made up solely of rap artists. The script is solid and the cinematography and use of colors is awesome. The soundtrack and narration is legendary and almost makes the film worth watching alone. There's a club shoutout with Method Man that could have been executed better and an obvious Scarface ripoff scene that is eye rolling. I did like the actual ending of the movie and what ends up ultimately happening to the characters which feels realistic.
Overall this is an uneven movie that is worth a viewing. I would score this a 7/10 and recommend seeing it once.
- kevin_robbins
- Feb 13, 2022
- Permalink
I'm not a fan of a lot of the editing decisions, it doesn't close all the doors it opened and some dialogue is atrocious (plus someone needs to explain to Americans that they are the only ones saying "I'm going to Africa" and how that sounds. There are 54 different countries in Africa and even much more different cultures).
Either way, I think the story is interesting, the characters are relatable and unique and there are great scenes on this. Plus, that ending scene is - even for someone not religious at all - precious and very well executed.
Either way, I think the story is interesting, the characters are relatable and unique and there are great scenes on this. Plus, that ending scene is - even for someone not religious at all - precious and very well executed.
- PedroPires90
- Jun 15, 2022
- Permalink
First off this is one of those movie where you either hate it or love it. I loved the movie. I found it to be one of the better urban movies to come out in the 90's not better then boyz n da hood or menace II society. But It was the best one that centered around life in New York's crime underworld. I also think it's DMX's best movie so far. The movie is stylishly filmed by Director Hype WIlliams and the characters are extremely realistic. The dialog is also realistic. The movie might fall short when it comes to how the plot is set up and the overall development of the characters. That is not to say that the movie doesn't have an overall significant meaning because it does. It addresses some of the problems that face inner city youth today. Most people that don't like this movie fail to realize this fact. The minister character in the movie is not important but rather what he is saying is. With that said I feel that the movie takes bold steps to show how certain ways of life are wrong and why they should be changed. The movie is also not your typical crime/drug movie however it does have some of those moments that could have been rethought to be a bit more interesting. With all that said I recommend the movie to be at least watched once because if nothing else the movie does have a great soundtrack and decent plot.
NOTE: This film was recommended to me by YouTube user Kjo Schultz for "Steve Pulaski Sees It." Hype Williams' Belly follows the troubled escapades of two New York street criminals named Tommy (DMX) and Sincere (Nas), in addition to their partners in crime, as the gang spends their nights cracking cars and robbing nightclubs using little else other than brute force. This provides them with pocket money for the meantime; enough where Tommy can satisfy his girlfriend Keisha (Taral Hicks) and Sincere can take care of his girlfriend Tionne (Tionne "T-Boz" Watkins) and infant daughter.
However, the big break for these gentleman comes at the turn of the 2000's, when heroin prices are escalating and the business is becoming a lucrative venture for anyone willing to take the risk. Tommy and Sincere go on to meet "Ox" (Louie Rankin), a heroin drug lord who wants to work with the men due to their promise. The perils of urban life soon take their toll on the men, in addition to greed and self-absorption, most of it resting on Sincere, who has to constantly battle the push and pull effect he gets with his business and his wife nearly every day.
Belly is an interesting street-drama largely for its cinematography, and surprisingly not so much for its two leading male performers, two of the biggest names in hip-hop at the time. Rather than opting for flare with a constantly moving camera or canted angles similar to the Hughes Brothers' Menace II Society (this film also featured Tyrin Turner from that film in a small supporting performance, as well), Williams and cinematographer Malik Hassan Sayeed employ a wide variety of different ambiance and aesthetic warmth to the film. Consider the scene in a nightclub, where the blacklights make the characters "glow" blue in a strangely eerie, unsettling manner. Then consider one of the chase sequences in the film and how Williams employs very vivid, cleanly shot and paced car chases that help make a film that's mostly grounded in reality suspend disbelief for a few minutes in order to give you something completely different.
There's more variety to Belly than I initially had predicted. The issue at hand is that there is so much going on in Belly that it's a shame character development suffers as a result. Granted, this particular drama doesn't have a liberal three hours to build up character relations, but it doesn't have the same hard-hitting punch and haunting, "urban jungle" vibes as a film like New Jack City did a few year prior. DMX and Nas do a fairly adequate job of conveying characters, but there's not a lot to them as people, which makes their performances, as well as their characters, stunted from any kind of significant growth.
On an unrelated note, the soundtrack for Belly is what truly pushes it over and makes it a presence. Songs from Wu-Tang Clan, Method Man, and DMX himself populate a film that pulsates with life and adds to the noir-aesthetic Williams and Sayeed work to create. While it's unfortunate that Belly's lacking character development and rather subpar plot distract its loftier, more impressive elements, there's almost never too many urban films that depict some kind of dichotomy between playing by the rules and ripping the rulebook to shreds when you look at where it has gotten you. The film, in many ways, proudly showcases that.
Starring: DMX, Nas, Taral Hicks, Tionne "T-Boz" Watkins, Louie Rankin, and Tyrin Turner. Directed by: Hype Williams.
However, the big break for these gentleman comes at the turn of the 2000's, when heroin prices are escalating and the business is becoming a lucrative venture for anyone willing to take the risk. Tommy and Sincere go on to meet "Ox" (Louie Rankin), a heroin drug lord who wants to work with the men due to their promise. The perils of urban life soon take their toll on the men, in addition to greed and self-absorption, most of it resting on Sincere, who has to constantly battle the push and pull effect he gets with his business and his wife nearly every day.
Belly is an interesting street-drama largely for its cinematography, and surprisingly not so much for its two leading male performers, two of the biggest names in hip-hop at the time. Rather than opting for flare with a constantly moving camera or canted angles similar to the Hughes Brothers' Menace II Society (this film also featured Tyrin Turner from that film in a small supporting performance, as well), Williams and cinematographer Malik Hassan Sayeed employ a wide variety of different ambiance and aesthetic warmth to the film. Consider the scene in a nightclub, where the blacklights make the characters "glow" blue in a strangely eerie, unsettling manner. Then consider one of the chase sequences in the film and how Williams employs very vivid, cleanly shot and paced car chases that help make a film that's mostly grounded in reality suspend disbelief for a few minutes in order to give you something completely different.
There's more variety to Belly than I initially had predicted. The issue at hand is that there is so much going on in Belly that it's a shame character development suffers as a result. Granted, this particular drama doesn't have a liberal three hours to build up character relations, but it doesn't have the same hard-hitting punch and haunting, "urban jungle" vibes as a film like New Jack City did a few year prior. DMX and Nas do a fairly adequate job of conveying characters, but there's not a lot to them as people, which makes their performances, as well as their characters, stunted from any kind of significant growth.
On an unrelated note, the soundtrack for Belly is what truly pushes it over and makes it a presence. Songs from Wu-Tang Clan, Method Man, and DMX himself populate a film that pulsates with life and adds to the noir-aesthetic Williams and Sayeed work to create. While it's unfortunate that Belly's lacking character development and rather subpar plot distract its loftier, more impressive elements, there's almost never too many urban films that depict some kind of dichotomy between playing by the rules and ripping the rulebook to shreds when you look at where it has gotten you. The film, in many ways, proudly showcases that.
Starring: DMX, Nas, Taral Hicks, Tionne "T-Boz" Watkins, Louie Rankin, and Tyrin Turner. Directed by: Hype Williams.
- StevePulaski
- Feb 25, 2016
- Permalink
The first hour of this didn't do much for me; it's mostly just Williams, Nas, and DMX showing off their music video vibes. Then the stellar last half-hour puts it all in context. The street shoot-out, the minister's speech, the hug; it's a powerful reminder that once we stop blaming individuals for the problems inherent in the system, lives will finally improve.
- matthewssilverhammer
- May 4, 2021
- Permalink
I find this movie great because I like the performances of Nas, DMX, Taral Hicks, Method Man, Tionne "T-Boz" Watkins and I like how Hype Williams directed this film, it's so urban-like and realistic as possible. I watched this film thinking I feel sorry for these guys in the film that it makes you want to understand about the difficult times they have been through. I never took hip-hop and realistic urban views seriously until I watched this film, now I understand why it's a struggle on the streets instead of urban fairy tales for profit.
Plot: 7 (Slow ending)
Diction: 6 (Not always clever)
Character: 7 (Engaging)
Extension: 6 (Distinctive but sometimes dry)
Spectacle: 9 (Excellent art direction)
Overall: 7.0
In my view, Belly represents the best of black cinema in the 1990's. In many ways, it is also the Goodfellas of the 1990's, personifying gangsterhood in another cultural light. The scenes are shot with great attention to color and form, using the music of some of the cast members to drive the action. While the final message of Belly is a positive one, this movie is no less brutal than some of its less artful cousins.
I also can't help but be taken in by some of the unique touches in this film: The Kansas City gangster with the huge Mary Tyler Moore flip, the white-felted pocket-billiards table, or the spectacular hit scene at the beginning of the movie-- not to mention an obligatory salute to Allah. My personal admiration goes to "Power" Grant for scoring a role as a character named "Knowledge".
In my view, Belly represents the best of black cinema in the 1990's. In many ways, it is also the Goodfellas of the 1990's, personifying gangsterhood in another cultural light. The scenes are shot with great attention to color and form, using the music of some of the cast members to drive the action. While the final message of Belly is a positive one, this movie is no less brutal than some of its less artful cousins.
I also can't help but be taken in by some of the unique touches in this film: The Kansas City gangster with the huge Mary Tyler Moore flip, the white-felted pocket-billiards table, or the spectacular hit scene at the beginning of the movie-- not to mention an obligatory salute to Allah. My personal admiration goes to "Power" Grant for scoring a role as a character named "Knowledge".
- dharbigt-28632
- May 4, 2021
- Permalink
- view_and_review
- Dec 2, 2020
- Permalink
I really get p***ed off at movie critics sometimes. This is one of those times. I have insomnia, see what's on TV, check the rating (1 star out of 4) and almost pass it by, but decide to watch it for the camp value.
Why did critics hate this? Why do they in general hate movies like this? The film immediately reminded me of "The Harder They Come", "Pusher" (Nicolas Winding Refn's fantastic Danish film), "Laws of Gravity", "Kids", "Clerks", "Mean Streets", "Zebrahead", "The Killing of A Chinese Bookie", "Boogie Nights", "Rome, Open City" and "The Bicycle Thief". Why does it seem that film critics love neo-realism if its 'white', but usually hate it otherwise.
If you're a fan of these kinds of movies, give this one a chance. Unfortunately, with the unfavorable judgment from up on high that this film received, I doubt anyone will read these words. Darn critics. I don't usually insinuate things like this, but I have to wonder if a racial aspect is at play here, that maybe xenophobia deflected a lot of critics from giving this one a chance. Oh well, I loved it in any case.
Why did critics hate this? Why do they in general hate movies like this? The film immediately reminded me of "The Harder They Come", "Pusher" (Nicolas Winding Refn's fantastic Danish film), "Laws of Gravity", "Kids", "Clerks", "Mean Streets", "Zebrahead", "The Killing of A Chinese Bookie", "Boogie Nights", "Rome, Open City" and "The Bicycle Thief". Why does it seem that film critics love neo-realism if its 'white', but usually hate it otherwise.
If you're a fan of these kinds of movies, give this one a chance. Unfortunately, with the unfavorable judgment from up on high that this film received, I doubt anyone will read these words. Darn critics. I don't usually insinuate things like this, but I have to wonder if a racial aspect is at play here, that maybe xenophobia deflected a lot of critics from giving this one a chance. Oh well, I loved it in any case.
This movie isn't horrible. It's a whole lot of style and not enough substance, but that's the problem with most of director Hype Williams' music videos, so I decided to finally catch "Belly," to find out if the guy was actually any good at telling a story or not. Most of his music videos look the same, you see, with absolutely no content whatsoever. Then I saw the way he took the time to tell an actual story, with his images in No Doubt's "Ex-Girlfriend," and I realized the man actually had talent, and not just a fisheye lens.
I don't think much of Williams as a writer. But I will compare this film favorably to another movie that's not very good, "Nomads," written and directed in 1986 by John McTiernan. There's another filmmaker who can't write, but made incredible, beautifully directed films, from the popcorn ("Predator") to the dramatic ("The Hunt for Red October"), to both at the same time ("Die Hard.")
The acid test of any music video director is, can they direct actors? Is their visual flair all they've got (Kevin Bray, Jake Scott), or do they bring actual theatrical talent to the table (F. Gary Gray, Spike Jonze)? "Belly" is inconclusive, as the editing and camera covers up everyone's performance so that both the bad and good actors appear to give equal performances. The intrusive "blah blah blah" voiceover, which reminded me of a Terrence Malick film, didn't help either.
Hopefully Williams will take another crack at it, and leave the writing to the professionals. This one lacked character, subtlety, or any emotion other than anger and hate, except for the final 2 minutes, and by then I didn't care anymore. These are all writing problems, but then, the scenes that he didn't leave out for no reason are actually quite fascinating, in a morbid sort of way.
Of course, ten years later, McTiernan's career suffers, and no matter what anyone tells you, so does Spike Lee's. Whatever Hype's spent the last 4 years doing, I hope he gets a good script soon. The potential is staggering.
But this film isn't. 6/10. (nice sets)
I don't think much of Williams as a writer. But I will compare this film favorably to another movie that's not very good, "Nomads," written and directed in 1986 by John McTiernan. There's another filmmaker who can't write, but made incredible, beautifully directed films, from the popcorn ("Predator") to the dramatic ("The Hunt for Red October"), to both at the same time ("Die Hard.")
The acid test of any music video director is, can they direct actors? Is their visual flair all they've got (Kevin Bray, Jake Scott), or do they bring actual theatrical talent to the table (F. Gary Gray, Spike Jonze)? "Belly" is inconclusive, as the editing and camera covers up everyone's performance so that both the bad and good actors appear to give equal performances. The intrusive "blah blah blah" voiceover, which reminded me of a Terrence Malick film, didn't help either.
Hopefully Williams will take another crack at it, and leave the writing to the professionals. This one lacked character, subtlety, or any emotion other than anger and hate, except for the final 2 minutes, and by then I didn't care anymore. These are all writing problems, but then, the scenes that he didn't leave out for no reason are actually quite fascinating, in a morbid sort of way.
Of course, ten years later, McTiernan's career suffers, and no matter what anyone tells you, so does Spike Lee's. Whatever Hype's spent the last 4 years doing, I hope he gets a good script soon. The potential is staggering.
But this film isn't. 6/10. (nice sets)
If you're giving this movie great reviews, be honest with yourselves - you probably wanted to see your favorite hip-hop stars and favorite hip-hop director do a movie.
The performances were not stellar; they were not even noteworthy. The saddest part about the cast is that you liked them before you saw the movie. You probably wanted the movie to be good so badly that you convinced yourselves that the "actors" were doing anything more than just reading their lines.
I would give the plot 4 out of 10. Not only is the basis of the plot unoriginal, but it also reinforces the (incorrect) idea that us blacks will sell drugs and commit crimes until the Nation of Islam comes along to rescue us from ourselves.
Even sadder is the fact that the real actors in this film could not shine because they had such poor co-stars. I've been reading through the crap that you folks are trying to support the film with, but this was a self-serving film for the main starts and directors- more concerned with making a hip-hop movie (by the way "hip-hop" is NOT a legitimate film genre), full of big names in music, than creating a solid motion picture. It fulfilled a "superstar" prerequisite by giving everyone involved at least one film credit, and sadly convinced DMX that he should keep "acting."
So, you've got a cast that's short on acting abilities, a director that could care less, and a target demographic that will try to convince themselves that their heroes were great in the film, just because they like their music. This was a win for the filmmakers because their money would be made by music fans, not film fans, and you have proved my point with your overly positive reviews. Rather than see the film for what it is, you are digging deep, trying to find a way for this debacle to somehow serve a purpose. Give it a rest. Just ask yourself, if the acting was of the same caliber, but without the famous names, where would this film have ended up? The answer: it would never have been seen.
The performances were not stellar; they were not even noteworthy. The saddest part about the cast is that you liked them before you saw the movie. You probably wanted the movie to be good so badly that you convinced yourselves that the "actors" were doing anything more than just reading their lines.
I would give the plot 4 out of 10. Not only is the basis of the plot unoriginal, but it also reinforces the (incorrect) idea that us blacks will sell drugs and commit crimes until the Nation of Islam comes along to rescue us from ourselves.
Even sadder is the fact that the real actors in this film could not shine because they had such poor co-stars. I've been reading through the crap that you folks are trying to support the film with, but this was a self-serving film for the main starts and directors- more concerned with making a hip-hop movie (by the way "hip-hop" is NOT a legitimate film genre), full of big names in music, than creating a solid motion picture. It fulfilled a "superstar" prerequisite by giving everyone involved at least one film credit, and sadly convinced DMX that he should keep "acting."
So, you've got a cast that's short on acting abilities, a director that could care less, and a target demographic that will try to convince themselves that their heroes were great in the film, just because they like their music. This was a win for the filmmakers because their money would be made by music fans, not film fans, and you have proved my point with your overly positive reviews. Rather than see the film for what it is, you are digging deep, trying to find a way for this debacle to somehow serve a purpose. Give it a rest. Just ask yourself, if the acting was of the same caliber, but without the famous names, where would this film have ended up? The answer: it would never have been seen.
I expected "Belly" to be a self-indulgent, expanded version of the gangster rap videos that gave Hype Williams the power in Hollywood to make a feature film. I was right, but what I didn't expect was for it to be so good. I was mesmerized by "Belly" from the opening sequence of choreographed violence and music. Critics of this film should look to its film roots - film noir - movies that grow from the underground crimeworlds in America, that pleasure us with their money schemes, guns, and drug use. "Belly" has this, and more style than I have seen in any movie in recent years. It has dazzling visuals, and a respectable plot that borrows from "Scarface" among others. The acting is respectable, and I didn't see the movie as a piece of media to exploit the careers of its stars, I found it to be a good piece of cinema that legitimizes Nas, DMX, Method Man, Taral Hicks, and Tionne Watkins as actors. The music is great, notably the D'Angelo's "Devil's Pie" that shows crime being played out. The cinematography is stylized and beautiful. The dancing in Jamaica, the shootout in the strip club in Omaha, the opening sequence, the climax with the reverend where the issues that the film may be exploiting are addressed and in my eyes therefore considerate. Its a shame this film was so overlooked by critics. I think within it lies the future of both the gangster movie and the musical.
I wasn't going to watch Belly after reading all the terrible reviews it got but then a film student I know told me to watch it so I took a chance on it. And was I suprised, Hype Williams is remarkable. Great cinematography. Unfortunately the casting wasn't the best and the story could have used some changes. I understood the story rather easily but Ox (the jamacan drug lord) needed a translator. Anyways, if you like movies about street life and enjoy hiphop, I recommend.
Belly has NEARLY everything - all the director's mates on camera (virtually all at the same time), lots of guns, heaps of tacky jewelry, fleets of smooth cars, and buckets full of profound stupidity.
The only thing missing is a script, and the facility to give this a minus rating.
The only thing missing is a script, and the facility to give this a minus rating.
I WARN YOU THAT THERE ARE SOME THINGS THAT SPOIL THE MOVIE SO IF YOUR GONNA WATCH THIS MOVIE, DONT READ THIS REVIEW FIRST i look on this website and see that you people dont appreciate a good movie when you see one. Belly makes more sense everytime i see it. everytime im in a bad mood i watch Belly and dont care about a thing in the world. i heard they're making a Belly 2 and if this is the case then i would be the first to go see it. the way they use everything in this movie wants me to watch it over and over again so i can understand the movie better. everything in this movie is great. very stylish, heart touching moments, and that memorable part where DMX is sooo drunk and high he just sits there that part is awesome. not to mention an awesome soundtrack and a movie that really does make sense if you know what your looking at...you guys just listen to critic assholes that assume a movies bad just cause it has rappers in it. Props to DMX and Nas for great acting and Hype Williams or anyone who can contact the authorities about this..if you see this message, please tell them: MAKE A BELLY 2, MAKE SURE OF A GOOD PLOT IN WHICH SOMEHOW THEY GET NAS OUT OF AFRICA AND BACK INTO THE STATES BY CUTTING A DEAL THAT WILL GET TOMMY OUTTA JAIL (HE DIDNT KILL THE MINISTER) PLEASE IF YOU GET THIS MESSAGE, MAKE A BELLY 2. PLEASE EVERYONE IN MY TOWN POP. 66,000 WILL WATCH THIS. PLEASE MAKE BELLY 2!! 5 OUT OF 5!
- nicktoyas495
- Mar 12, 2003
- Permalink
I thought that this film, while it wasn't perfect, was quite good. I admit I only saw it originally because T-Boz of TLC was in it. But there were some great scenes and while it is slow to begin with, the storyline eventually takes shape and it has a surprisingly powerful ending. It was very well shot, with careful emphasis on lighting and camera angles. The subject matter shouldn't put you off, it isn't that overbearing. The film is more a comment on the social conditions and the misguiding nature that many African-Americans are going through, especially the youths. Sometimes the characters and their lives seem doomed to a hopeless world of drugs and crime, yet at other times, it is as if they can take on the world. DMX's performance was the standout, Nas was slightly disappointing. Overall, 7/10.
Belly was a good movie featuring hip hop MCs Nas and DMX. With reggae artist Louie Rankin.
The movie is all about money, blood, pride and trying to stay alive. It's a good little movie to chill to on a boring Sunday.
Nas and DMX are decently good. It's not top notch acting however you have more respect for it because it isn't.
The sound track was awesome. Some hip hop and reggae that goes well together.
Overall a good little gangster movie.
What can be learned? Not much to be honest
Verdict: Jonas was not the only one that survived the belly of the beast.
The movie is all about money, blood, pride and trying to stay alive. It's a good little movie to chill to on a boring Sunday.
Nas and DMX are decently good. It's not top notch acting however you have more respect for it because it isn't.
The sound track was awesome. Some hip hop and reggae that goes well together.
Overall a good little gangster movie.
What can be learned? Not much to be honest
Verdict: Jonas was not the only one that survived the belly of the beast.
- ThunderKing6
- Apr 12, 2021
- Permalink
I thought this movie was pretty good considering that there's still a criminal element lurking in our society! The mere fact that this movie WASN'T only about crime was what made it pretty good. I liked the "raw edginess" of the characters as well as the "flashy" scenes that sometimes followed them! I recommend this movie for those who enjoy action as well as hip language even if you wait for it to come out on video!
- Matt_Layden
- Nov 28, 2006
- Permalink
Please disregard the above review. Either the viewer likes being spoon-fed his films, or was not paying attention. Note that the viewer didn't even attempt an understanding of the title "Belly," which was the central theme of the film. The viewers others comments can stand for themselves.
In all honesty, the first time I watched this film, I actually turned the volume down -- I was enraptured by the way each scene was composed on the frame. Visually, this movie is stunning. The director has a striking style, and besides that, he is PRODIGIOUS -- there appears to be no end to the ways that he can make his compositions rich in visual entertainment and information. I can enumerate a list of techniques he used here, but that will be an exercise in boredom for today's cyber-nauts. Even more important, the compositions are never created for their own sakes, which was my initial criticism the first time I saw it -- they really do propel the film. The style is integral to the story. Get the film and you will see what I'm referring to; if you disagree, say so in your review.
80% of the film seems to be a riff on the hip-hop video aesthetic (never mind the fact that the director greatly defined the recent shape of this aesthetic) and myth. In it's third act, however, it uses the very same conventions -- outlaw figures, ostentatious style, and violence -- to confront and question these aesthetics. In the climactic ending, this criticism is embodied in the confrontation between one of the heroes of the film (DMX) and a figure symbolic of actual figures from black history. The director actually used an anachronism to face down a contemporary hero, and argues for the relic.
What the film argues for, as embodied by the final speech of the Minister character, is a message so powerful and relevant -- particularly to the very people who will associate themselves the most with this film -- that it will leave you breathless. It is a timeless message passed down from antiquity, framed by the most daring and contemporary of directors. It is an exhilarating juxtaposition.
What of the title, "Belly?" A belly is what a pregnant woman has; it is the external shape of soon-to-be-born child. It is the womb, the source of life. It is the promise of what is to be, as well as the origins of what is. If you abstract it, it's shape will be that of a circle - the symbol of wholeness, of the journey to individuation. It is the same difficult journey that the movies' anti-heroes take.
BELLY is a powerfully visual, yet simple tale about redemption. Not to be missed.
In all honesty, the first time I watched this film, I actually turned the volume down -- I was enraptured by the way each scene was composed on the frame. Visually, this movie is stunning. The director has a striking style, and besides that, he is PRODIGIOUS -- there appears to be no end to the ways that he can make his compositions rich in visual entertainment and information. I can enumerate a list of techniques he used here, but that will be an exercise in boredom for today's cyber-nauts. Even more important, the compositions are never created for their own sakes, which was my initial criticism the first time I saw it -- they really do propel the film. The style is integral to the story. Get the film and you will see what I'm referring to; if you disagree, say so in your review.
80% of the film seems to be a riff on the hip-hop video aesthetic (never mind the fact that the director greatly defined the recent shape of this aesthetic) and myth. In it's third act, however, it uses the very same conventions -- outlaw figures, ostentatious style, and violence -- to confront and question these aesthetics. In the climactic ending, this criticism is embodied in the confrontation between one of the heroes of the film (DMX) and a figure symbolic of actual figures from black history. The director actually used an anachronism to face down a contemporary hero, and argues for the relic.
What the film argues for, as embodied by the final speech of the Minister character, is a message so powerful and relevant -- particularly to the very people who will associate themselves the most with this film -- that it will leave you breathless. It is a timeless message passed down from antiquity, framed by the most daring and contemporary of directors. It is an exhilarating juxtaposition.
What of the title, "Belly?" A belly is what a pregnant woman has; it is the external shape of soon-to-be-born child. It is the womb, the source of life. It is the promise of what is to be, as well as the origins of what is. If you abstract it, it's shape will be that of a circle - the symbol of wholeness, of the journey to individuation. It is the same difficult journey that the movies' anti-heroes take.
BELLY is a powerfully visual, yet simple tale about redemption. Not to be missed.
- wilsonasillson
- Feb 5, 2006
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I have put a lot of thought into this one since I viewed it a few hours ago. Overall, it was not as entertaining as New Jack City, but I wouldn't consider that in itself a failure, since I really love New Jack City. What I thought made N.J.C. work so well was it's depicition of the gangster "family" that Nino Brown (Wesley Snipes) was attempting to form and keep together. Belly takes a different approach to look at a similar situation.
In the beginnning on the film we are introduced to the main characters whom we learn are small time felons that quickly enter the big time with some murders at a club. Instead of focusing on these characters and developing a character to be the leader of the gang and focusing on the gangs rise to power, we are instead almost immediately bounced from character to character. Each character's part relies on the previous, but the result is not cohesive. As a result, there is no real main character in the film, which can sometimes work but in this case does not.
I don't understand the criticisms on this film glorifying violence. As with many modern-day gangster films, we have the intelligent gangster trying to break free from the oppression of his gang, and the ending tries to send a clear message. No more violence.
I really appreciated the beginning sequence and was pretty excited at that point. There is some great use of the camera and the "black light" effect in the club reminded me of a modern, ghetto Milk Bar from A Clockwork Orange. Not bad for a first try from Hype Williams.
In the beginnning on the film we are introduced to the main characters whom we learn are small time felons that quickly enter the big time with some murders at a club. Instead of focusing on these characters and developing a character to be the leader of the gang and focusing on the gangs rise to power, we are instead almost immediately bounced from character to character. Each character's part relies on the previous, but the result is not cohesive. As a result, there is no real main character in the film, which can sometimes work but in this case does not.
I don't understand the criticisms on this film glorifying violence. As with many modern-day gangster films, we have the intelligent gangster trying to break free from the oppression of his gang, and the ending tries to send a clear message. No more violence.
I really appreciated the beginning sequence and was pretty excited at that point. There is some great use of the camera and the "black light" effect in the club reminded me of a modern, ghetto Milk Bar from A Clockwork Orange. Not bad for a first try from Hype Williams.
This movie leaves few positive things in its favor. The one positive aspect that does come to mind is the good turns by DMX and Taral Hicks. DMX is not a bad actor, and Taral Hicks gives a truly inspired performance as his devoted, no-BS girlfriend. T-Boz and NAS could really use some schooling and seem horribly out of place.
The whole movie is nothing more than an urban rip-off of the superior, but nonetheless highly overrated, "Scarface." First-time film director Hype Williams makes some poor cinematographic choices that, though they may work in videos, do not pay off in a feature-length project. The colors are murky and dark, and many of these scenes seem just plain empty; no aesthetic value to them at all.
The "plot" of the movie involves Nas and DMX struggling with living a good, decent life that may lead them nowhere or taking the more dangerous road of drug dealing, guns, and money. Hmmm...which would you take? Apparently, they haven't seen the 5 million other movies that have dealt with the same subject matter. If they had, they would have known that drugs, guns, and fast women are just so gosh darned evil. They would have also known that in the end, they would see the light from a good-hearted preacher man who would show them the evil of their ways. Duh!
Oh yeah, and the drug-lord with the heavy island accent is completely unintelligible. What's his point in this movie? Oops, I forgot - it's to add at least one plot point to the otherwise pointless drudgery that is "Belly." My guess is the writers got their storyline AND dialogue from the back of an inner city anti-drug pamphlet. Give me a break!
If you want to see a real gangster movie, see "Goodfellas" instead. It's a lot more original in its story-telling, and the characters are far more believable and entertaining. If urban dramas are what you're looking for, rent the excellent "Boyz N the Hood." It's a lot more inspiring and is filled with rich imagery and great story-telling and direction.
The whole movie is nothing more than an urban rip-off of the superior, but nonetheless highly overrated, "Scarface." First-time film director Hype Williams makes some poor cinematographic choices that, though they may work in videos, do not pay off in a feature-length project. The colors are murky and dark, and many of these scenes seem just plain empty; no aesthetic value to them at all.
The "plot" of the movie involves Nas and DMX struggling with living a good, decent life that may lead them nowhere or taking the more dangerous road of drug dealing, guns, and money. Hmmm...which would you take? Apparently, they haven't seen the 5 million other movies that have dealt with the same subject matter. If they had, they would have known that drugs, guns, and fast women are just so gosh darned evil. They would have also known that in the end, they would see the light from a good-hearted preacher man who would show them the evil of their ways. Duh!
Oh yeah, and the drug-lord with the heavy island accent is completely unintelligible. What's his point in this movie? Oops, I forgot - it's to add at least one plot point to the otherwise pointless drudgery that is "Belly." My guess is the writers got their storyline AND dialogue from the back of an inner city anti-drug pamphlet. Give me a break!
If you want to see a real gangster movie, see "Goodfellas" instead. It's a lot more original in its story-telling, and the characters are far more believable and entertaining. If urban dramas are what you're looking for, rent the excellent "Boyz N the Hood." It's a lot more inspiring and is filled with rich imagery and great story-telling and direction.
Despite any other negative reviews I truly enjoy this movie! The plot line parallels Scarface very closely but is done in such a different way that the movie has a feel of its own. The acting is excellent, and not just for rappers. All the performances in the movie can hold their own without any pretext. The plot in fast paced and intricate with twists, turns, ups and downs. The language is graphic but not unrealistic for the type of characters portraited. All in all this movie is entertaining from start to finish and all of my friends that have watched it with me have enjoyed it (even those that don't like rap at all).
8 out of 10
8 out of 10
This movie is a mixed bag. The fact that it earned a lot of votes of 10 and 1 probably says a lot. I like visually oriented movies, so I found this to be a retina-pleasing movie to look at. The plot is a murky thing about 4 criminals turning on each other, and could have used work. If you rent this, watch it for the ridiculously good use of intense colors and nifty camera techniques. I don't mean that condescendingly; this movie has more to say about color than your average emotional drama has to say about relationships. This movie was not without some hidden value lurking beneath the surface, but the main actors can most charitably be described as "still learning." The character "Big" was probably the best actor, as well as most generally interesting. Plus, can you not love his hair? Despite weaknesses of story, I was satisfied with this movie. It fed my jones for visual movies as well as other flicks like City of Lost Children or Lock, Stock, and Two Smoking Barrels. If Hype Williams had someone else's screenplay and real actors, and he just concentrated on bringing them together visually, I think he could be an amazing new voice to bring hip hop aesthetics to the big screen.
This has to be one of the worst films of 1998. It's amazing how Hollywood allows crap like this to hit the big screen. I recently rented this garbage on DVD. You know it's a real shame when a 21-year-old movie (Deer Hunter) looks better than a movie made last year. My main problem with this movie is that it's like Hype's current music videos it glorifies crime and the drug game. It's quite obvious that Hype needs go to Director Boot Camp and improve his skills. The acting is on the level of a Soft porn flick, with only DMX giving a decent performance. But don't get me wrong he's definitely no 2 PAC, rapping or acting. It's funny because this movie basically represents the way Hip-Hop & Rap is going. To an Over-glossed, unrealistic, mindless spectacle.