User Reviews

Terrence Howard plays a Memphis pimp who decides to give hardcore rapping a shot in this arresting, gritty drama. Howard plays DJay, who pimps girls out of his beat-up Chevy Nova. When he comes into the possession of an electronic keyboard, DJay plays around with it and finds he has a talent for writing and performing hard, violent lyrics.

On its face, this seems like a typical "man rises from the ashes of his hardscrabble life to experience success and then watches it all crash down around him" kind of movie. It's not a movie about suffering, success, and redemption, in other words. But it's not as predictable as it may seem at first blush, and Howard is not your typical actor, by any shot.

DJay lives with his small stable of prostitutes in a tumble-down shack in the Memphis ghetto. As pimps go, he's not exactly Donald Trump. Some dance for an exotic club during the day and hook at night; some hook all day. But the money's not rolling in for DJay, who remains somewhat confident that he'll someday come out ahead. When he obtains the keyboard, inspiration strikes, and a chance encounter with an old classmate (Anthony Anderson) who's now a producer (of sorts) gives DJay the opportunity to jump out of the rotten life he's carved for himself.

This never feels like a typical rise-and-fall story, and that's thanks in no small part to the powerful performance by Howard, who's much better here than in the critically lauded (by some) Crash. Appearing with Howard in Crash was Ludicrous, who also has a big role in Hustle and Flow - hey, some rappers are very good actors, it turns out. Howard, aided by a crisp script from Craig Brewer, who also directed, never portrays DJay as simply a nice guy with some flaws, someone who's been handed a bad hand and is making the best of it. It's clear that DJay's made all of his own choices, and the situation he finds himself in - depending on hookers for his livelihood - is of his own doing.

But neither does the script show DJay as being entirely bad, either, as evidenced by some surprisingly tender, moving scenes between DJay and Key (Anderson) and DJay and Shug, his pregnant woman. These scenes don't come off as stilted or insincere, and that's thanks especially to Howard's strong performance. True, too, are the scenes in which DJay lays down a rap track in his home; you can feel the rage seeping through your television.

This movie might be a difficult sell to those who have trouble relating to the environment and atmosphere in which DJay operates. Undoubtedly those who grew up on the wrong side of the tracks will recognize aspects of their own lives, identifying strongly with one or more of the characters. But even those of us who have never lived in squalor, who've generally had advantages that others do not, can appreciate the intense, gray world in which DJay and his associates live. Had this been a simple, typical biography of a musician from the mean streets, it wouldn't have had near the effectiveness, the passion of Hustle and Flow. The movie intrigues you, makes you want to know what happens to DJay, even when it's obvious he's a bit of a jerk. But because he's not a stupid man, his actions cannot be painted as simply good or simply bad. Howard, in particular, is well deserving of his critical accolades here.

A very good film. I have noted criticism that the film slips into formula in its second half; true. But the situation is so bleak for these characters, I doubt that American audiences would have accepted a more believable ending; and, after all, there were far worse "happy" endings that it avoids.

The gritty staging, the solid no-frills camera-work and editing, and some really excellent performances make this well worth the effort to confront dishonest characters struggling to find some sort of integrity in their efforts to survive and succeed. These characters are not likable - none of them are, they each have a tic that denies them total sympathy from the audience. But they are all very human for that, and so ultimately win our respect if not approval.

Among the actors, two performances especially shine. Terrence Howard as DJay shows timing and expression worthy of much older, more "schooled" actors. Anthony Anderson is a real and pleasant surprise; stuck in character roles for the past decade, Anderson has become a real annoyance to me, as the usual character he plays is really excessive, a caricature. In this role, he is allowed to just act, and he delivers a wholly believable multifaceted performance.

Hollywood has been producing such bad films that saying this film is among the best released this year may not be saying much (there are real and undeniable weaknesses to the film). Nonetheless, on the whole, the film is a commendable and rewarding effort to present a drama involving human beings living close to real life, and not cartoons. I credit that effort, and recommend a viewing.

(Synopsis) DJay (Terrence Howard) is a streetwise hustler and Memphis pimp with a stable of 3 girls, Shug (Taraji Henson) who is pregnant and not working, Lexus (Paula Jai Parker) who works in a strip club, and Nola (Taryn Manning) who works out of DJay's old beat-up car in a back alley. Even with two girls working and DJay selling dirt-weed on the side, it is hard for them to make ends meet. The utility company is about to shut off their utilities, if they don't pay the bill. DJay feels that he has hit rock bottom, and he needs a change in his life. A bum trades him a Casio keyboard for some weed, and DJay takes it home. While playing the keys, DJay gets an inspiration to write rap music. He begins to write down his pimping style raps, his flow, in a little notebook while Nola is turning tricks. DJay runs into Key (Anthony Anderson), an old friend and sound engineer, who takes him to a church choir performance that reaches DJay's soul. DJay looks inside his soul and decides to get out of the business, and now he has a dream of becoming a rapper. DJay teams up with Key to make a demo song. Skinny Black (Ludacris) is a platinum selling rapper about to return to Memphis for the 4th of July. DJay believes he can hustle Skinny to hear his tape, and his dream will come true.

(Comment) The movie was filmed all around Memphis during 2004. Memphian Craig Brewer wrote and directed 'Hustle and Flow,' and I went to the red carpet movie premiere in Memphis on 6 July. Craig Brewer told the audience about his father's watch that was used in the movie, and he was wearing it for good luck that night. He was also wearing a 3-carat diamond ring that belonged to Sam Phillips. As for the movie, Terrence Howard's role as DJay is a remarkable one in that he becomes immersed in the character of DJay. Howard comes off as a real pimp with all the anger, conflicts, and frustrations, which he encounters in life. There is no such thing as a good pimp, but the character of DJay realizes that his women have dreams too, and that he wants to change everything around him and them for the better. The subject matter and the lyrics to the rap music are a little rough, but the movie is a good one to see. (Paramount Classics, Run time 1:54, Rated R) (8/10)

Incredibly moving, yet definitely not for everyone, Hustle & Flow tells the story of D-Jay, an incredibly conflicted Memphis pimp down on his luck. In one of the most raw and intense performances of recent memory, newcomer Terrence Howard embodies D-Jay with an animal-like ferocity that will help you overcome what few formulaic clichés embody the script. In his mid forties, D-Jay seems too old and far too nice for his profession, and his "hos" seem to take notice. You see, D-Jay represents a lifetime of failed dreams, ambitions, and wrong turns. It seems as if it could all be over, but then fate offers him the opportunity to realize his life-long goal of becoming a successful rap star. D-Jay pours his heart and soul into his music, just as Howard pours his into the performance, and the result is somewhat of a urban Rocky, a true underdog tale. This is perhaps the first hip-hop film to actually get it right, and everything that 8-Mile should have been. Don't let the subject matter keep you from enjoying Howard's brutal tour-de-force.

As a member of the Hollywood community, I was blown away by this film... By the tight screenplay, the professional direction, and the phenomenal acting. In my opinion, I think this is one of the best films of the year so far.

With that said, it is not a film for children. It is not a film meant to portray ideal role models for children. It IS a film meant to realistically depict the lives of people who live at the very bottom of America's socioeconomic ladder.

If you find yourself unable to reserve judgment against people born into a life so vastly different than your own, you will probably not like this film. In order to appreciate it, you have to be able to see past the moral and ethical ambiguities of these characters.

So if anyone feels unsure whether they can handle the ugliness of this type of world, but still feels curious enough to see it, take a cue from the Anthropologists...

When studying a culture vastly different than your own, make sure to leave the rights and wrongs of your society at home. Because once you impose the moral judgment and ethical standards of your world upon another's, you've sacrificed your objectivity. And by doing so, miss the very point of empathy.

...and I enjoyed it. What saves the film from being just another badly made 'hood flick, is Terrence Howard. I am so glad Craig cast an actor and not a rapper to play the lead. Terrence brings depth of character, pathos, and sympathy to a low brow pimp with low quality product to hustle.

This movie could've turned out bad with clichéd acting and over the top performances (there were moments where I felt his strip club whore was too much), but what makes you stick with the story, is that you really feel sorry for these people and you want them to succeed. The producer Stephanie Allain was at the L.A. premiere, and said that the character wanting to have a dream of better things was the universal theme that struck her. Craig (the director) also said that the story used bits and pieces of his own life and people he has met in Memphis to craft a story that really does happen to a lot of black people trying to get into the rap game. True, the hook of the story, a pimp wanting to be a rapper, sounds really funny. Lord knows if Mike Epps or Brian Hooks (or God forbid, Snoop) had been cast in the lead, this movie would've turned booty real quick. But once again, Terrence Howard makes this story come alive. I enjoy rap, but don't find crunk and a lot of lyrics enjoyable, but I must admit, in the context of the world it comes from and the hopes that these characters have, I was one of many people (the black ones in particular) who found myself swaying and singing the lyrics to "Whoop that Trick" et al.

As for the person on this board who commented that he too was at the Los Angeles Film Festival and found the white characters "acting black" tiresome, it must be said that in the south, black speech patterns and culture get picked up by whites. Living in close proximity creates that, and I didn't feel that the white characters were playing black. There was one comment in the movie where DJ Qualls arrives and Terrenc Howards character pulls Anthony Anderson aside and and questions the white boy's skills as a beat junkie, but that was the only time his color was brought up. But it was natural, no different than guys from Metallica questioning the skills of a black dude auditioning for a guitar gig. The subtext was simply "Does this dude even listen to crunk music?" Once his skills are proved, there is no question of race anymore.

The film should do well. I will see it again with my mother. Yes my mother. She loves Terrence Howard as much as I do, and I feel the movie should have a wide audience, young and old (with parental supervision). I enjoy watching Terrence Howard work, he makes you feel everything he feels on screen, and if this thing doesn't make him blow up, I don't know what will. He is the movie. See it for yourself and decide for yourself. Cuz it's hard out here for a pimp, ya'all.

Ps. For those feminists who get their panties all twisted because of any images of female exploitation, I must comment that all the women in this film (as broke down and trashy as they are) have dreams too, and Terrence's character realizes that they deserve better and strives to help them by helping himself. There is no such thing as a good pimp (like there is no such thing as a good slave master) but what redeems Terrence is that his pimp transforms his life and all those around him for the better.

I just saw this flick to a packet house in NYC and the entire audience, myself included was with every frame of this film. Every single beat hits exactly where it is supposed to. Every review I read talks about the music and the acting, but how about how genuinely funny this film is a way that few are?

They took the material seriously rather than letting it devolve into schmaltz or comedy. The direction is straight on, no BS, no showy shots. They take their time with each scene.

Good story, perfect characters well realized. Witty, crackling dialogue. You can't make this stuff up. And comparing this to 8 mile is like comparing dogshit to gold.

A deeply flawed protagonist who is able to reach into himself and transform himself through the power of art, larger themes involve the disillusion with fame, consumer culture.

This is everything a film is supposed to be. If it makes you feel good to knock this film, then you are a snob. If you think can make a better movie than this, then go ahead!

People who love movies love this film. This is what film is about.

"Hustle & Flow" is a very strong directorial from writer/director Craig Brewer, and it is very worthy of the buzz that it has been generating for the last couple of months. I got to see it last night at an AFI screening at Arclight Cinemas in Los Angeles, and the audience really reacted positively to what they saw. The story is similar in some respects to "8 Mile," but it is a far better movie (and "8 Mile" was pretty good too). It features a tremendous performance by Terrence Howard as a low level pimp who suddenly breaks out of his dark surroundings to become a respected rapper. Craig had commented that had he made this movie within the studio system, he probably never would have been able to cast Terrence in the movie, and that would have been tragic. Anthony Anderson is also excellent as his friend/producer, and there is also Taryn Manning who is very strong in a role as a prostitute who wants to do more with her life. It's a movie with a lot of heart and integrity, and will appeal to anyone who has ever aspired to something with all their heart, regardless of the road blocks ahead. Here's hoping that "Hustle & Flow" gets the audience it truly deserves!

This is not a movie as much as it is a film. It depicts the seaming underbelly of the drug-infested music scene in the poor areas of Memphis. The cinematic properties and writing are like something out of a rap video crossed with a John Woo movie. It allows the viewer to delve into the life of an up and coming rapper slash drug dealer going through a mid-life crisis. Everything is so miserable that you can't help but develop a sense of compassion for the struggling performer that is the protagonist. You find yourself wishing for a happy ending. There is actually a sense of purpose within watching the film; something rather rare in this genre. All in all this is definitely a film worth watching.

I recently had the pleasure of viewing a local Hustle & Flow screening. I referred to this site beforehand to look at the technical details of the movie and to gain a general understanding of the buzz from the message boards. All I seem to recall reading were negative comments about the movie saying that it was such a cliché. Well, maybe I haven't seen as many movies in the hip hop coming of age genre, but the only movie I recall being remotely close to this one was 8 Mile (which I liked btw). Anyways, I saw the movie and I really don't think it was that cliché. The dialog is definitely original, the characters are original, the location is original, and there is a lot of depth within the character of DJay, the pimp trying to become a rapper. I thought the acting in the movie was excellent and I am glad that there is a wide release movie out this summer that isn't a sequel and didn't cost $200 million to make. This movie is bound to do very well, it only cost $3 million to make and it is a pretty good movie. The only problems I had with this movie were with some of the logic and character motivation. I don't think the movie explained very well WHY DJay (the pimp) wanted to become a rapper all of a sudden. They make the entire music making process seem like a piece of cake, but hey it is a movie and there are ultimately time constraints. I thought DJ Qualls was gonna be just a really lame piece of comic relief, but he actually adds depth to the film. I found Hustle & Flow to be very enjoyable and much more memorable than Batman Begins (which I saw last night!). This movie is definitely worth seeing this summer.

Terrence Howard, as "DJAY," is, as usual, brilliant in HUSTLE & FLOW. There are too many stereotypical characters and events in this movie for it to have the real depth I expected. It's as if someone told the screenwriter, "this is how black people MUST be portrayed. They must live down to THESE stereotypes." There are several hiccups in the flow of this story, certain plot points that should have been either explained or omitted. As seems to be expected, DJAY resorts to violence, and is arrested, as so many unenlightened people expect of black males. There is no explanation given for any of the relationships DJAY has with the women he exploits, though they seem to have strong bonds with him and each other. Ultimately, this is a movie that had potential, but seems to have needed some script revisions. It is a vehicle that is far beneath Terrence Howard's brilliance. I won't give up on Howard, though; I still intend to see every movie he is in. I just hope he makes better script choices than HUSTLE & FLOW.

In the DVD extra making of, you find out every studio passed on it till John Singleton decided to finance on his own. Well, those studios for once were right. This "pimp" never shows any musical talent, nor a Dream to be involved in the music industry at all-then Wa-laa, he has a burning desire to start spitting, and the world needs to listen. And somehow, this has been a lifelong dream? Its more like his life long dream has been to make money by any means necessary, so I guess becoming a rapper fulfills that dream in a way. This main character isn't anyone of any morals or ethics, his one admirable quality is that he allows a pregnant whore to stay at his crib, wow, this guy is my kinda guy. And in the making of extra, the cast and crew treat this piece of garbage like it was the most important film ever made-and a story that HAD to be told. God help us.

Movies and music, that's the winning combo when it comes to industry amalgams but haven't we seen it all? We have the good; The Bodyguard and 8 Mile, the bad Honey and the downright ugly aka Glitter (put the crossbow down, I had to mention it). However, this John Singleton produced flick snipes at the genre from a different angle.

The increasingly talented Terence Howard (recently seen in Ray and Crash), plays DJay, a pimp turned rapper who wants to prove his worth and swap his tricks for a trade in America's crunked up south.

Newcomer Craig Brewer takes the helm as we visit Memphis and see it through the eyes of the down but not outters consisting of DJay and his working girls. When he reunites with school friend Key (Anthony Anderson) they decide to take charge of their lives and realise their dream by putting together a demo tape of their skills, with the hope of hitting the big time.

This is not a bad movie, in fact Howard is equally as convincing as a pimp with a newly found heart and as a rapper, something that was both a bold and a fruitful choice. If the star hadn't convinced on any level it is a sure-fire guess to say a non-rapper would never be allowed to rap in a movie, but he did and he did it well.

The standard underdog making it to the big time route has been bypassed and replaced with a story that hold's your attention and has an unpredictable and real conclusion.

Amongst Flow's supporting cast, Isaac Hayes takes stage as the bar-owner who puts DJay in touch with the hometown's former star- Skinny Black, played sneeringly by Chris 'Ludacris' Bridges. As well as these two familiar songsters, Anthony Anderson and DJ Qualls, of Road Trip fame, make up the group and put in solid performances. The female cast who constitute DJay's trade are Eminem's ex-girlfriend in 8 Mile, Taryn Manning and Paula Jai Parker as the outspoken Lexus, again all providing non-sterling but convincing turns as part of the phat pack.

But it is Taraji P. Henson's part as the heavily pregnant Nola who catches the eye as a sweet and naïve part of the outfit. It is her who seems to be the only person that allows DJay to relinquish his sometimes brutal pimp suit and put on something more responsible and caring as he ventures out hustling for his right to fame.

This is not your standard cheer at the screen rise-to-fame story that Americans seem to love, too much. What it is, is a well thought out project that takes you on a journey of trials and tribulations that are the all more convincing when performances by Howard, Manning and Henson garnish the story.

Have you ever woke up one morning feeling tired and burnt out? Then something dramatic happens in your life and you see the world differently. "Wow!" That is exactly the moral being told here. There is humor, sadness and anger in this film. I cried three times, and yelled at the screen twice. I haven't felt this moved in a movie since Tom Hanks lost Wilson, the soccer ball, in The Castaway.

Everyone has to go see this movie regardless of race, age, (18yrs) or gender. I give this movie the highest rating for a director and performer.

Thank You, Staci Schacht

Terrence Howard turns in a perfect performance as a pimp, pusher and aspiring rapper, working all the angles to get his first record made and leave the mean Memphis streets behind.

This is a gritty and moving story. Its raw (in places), dark and believable, and of course the music is great, I've had that Oscar winning song stuck in my head for days now. Some excellent sections of dialogue too..."I'm here trying to squeeze a dollar out of a dime, and I ain't even got a cent man."

Howard is fantastic but I also reallyfell for the sub cast of extended family and friends; Taryn Manning,Anthony Anderson, DJ Qualls, Taraji P. Henson, all these charactersshow varying degrees of desperation.

I just got back from seeing this at the 2005 Sundance film festival and must say this was a fantastic movie. It should easily be the best movie to come out of the festival, and best I have had the opportunity to see there in my half dozen years of going (Its lucky to get tickets to anything these days, let alone something great). Right off I have to say the cast was absolutely amazing, several break out performances for sure,I really liked Taryn Manning (what a beauty) and Taraji P. Henson was simply emotional to watch. Then Terrence Howard, this guy has been doing some supporting roles and been rather likable, but this is totally something else, he lights the screen on fire. You could say he's the next "it" black actor, but really black,white,yellow,magenta whatever this guy drops it like its hot here, this performance will make you keep an eye out for his next movie on the IMDb. As for the story, well its about a hard livin pimp from Memphis wanting to accomplish a dream of becoming a rapper and getting his songs heard. The plot isn't that complicated which in this case is just fine because the greatness is in the details of the characters. I felt like you really became more attached to each character along the way, thus making for a much anticipated ending. The ending, I wont give it away but it is doesn't sell out and at the same time is very satisfying. If you are a fan of rap music, hip hop,crunk whatever you will very much enjoy this movie and the music is very well done. However I will also throw this out there, my 50 year old mother who thinks rap music is foul and has zero interest in gritty subject matter (ie, Pimpin) saw this movie at Sundance and thought based on the acting alone it was the best movie she had seen. Whup dat Trick!

A film that you would think is "deep" if you saw it in 8th grade.

Hustle & Flow is a 2005 music drama that follows the life of DJay as he seeks fame through music.

The Good: The film is gritty and no character has a straight walk to success. The film keeps the audience on its toes cheering for the protagonist each step of the way. The setbacks suffered keep the carrot of catharsis always one step ahead.

But upon further inspection, we see that where the film could have taken different directions (or the same ones further). Whenever the film had those opportunities, it hesitated. Many more decisions could have happened that'd give the movie a deeper meaning. Though the film means to show struggle, some important things happen too easily to be believable.

Some character development is rushed for the sake of the plot but leaves holes in the plot. The film seems to rush a few too many points.

Yet, Hustle & Flow is still an enjoyable film. Great to see if you want some drama that you don't want to dwell too much on.

3/5. Average, enjoyable but not great.

I saw the preview of this movie a couple of weeks ago and loved it. You can't help but feel sympathy for DJay. This movie shows you that in a split second your whole life can change, and most of the time in a bad way. Terrence Howard is absolutely powerful in this role. As much as I hated his character in Crash, I felt so sorry for this character (DJay) he played so well.

I laughed, cried and wondered silently to myself, how many people live like this. Sometimes just having a dream is not enough.

I hope this movie gives Terrence Howard the recognition he so deserves. I have been rooting for him for a while now and hope that this will be his breakthrough.

"Hustle & Flow" shows the power of ambitious arts expression among poor and working class folks that recalls "Billy Elliott" and "The Commitments" though crossed with "Rize" and "Glengarry Glen Ross" as these characters are more Mamet-ish than "The Full Monty."

The initiating plot device of a home town success's return as a networking aim or a big audition has been done before, including in showing how a community or faux family bands together to support the aspirant, but writer/director Craig Brewer showcases some original elements, especially in the ironic conclusion.

Brewer is helped enormously, beyond some of the stereotyped, if very funny, language in the script, by the heartfelt cast. The film belongs to Terrence Dashon Howard, from the opening focus on his mouth, and he is electric in conveying "DJay"s calculating and changing moods, from salesman to paternal partner to artist to enforcer.

Anthony Anderson well plays a very different hard-working, a bit hen-pecked if loving husband, than his gang leader in "The Shield" but is positively charming.

Ludicrous has to play a bit more of stereotype, as a gold-toothed rapper, than his low level criminal in "Crash," but is quite good.

While the women characters are considerably problematical as to why they are even with these guys except for being dumb or some possible abuse in their backgrounds that has led to their lack of self-esteem and/or drug addiction (including in their self-denying appearances as the black women have hair straightened or died blonde and a blonde with hair extensions) despite some occasional signs of rebellion, the actresses surmount that to create very individual people with burgeoning hopes of their own, as they hesitantly are drawn into "DJay"s fantasy, including one's role as "principal investor."

The cooperative artistic creation process is among the best scenes in the film, even if has an updated Mickey Rooney/Judy Garland "Let's put on a show!" feel.

Dedicated to the late Sam Phillips, the founder of Sun Records, and co-starring legendary songwriter Isaac Hayes, the film portrays a bit of a fantasy of a cross-section of the Memphis African-American community from the '50's to the present in its diverse musical soundtrack and look, even as it finally recognizes that times have changed, from musical equipment technology and air-conditioning to showing that the cops and prison guards are also black.

It is kind of wistful to think a jheri-curled, rapping pimp would have a blues station button set on his radio, consider Otis Redding his singing idol, cry at gospel in church, as the hip hop culture isn't usually so old school, not to mention the odd boast that hip hop originated in the South, especially as the final catchy product sounds like last year's summer, Bronx-created hit "Lean Back," even if the language still won't get it radio play. Memphis, though, is so evocative of music, that almost every shot recalls its history, like the bridge that overlooks where Jeff Buckley drowned.

Without quoting Langston Hughes, certainly all these characters are haunted by the theme of "What happens to a dream deferred?" even if hip hop culture isn't quite the Harlem Renaissance.

This was the best film I saw in 2005 and I doubt anything this fall will be able to top it. When I first saw the previews, I assumed that it would be another in a string of weak hip-hop films that have been released recently. However, the Sundance buzz and critical acclaim hooked me in and I'm glad because it is a really great film and though the Oscars will probably snub it, it deserves an award for Best Actor (Terrence Howard). Howard's character, DJay, is a Mephis pimp who is struggling to make ends meet after his number one moneymaker, Shug, becomes pregnant and another hoe starts acting up and he has to kick her out of his house, in a particularly violent and disturbing scene. A chance run-in with old schoolmate Key, who has small business recording gospel choirs and legal depositions, encourages him to re-think a career as an emcee. With a little convincing, Key agrees to help DJay and the two set about recording DJay's raps with the help of an enthusiastic white boy (played by DJ Qualls) who has a penchant for making dope crunk beats. The film has been compared to "8 Mile," but it is actually a much different, much better film with more focus on the music and less on the protagonist's personal problems. There are some great lines, including DJay's soliloquy at the start of the film, and some very humorous scenes, especially with Nola, DJay's "snowflake," who steals every scene she is in. And the music is amazing! These beats are as fresh as anything coming out of the Dirty South right now. It is rare to see a film where every character is played perfectly, and this is one of them. If you don't like hip-hop, you might not understand the power that this film has, and if you are bothered by prostitution you might be disgusted by some scenes. But I feel that it goes a long way toward humanizing pimps and prostitutes and does not just portray them as the dirty side of society or as ridiculous caricatures. Also, DJay's hunger to become a rapper is more poignant than Rabbit's and 8 Mile. So if you want a film that will make you laugh, cry and nod your head to some cutting-edge crunk, this is it.

I had the chance to see an advance of the film. I went into it thinking it wouldn't be good. I honestly have to say I was surprised. I laughed and really got into it. Based on the story line I was thinking "Oh great, yet another boring hip hop film" but this one has a little angle to it. The accents aren't the best but once you get past that you can feel for the characters.

john singleton sticks to his usual subject matter, the struggle to get out of the ghetto, to make it in this world, to succeed.

great acting from Terrence Howard. Taryn Manning is OK as well.

all in all, i would recommend this film. will it win an Academy Award? um-mm, no. but it is very entertaining and some great acting.

Wow, did I ever detest this movie. I shut it off after an hour and can't find anything good to say about it.

Now we're glorifying pimps… It's incredibly offensive to me that the song "It's Hard Out Here for a Pimp" won an academy award. (worst of all, I can't get the stupid hook out of my head). We're supposed to feel bad for how hard this guy's life is? I could feel bad for him if he was the one having to sell his body day after day – but I really can't get much sympathy going for a pimp. How about, "It's hard out here for a child molester." Does that grab you?

It's hard enough out 'here' for a law-abiding, gainfully employed black man – how about showing THAT in the movies. Instead of the same representation black men get over and over – pimps, drug dealers, addicts (or the 'success' stories: rappers and athletes).

Even though the movie doesn't show him beating on his 'employees,' you know that he must – the women are clearly scared of him and his first song is entitled, 'Whoop that Trick' (toned down from his original title, 'Beat that Bitch'). And no, I don't believe he's referring to beating up a customer (which is not really too common). Some statistics: "80% of prostitutes are sexually assaulted by pimps via sadistic sex; 71% of pimps use drugs to control the women; and 34% of the women received death threats from pimps personally or to their family." - from "Sex Trafficking In the United States, Coalition Against Trafficking of Women Study," Raymond, Hughes, Gomez (3/01)

The women are all incredibly superficial characters (the weepy, weak-willed caregiver; the dumb but docile white girl; and the bitch).

And Djay's dream of being a rapper. I'm sorry - just because he has something he needs to 'spit out' doesn't mean it's something worth listening to.