![]() Much of this extraordinary LA story really does deserve to be presented as legend. Mitchell’s Eazy doesn’t live long enough to grow up. Hawkins’s performance allows Dre to slowly evolve from irresponsible young dad to a new kind of mogul. The spit of his dad, Jackson comes across as the cool rational centre of the trio. ![]() The film is, of course, really about the relationship between the three main talents. His version of Jerry Heller, the man who sold NWA to the world, is much less unpleasant than his take on Eugene Landy in the recent Brian Wilson biopic Love & Mercy, but he has great fun with the manager's sudden willingness to take offence when he becomes the target of Cube's hip-hop disses. Paul Giamatti is first class in the Paul Giamatti role. This being a film about the music industry, the guys are soon introduced to an ambitious, but ultimately dubious, manager and set about changing the world for 25 per cent less than they deserve. (As has been the case for 30 years, MC Ren and DJ Yella struggle to hold the limelight.) Initially a facilitator, Eazy reluctantly gets behind the microphone and generates the defining Boyz-n-the-Hood. Elsewhere, Dr Dre (Corey Hawkins) and Ice Cube are homing their respective talents as impresario and rapper. We begin with a storming sequence in which the sometime Eazy-E (Jason Mitchell) runs into trouble while negotiating a drug deal. Those concerns and reservations noted, it must be admitted that Straight Outta Compton has earned its rampaging success. The 1988 track that gives F Gary Gray's film its title – among the most arresting of the decade – sneaks out in disappointing spurts and gurgles when it deserves the startling, joyous reveal that Teenage Kicks enjoyed in Good Vibrations. In one area, that study of the Northern Irish punk scene betters Straight Outta Compton. However, as a celebration of how social unrest triggered great music, the film does earn a deserved place alongside the recent Good Vibrations.
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