![]() Nonetheless, it was impossible to miss how the climate that provoked a song like “Fuck tha Police” remains distressingly alive and well in the Ferguson era. The uncomfortable parallels to current racial tension were unmistakable.Īll credit to Universal, which released the film, for not exploiting the obvious connections between the movie’s late-Eighties/early-Nineties racial tensions and our own in its marketing. And that language was very much shaped by N.W.A.ģ. “Nineties hip-hop in particular really shaped what became the common pop cultural language that we all speak,” Dope director Rick Famuyiwa told Rolling Stone earlier this summer. And it’s also important to remember that hip-hop itself has been looking back of late: Whether it’s Eminem’s 2013 single “Berzerk,” which heavily sampled Licensed to Ill-era Beastie Boys, or the Bush I-era kids of the Sundance hit Dope, the past is very much present. Maybe that’s why Compton didn’t: It told a new nostalgic story rather than simply recycling an old one. What’s funny, though, is that they’ve been busts across the board, with new versions of Robocop, Poltergeist, Red Dawn and Nightmare on Elm Street all underperforming. Hollywood has been in the midst of a 1980s revival for a few years now, remaking many of its iconic films from the Reagan-to-Rubik’s Cube age.
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