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‘Paradise Records’ Review: Rapper Logic’s Anarchic Stoner Hangout Movie Brings Jay And Silent Bob Out Of Retirement – Tribeca Festival
‘Paradise Records’ review: Rapper Logic’s anarchic hangout movie brings Jay And Silent Bob out of Retirement – Tribeca Film Festival
Nevertheless, though the director cites Sidney Lumet’s Dog Day Afternoon as a prime source of inspiration, those two lowest-of-the-early-’90s-lo-fi films – with a dash of Quentin Tarantino’s Pulp Fiction too – are a much more apt comparison for his directing debut, a hangout movie set in a failing record store in the Greater Portland area. The store is run by Cooper (Logic), who — in a surprise move for a rapper in a film that he wrote for himself to star in — is anything but cool, a Napoleon Dynamite lookalike who probably gives away more than he sells, as evidenced when he gives a J. Dilla record to a toddler, simply because his pretty mom smiles at him. The shop is staffed by relatives and friends; his right-hand man is his cousin T-man (Tramayne Hudson), with backup from the nerdy, Lord of the Rings-obsessed Tables (Reed Northrup) and the sensible, almost motherly Melanie (Mary Elizabeth Kelly).
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