It’s hard to believe that in the 1980s, law enforcement types feared and reviled N.W.A as the biggest threat to the peace since the invention of the AK-47 assault rifle. “Compton’’ and “The Social Network” bear this common message: The key to striking it rich is giving the people something they had no clue they needed. He overcomes middle-class angst and lawsuits to co-found the multibillion-dollar Facebook website.
#WATCH 23 STRAIGHT OUTTA COMPTON SKIN#
Some critics compare the movie, which is going gangbusters at the box office, with a multiracial audience, to “8 Mile.’’ That semi-biographical film stars white, Detroit-bred rapper Marshall “Eminem’’ Mathers III, who overcomes the color of his skin to make it in the African-American-dominated hip-hop world.īut I see greater parallels with “The Social Network,’’ the biopic about white Harvard University dropout Mark Zuckerberg. The film’s chief bogeymen are white cops, and even a black one, who get off on harassing, beating and handcuffing innocent men for the crime of looking, in the film’s parlance, dope.
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Featuring an appealing assortment of fresh-faced young actors, the movie demonstrates that the greatest ills facing African-American males are not bloodthirsty street gangs, poverty, unemployment, drugs, unscrupulous managers or their own misogyny. Now comes “Straight Outta Compton,’’ Tinseltown’s sanitized treatment of pioneering West Coast gangsta rappers N.W.A. “Philomena’’ took a story rooted in fact to sell the myth that in the 1950s and ’60s, mean Irish nuns, and the entire Roman Catholic Church by extension, routinely ripped children born out of wedlock from the arms of their mothers and sold them to Americans. “Pretty Woman’’ sold the fable that a hooker with a heart of gold who looks exactly like Julia Roberts is eager to melt the cold, dead heart of a billionaire john who looks astonishingly like Richard Gere. Hollywood has long spun fairy tales to a gullible public searching for life lessons.
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