Top HipHop Uproxx
Contrary to the statements Kid Cudi has said numerous times during the promo media tour for his new project in the form of multimedia Entergalactic The use of the long-form visual film format as a way to present fresh music has been in use for a long time. Since the day that music videos were used as a method to promote music, the artists have expanded the limits of the format, which has led to shorter films and anthologies or musical movies.
Michael Jackson put out Moonwalker in 1988, and paired some of the songs from the album Bad with short films, concert footage and archive clips. In the video, he transforms into a freaking robot. this song was later used as the basis of an arcade beat-’em up video game. The year 2003 saw Daft Punk made their debut album Discovery into an animated film with the name of the movie, which was a bit clunky. Interstella 5555, the 5tory In The 5ecret 5tar 5ystem. The film brought narrative to the format, by soundtracking every sequence with songs from the album. It told the story of a band of blue-colored aliens who are battling the evil music manager (high cinema, it wasn’t).
Recently, the Beyonce music anthology Black Is King, which was released on Disney Plus in 2020 as an accompanying visual to her album The Lion King: The Gift which is an audio-visual companion for the remake in live action of The Lion King. The album combines both approaches previously with a collection of vibrant and diverse music videos to weave together an unintentional narrative that mirrors that of the film’s original, featuring an outcast monarch who returns to take over the crown. Even Guapdad 4000 put together a short film for his album 1176 titled Stoop Kid earlier this year, plugging the project’s more emotive singles into a semi-autobiographical day-in-the-life coming-of-age tale.
I’m saying all this to suggest Kid Cudi’s Entergalactic isn’t “groundbreaking” in the sense that it’s never seen before. What distinguishes it is the beautiful animation that is utilized in the service of a classic rom-com film industry experts have been quick to inform us is on the verge of becoming extinct. Although Cudi insists on calling the film “special” (artists, amirite? ) It’s a solid choice as a movie in distinct manner. When I watched it on Netflix I could imagine me paying the cost of a movie ticket while sitting in the most comfortable seat in a dark theater, and eating an entire bucket of popcorn as Nicole Kidman delights me with the joys of watching a movie on AMC (and it’s not that I enjoy popcorn!).
If I say “old-school” romance, I’m referring to straight-up New York City, The Day Harry met Sally, You’ve got mail, 27 Dresses classics of the genre, with a few twists. One of them is that it concentrates on Black people in a manner that most standard-issue Rom-coms don’t. The main couple Kid Cudi’s Jabari and Jessica Williams’ Meadow – is Black Their world revolves around a variety of character (played by Cudi’s pals like Ty Dolla Sign, Vanessa Hudgens, Jaden Smith, and Timothee Chalamet, who inexplicably looks like Logic in this scene) and their bizarre creative careers. The film also plays with some of the most revered clichés of the genre but doesn’t hesitate to play with them.
There’s a good reason why there’s not only one meeting-cute. There are numerous close-calls prior to when Jabari and Meadow finally meet and embark on their journey of love. Their dates are highlighted with tracks from the album. When Jabari encounters Meadow in the very first meeting, “Angel” significantly plays in the background. A bicycle journey through the city gets accompanied with “Willing To Trust” with Ty Dolla Sign. Cudi and Williams have a natural chemistry, as does the animation, that has been compared to Spider-Man”Enter the Spider-Verse however I prefer it to be more like Netflix’s amazing animation series “Arrcane -is as precise in its stylization, efficiently conveying emotions of characters, and dazzling with psychedelic images and vibrant color.
In terms of the album is concerned, it’s somewhere between Cudi’s work. It’s not so bland like Speedin’ bullet 2 heaven or Passion The Pain & Demon Slayin’ but does not reach the heights of the debut album Man On The Moon: The End Of Day or his latest release, Man On The Moon III The Chosen. The lyrics are extremely earnest, however, is that an issue? One of the benefits that comes from releasing an album along with an accompanying visual album is that both force viewers/listeners to look at themselves in relation to the other. While a critical critic who is skeptical — i.e. the majority of us might be sneering at the authenticity of the album The film’s subject matter alters the perspective. Because our heroes can’t achieve love unless they’re willing to let go of their armor and become vulnerable like Cudi has been in his songs. The fact that he is confined to his most popular themes could be seen as an act of insecurity or, like the crowd-pleasing tropes in the romantic comedy genre, it can be interpreted as giving people what they would like.
The plot of the film or album is a good fit with the other elements -subplots that involve Jabari’s fear about her work’s pressure to sell out or a dating application that turns into a fraud are discarded after a number of building up. The subplots seem to try to add social commentary to the narrative of the film but are mostly superficial and not particularly insightful. What’s the point? When did we turn here to Kid Cudi for social commentary? It’s OK if things aren’t flawless; that’s one the messages that have permeated Kid Cudi’s music from the beginning. It’s now a part of his filmography, which , like the music he has revealed the potential of a genre of, if just one takes a the risk.
Entergalactic is out now via Wicked Awesome/Republic. The special is available on Netflix.
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