8 Mile Review
by Laura Clifford (laura AT reelingreviews DOT com)November 7th, 2002
8 MILE
------
Future (Mekhi Phifer, "O") knows his buddy Jimmy Smith Jr. (Eminem) has a genius for rap but Jimmy has to prove it to the people of the streets before he can aspire to cross the Detroit boundary that separates the haves from the have-nots known as "8 Mile."
Producer Brian Grazer ("A Beautiful Mind") combines his passion for hip hop with a prestige director (Curtis Hanson, "L.A. Confidential"), a music superstar and a Rockyesque genre script (Scott Silver, "The Mod Squad") for a solid commercial outing. "8 Mile" isn't a great film, but it is a custom vehicle for a kinder, gentler Eminem and his music.
We first find Jimmy backstage at hip hop club The Shelter, throwing up at the prospect of a 'battle,' where two rappers diss each other until one is approved by audience applause to move to the next round. Jimmy's just broken up with Janeanne (Taryn Manning, "Crossroads") and is living out of a trash bag stashed behind a dumpster. Called to the stage by Future, Jimmy chokes against reigning rapper Papa Doc (Anthony Mackie). With his tail between his legs, Jimmy returns home to his unemployed trailer park mom (Kim Bassinger, "L.A. Confidential) who's currently in an abusive relationship with Greg (Michael Shannon, "High Crimes") which threatens both her and Jimmy's much younger sister, Lily (Chloe
Greenfield).
Jimmy's faced with multiple warring factors. He tries to hold down a job in the face of junkbox transportation and an unfriendly supervisor. His friends Future, Sol (Omar Benson Miller, "Sorority Boys"), DJ Iz (De'Angelo Wilson, "The Antwone Fisher Story") and Cheddar Bob (Evan Jones) dream about their group Three One Third getting street cred while neighbor Wink (Eugene Byrd, "Lift") dangles promises of studio time and fame to Jimmy as a solo act. New love interest Alex (Brittany Murphy, "Don't Say a Word") represents a way out while Janeanne is home. Mom is encouraging when things are going well for her, abusive when they're not. Of course, Jimmy overcomes all by taking his own path.
The screenplay is basic, but does offer a few nice touches. We first hear Eminem rap with a self-mocking reinterpretation of "Sweet Home Alabama." Social commentary is made via the character of DJ Iz, a budding activist. The dimwitted Cheddar Bob, who seems destined to cause a great tragedy, instead becomes an unlikely muse for Jimmy's rap. On the flip side, the final scene is staged like a boxing match, the new love interest is defined by a few conversations and an illicit quickie and Jimmy's defense of a Black gay man smacks of image rebuilding.
Eminem proves capable of carrying the lead, at least when the material is tailored to fit. Rather than show great range in his first outing, he gives an effective slow burn. Phifer gives a charismatic performance as the immensely likeable Future while Miller and Wilson have great repartee as unlikely brothers. Evan Jones plays like a teen version of John C. Reilly. Bassinger gets to slum and is effective as a needy, almost washed up beauty, but Murphy shows no new strips and Manning is underutilized.
Hanson has achieved fine results with a largely inexperienced cast, while also bringing the weedy parking lot flavor of Detroit's 8 Mile Rd. to the screen. The soundtrack, featuring several new Eminen cuts, was amazingly easy to take for someone who normally detests rap.
B
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