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Score: 5 out of 10 The Video Presented in a 1.78:1 anamorphic widescreen enhanced for 16x9 televisions, Get Rich or Die Tryin''s transfer is fairly solid, with a few noticeable bumps in the road. Still, the movie's narration hammers home every point, and there's not a lot here that feels fresh and original.
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The film also eventually comes around a bit in its delineation of the internecine turf war between (and within) Marcus' gang and the Colombians, with whom they have an extremely uneasy and divisive relationship. What helps save Get Rich or Die Tryin' is 50's innate watchability - be it in a scene of him pantomiming rage in a car rearview mirror, or reconnecting with Charlene (Joy Bryant), his childhood crush, he has a quiet charisma.
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There are some telling moments of heartbreak - such as when the orphaned Marcus tells local drug kingpin Majestic ( Lost's Adewale Akinnuoye-Agbaje) that he needs a gun, but reflexively confesses that he doesn't know why, and when Marcus' grandmother mournfully describes herself as the "protector of a child that will one day die" - but these are almost always undercut by a litany of stock inanities that spell out exactly what we're already bearing witness to, such as, "I had it all, but still, something was missing." There are also some downright bizarre passages, such as when the aforementioned Majestic introduces crack cocaine to his gangland compatriots, and delineates the rules of drug dealing thusly (and I'm only slightly paraphrasing here): 1) never leave it in the house, 2) get your own crew, 3) discipline your crew, be tough, 4) don't praise them too much, 5) never show love, because love will get you killed, and, 6) and I quote, "never take the panties off this bitch." Thanks, Tony Robbins! Can I book you for a Kiwanis Club speech? For those who can't get enough hot prison action, there's also a five-man, naked knife-fight scrum roughly an hour into the proceedings. Gone is any sense of Sheridan as a visual poet. Foremost of the film's several problems is stultifyingly obvious narration. All the while, though, he harbors thoughts of cutting a rap album as Young Caesar, and when he gets pinched in a retaliatory hit on some Colombian pushers and sent to the pin, he hooks up with Bama ( Crash's Terence Howard), who becomes his musical manager. It's not long before Marcus has his own crew and a brand new Mercedes.
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Due to his sheer work ethic (he'll take change, and even pennies, from crackhead fiends that others won't bother with), he comes up - big time, as Dick Cheney would say. From there, he turns to drug-dealing and the street. When she's killed, Marcus hardens emotionally, and goes to live with his grandparents and cousins in a crowded house. The story opens on an adolescent Marcus, the only child of a single mother who herself deals drugs. But it doesn't attach anything more than capitalistic motivation to 50's dreams, and as such the burgeoning rap artist and drug feud portions of the picture feel like two irreconcilable halves of a hopelessly muddled whole. Whereas the Detroit-set 8 Mile was rooted in concrete fashion in a slightly more innocent time - when beefs involved fists and paint guns, not real rounds - Get Rich or Die Tryin' is definitely grittier. Perhaps fictionalized to take just a bit of the edge off of 50's significantly harder-edged life (he was an admitted drug dealer, and survived a shooting that left portions of nine bullets in him), perhaps just to avoid dredging up specifics, Get Rich or Die Tryin' significantly blurs the line between fact and fiction, but in a way that ultimately blunts the impact and allure of the movie, since it keeps us at arm's length from its subject. (Bono also inspired pals Maurice Seezer and Gavin Friday to join up with Quincy Jones for the movie's musical score.) While Sheridan, working from a script by Terence Winter that he refashioned, shoots a compelling frame, the story feels arbitrary and somewhat familiar, unconnected to the larger-than-life personality on which it's being sold. The U2 frontman, Nobel Prize nominee and man-of-the-world, meanwhile, was responsible for hooking up music impresario-turned-film producer Jimmy Iovine, 50 and director Jim Sheridan ( My Left Foot, In the Name of the Father, In America), with whom he's friends.