G often resembles a glossy BET soap opera...Cherot does capture the decadence of its slick “playas” in the extravagant world of bling-worshipping music moguls
G (2002)
Tomatometer
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Reviews Counted:27
Fresh:7
Rotten:20
Average Rating:4.6/10
Consensus: Race and class struggles come to the Hamptons in this reworking of The Great Gatsby with a hip-hop flavor. Unfortunately, too many subplots and a lack of believable characters spoil an otherwise novel concept.
Runtime: 1 hr 36 mins
Genre: Dramas
Theatrical Release:Sep 16, 2005 Limited
Box Office: $2,964,475
Synopsis: G is a contemporary African-American romance inspired by the classic F. Scott Fitzgerald story The Great Gatsby. Set amidst the grandeur of the ultra elite Hamptons, G follows self-made... G is a contemporary African-American romance inspired by the classic F. Scott Fitzgerald story The Great Gatsby. Set amidst the grandeur of the ultra elite Hamptons, G follows self-made millionaire and rap mogul Summer G (Richard T. Jones) on a journey to regain what he desires most – the love of his life (Chenoa Maxwell), now married to a wealthy and philandering Wallstreeter (Blair Underwood). Having built his thriving empire from the ground up, Summer G would relinquish it all for the promise of rekindling a romance with his one true love. Urban music writer, Tre, (Andre Royo) spends the summer chronicling the lifestyle of this complex rap mogul for an article on the rise of African-American prominence linked to Hip Hop in the Hamptons. Without malice or intent, this writer brings these lovers together while simultaneously pulling their worlds apart. [More]
Starring: Richard T. Jones, Blair Underwood, Chenoa Maxwell, Andre Royo
Starring: Richard T. Jones, Blair Underwood, Chenoa Maxwell, Andre Royo, Laz Alonso, Sonja Sohn, Damian Young
Director: Christopher Scott Cherot
Director: Christopher Scott Cherot
Reviews for G
The F. Scott Fitzgerald's classic, The Great Gatsby, adapted as a modern-day morality play in blackface. This fairly-faithful version explores the same themes as its source material, only with a hip-hop spin.
props for being more ambitious than the average contemporary black romantic drama.
An unpolished but entertaining tragedy filled with outstanding performances and memorable moments.
I still thought there were enough good performances, great visuals, and an interesting examination of a lifestyle in a way that we haven’t seen a lot of times in movies for me to recommend it.
Bottom line: It works even if you’ve never heard of F. Scott Fitzgerald. But it’s twice as much fun if you have.
In nimbly sidestepping the burden of textual fidelity, director Christopher Scott Cherot’s freeform Fitzgerald riff captures the novel’s sense of unrequited yearning better than any of Hollywood’s more slavishly faithful attempts.
Everyone in this movie is getting it on with someone else behind their lover's back, but only the women have to end up suffering for it. Nice, right?
The filmmakers are going for something operatic here with their mix of love and loss, rap and race. They miss. By a lot.
[It] would be a fascinating exercise -- both artistic and anthropological -- if one word of G were authentic, artful or even borderline believable.
The women are shrewishly materialistic, the men are manipulative or violent and the Polo wardrobes look fabulous on everyone. It's an ugly affair overall, but at least you can say you've never seen such beautiful shirts.
Another strikeout, further destroying F. Scott Fitzgerald's film batting average.
The producers may be right to bemoan Hollywood's myopia; but it's the movie's execution, not its vision of an alternative African-American cinema, that delayed its release.
The book was about class and the American dream. The movie is too, though it's most interested in the soap opera machinations of the plot.
Reworking the story with a hip-hop record mogul at its center comes across as little more than a stunt. And not a very good stunt.
The decadent world of Hamptonite hip-hop moguls is a fitting backdrop for this somewhat faithful but not very graceful retelling of F. Scott Fitzgerald's 'Great Gatsby.'
[A] poorly acted, directed and written (but slick-looking) vanity project.
| Tomatometer Percentage | Movie | Date |
|---|---|---|
| 90% 90% | The White Ribbon | 12/30 |
| 100% 100% | Daybreakers | 1/8 |
| | Leap Year | 1/8 |
| 83% 83% | Youth in Revolt | 1/8 |
| | The Book of Eli | 1/15 |
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