Plot: What’s it about?
Russell Walker (Blair Underwood) runs a hot record label known as Krush Groove, where numerous blazing artists are on his roster. Some of his clients include Run-DMC, the Fat Boys, and Shiela E., the kind of hip-hop stars that not only make a label, but catapult it into the big leagues of the music business. But while the surface is calm at Krush Groove for a time, it soon implodes and unless the right actions are taken, the label could be closed down for good. The main conflict is found with Run-DMC, as the band has just released a smash hit single and is on the brink of superstardom, but Walker is short on funds and unable to press the needed records. But he works outside himself to make sure it happens, resorting to the shifty backing of a loanshark, which is certain to bring more problems than it solves. At the same time, Walker and Run clash over Shiela E., as both men seek to make her their main squeeze. This causes even more tension of course, which means Walker might not only lose his love, but also one his most popular artists. Can Walker hold Krush Groove together, or is it doomed to fall, thanks to egos, greed, and jealousy?
This is the kind of movie that you know has bad acting, dated music, and no real dramatic elements, but it is such a blast of nostalgia, you can’t help but be entertained by the tidal wave of 80s culture that is Krush Groove. We have all the colorful and outlandish hip-hop clothes, the wild hairstyles, and of course, a plethora of those bands that never made it out of the 80s, at least not with their careers intact. But while they weren’t consistent stars, the music they made in this era paved the way for not only others in the field, but also the entire world of hip-hop, so they deserve much respect. So the usual movie elements don’t work out in Krush Groove, the music carries the picture and it proves to be a lot of fun, even now. The roster of musical talent is impressive, with such folks as Run-DMC, LL Cool J, Shiela E., Kurtis Blow, The Beastie Boys, the Fat Boys, New Edition, and ample others are all present. The story is based on the real events around Russell Simmons and his efforts in the record business, so having his real bands involved is special and makes for a fun experience. You have to possess a sense of humor and a taste for the 80s, but if you’re down, then Krush Groove is recommended.
As I said before, the performances in this movie aren’t too good, but since most of the cast are recording artists, that’s understandable. The central character was given to a traditional however, with Blair Underwood turning his feature film debut. He would soon find his most successful times, as he bounced through a couple of television shows and then landed on L.A. Law, the role he remains most remembered for. Underwood has since been in numerous film projects, but hasn’t been able to push himself beyond a supporting character, though his skills are more than solid. In Krush Groove, he brings a youthful charisma that is crucial to the character and it might have been his debut, but he seems to be unfazed in that respect. He seems comfortable within the hip-hop realm and that drives his performance, since he seems natural and at ease throughout. Other films with Underwood include Set it Off, Full Frontal, Rules of Engagement, Deep Impact, Final Breakdown, Soul of the Game, and Gattaca. The rest of the cast is an all star hip-hop parade, many of whom I have listed in the above paragraph.
Video: How does it look?
Krush Groove is presented in 1.85:1 anamorphic widescreen. Of course, it is nice to see this movie in widescreen and Warner has done some solid work here, but as expected, time has taken a toll on the materials. The main issue is softness, as the visuals have lost a step or two of sharpness, though this isn’t that serious. It seems as though most of the films from the 80s have this problem, so its kind of expected. But when you couple that softness with some grain, it causes some contrast flaws that lessen the visual impact. Not to an immense degree, but black levels simply don’t look as stark as they should here. The colors are well presented however, so while this isn’t a top notch treatment, I think Warner has done justice to Krush Groove.
Audio: How does it sound?
This movie seems like a natural candidate for a new Dolby Digital 5.1 option, but instead, we have a 2.0 surround soundtrack. The include track sounds good, but imagine how much more life and presence a 5.1 remix could offer, especially this movie is loaded with music, both normal soundtrack stuff and live performances. The music is solid and has more impact than expected, but still seems a little held back here. So no, the surrounds don’t pulse throughout and the bass isn’t used to full power, but the classic music found in Krush Groove still comes through well. The dialogue is also smooth and never presents a problem, which is good news, of course. This disc also includes subtitles in English and French.
Supplements: What are the extras?
The most substantial extra here is an audio commentary track with director Michael Schultz and star Blair Underwood, with random snippets from Source magazine editor Brett Johnson. I can’t say for sure, but this doesn’t sound like it was done in a single session, as some material is repeated and Johnson’s comments seem canned & inserted. Even so, Schultz and Underwood have a lot of stories to share, while Johnson loads the session with trivia and such. This disc also includes a Krush Groove all-stars music video, a brief featurette with Jimmy Jam & Terry Lewis, a selection of talent files, and the film’s theatrical trailer.
