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(Speaking of which, the movie is genuinely distasteful in its casual misogyny when depicting the sexual abuse case for which Shakur was convicted in 1994.) This almost invariably allows the film to excuse Shakur for bad actions that the reporter brings up during the interview. Few sequences last longer than a couple of minutes the movie plods along with a “and then this happened” dutifulness, occasionally cutting back to the prison interview to have the reporter ask a pointed question or two. Boom blocks and shoots his scenes with dismal stolidness. Boom’s direction is uniformly uninspired: A reporter’s prison interview with Shakur frames the movie’s first half, and Mr. His killing has never been solved.įrom the opening, Mr. Viewers are also reminded that Shakur was only 25 when he died in September 1996 after being fatally injured in a drive-by shooting in Las Vegas. That missed opportunity resonates particularly at the movie’s end, when text lists an impressive number of statistics concerning his record sales and motion picture appearances. “All Eyez on Me,” a fictionalized film biography of Shakur, directed by Benny Boom and starring Demetrius Shipp Jr., is not only a clumsy and often bland account of his life and work, but it also gives little genuine insight into his thought, talent or personality. During his brief fireball of a career, the rapper Tupac Shakur was a galvanic, frequently confounding figure.
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