Belly

This sickeningly violent film, starring a bevy of rap stars, marks the feature debut of hot video director Hype Williams, and while there are hints of his trademark trippiness, this is basically an utterly joyless endeavor. [04 Nov 1998, p.E6]

Despite its admonitory tone, Belly spends so much time caressing images of material wealth, female exploitation, drugs and murder that one has to worry about its effect on youngsters. But with its uneven storytelling and acting glitches, Belly's dubious moral stance may be the easiest part of the film to stomach. [04 Nov 1998, p.2]

Williams' use of shadows, offbeat angles and slow-motion makes the violence-induced fear and anger palpable. Less convincing is the story itself, which unravels as Tommy and Sincere choose their destinies. [20 Nov 1998]

The heart of the picture has to do with the heroes realizing the error of their ways and finding redemption, but it takes a lot for an audience to forgive two murderers. Belly comes up short. Read full review

The bad acting — make that nonacting — of rappers DMX and Nas merges, all too well, with the shallow dehumanized vision of director Hype Williams. Read full review

Hype Williams is a trend-setting music video director who has decided to take the plunge into feature films. One devoutly wishes he hadn't. [06 Nov 1998, p.L31]

Williams' may represent hip-hop's cutting edge when it comes to videos, but concerning Belly, listen to some classic advice from Public Enemy: "Don't believe the hype." [04 Nov 1998]

It is one thing to hit an audience over the head with a message, but Belly puts it in a big steel drum and drops it on you from a fourth-floor window. [04 Nov 1998, p.E3]

Williams uses some interesting lighting effects and settings (including a subplot about the burgeoning heroin trade in Omaha, of all places). Yet, he has no idea of how to motivate actors or tie several scenes together with dramatic purpose to keep the movie from going belly-up. [06 Nov 1998, p.10]

The rap stars-turned-actors who populate this film exude a real presence, if not a wealth of acting chops. Williams' script is a real muddle, however, reinforcing the worst clichés about video directors who make the leap to feature filmmaking. Read full review

The lesson to be learned here is that movies are far more complex than music videos. Most videos require little or no thought of plot, structure or characterisation, but look great. Which is probably why Williams is so good at them. Read full review