Get On Up (2014)

Get On Up: Directed by Tate Taylor. With Chadwick Boseman, Nelsan Ellis, Dan Aykroyd, Viola Davis. A chronicle of James Brown’s rise from extreme poverty to become one of the most influential musicians in history.

“Two viewings in three days, to fully appreciate the magnificent achievement thatu0026#39;s on screen. Not one extraneous word, scene, shot or sequence. The whole is as tight as James Brownu0026#39;s hits – or his pants.u003cbr/u003eu003cbr/u003eThe underlying construction of these snapshots of James Brownu0026#39;s life is flawless. Far from being haphazard or out-of-sequence for mere u0026quot;effect,u0026quot; this non- linear storytelling technique has rarely been used with greater impact. Thankfully, Tate Tayler, Mick Jagger, the other producers and writers, decided AGAINST the boring born-in-a-shack and then this happened, and next that happened, and finally he died structure.u003cbr/u003eu003cbr/u003eResult? The film has unexpected rhythms that never let go and build to the astonishing, electrifying re-creation of Brownu0026#39;s Paris concert that – even on second viewing – had me jumping out of my seat, fist-pumping the air and screaming, u0026quot;YES!u0026quot;u003cbr/u003eu003cbr/u003eI wasnu0026#39;t alone.u003cbr/u003eu003cbr/u003eChadwick Boseman may be the black male Meryl Streep. His technical achievements alone are remarkable: Brownu0026#39;s moves, speech rhythms and timbre – but mainly his lip-syncing to Brownu0026#39;s vocals: flawless!u003cbr/u003eu003cbr/u003eEven in the final moments, as the aged Brown silences his band, then begins the haunting u0026quot;Try Meu0026quot; a capella – in a closeup so tight you practically see Bosemanu0026#39;s tonsils, his mouth, tongue placement, breathing and facial emotions are so perfectly and intensely aligned with Brownu0026#39;s voice youu0026#39;d swear Boseman were doing his own signing.u003cbr/u003eu003cbr/u003eBut Boseman is equally true portraying Brown at any age, any stage, from any distance. You canu0026#39;t fake that level of acting proficiency. Whether he wins best actor, he is certain to (deservedly) be nominated.u003cbr/u003eu003cbr/u003eBosemanu0026#39;surrounded by an equally perfect cast, not one of whom rings false: ultimately a tribute to the director – stunningly supported by the script, cinematography and editing.u003cbr/u003eu003cbr/u003eBy comparison, Clint Eastwoodu0026#39;s u0026quot;Jersey Boysu0026quot; looks exactly like what it is: a tired, clichéd jukebox Broadway musical with great old safe, whitebread hits (distinguished mainly by Frankie Valliu0026#39;s falsetto) and nothing else to write home about.u003cbr/u003eu003cbr/u003eJames Brown, on the other hand, was always in your face. So were (are) Mick Jagger and the Stones. And so, rightly, is u0026quot;Get On Upu0026quot; as a rousing cinematic experience that has to be seen to be believed.”