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[Bug classpath/62643] New: @@@S!R!~KhAoDa!!! Watch Get On Up Online Full

From: umdjy at abyssmail dot com
Subject: [Bug classpath/62643] New: @@@S!R!~KhAoDa!!! Watch Get On Up Online Full Movie in Putlocker
Date: Mon, 01 Sep 2014 18:17:44 +0000


            Bug ID: 62643

           Summary: @@@S!R!~KhAoDa!!! Watch Get On Up Online Full Movie in


           Product: classpath

           Version: unspecified

            Status: UNCONFIRMED

          Severity: normal

          Priority: P3

         Component: classpath

          Assignee: unassigned at gcc dot gnu.org

          Reporter: umdjy at abyssmail dot com

James Brown embraced many a moniker over the course of his 50-year career: 

“The Hardest Working Man in Show Business,” and later, �
��The Godfather of Soul.”

A bundle of raw energy bolted through song, swagger, and mashed potato dance

moves, modesty was not Brown’s forte. The peculiar disconnection ma
y have been

his greatest asset.


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In Get on Up, the first Brown biopic with Hollywood sheen, star Chadwick

Boseman takes the stage swinging, glowing with a confidence to match his

non-fictional counterpart. Though the actor lip-syncs his way through Brown

electrifying discography, it’s impossible to tell. His vocal physic

choreography, piercing eyes, and every bead of sweat that trickles down the

man’s forehead is transportive.

Much like his sweet, conventionally rendered 2011 feature The Help,

writer-director Tate Taylor’s portrait of an artist is an impressio

paint-by-numbers, daring in form without the style or soul to make it count
. It

works for Taylor; Get on Up keeps the spotlight locked on its dynamite cast.

Coming off his role as Jackie Robinson in 42, Boseman proves himself one of

hardest working men in modern show business.

Get on Up traces a jagged line through Brown’s youth in 1930s Georg
ia, his time

on the road as a R&B mega-act, and a dizzying late existence that saw the

singer pursued by police after firing a shotgun inside a strip mall. Brown

emerges from the friction of nature and nurture; Early on, Brown’s 

father chases his mother (Viola Davis) out of the house, out of his life. T

trauma keeps young James searching for the ethereal joys that later fuel his

music and imbues the boy with the same abusive tendencies. Taylor’s

time-traveling juxtaposition strikes down like a thunderous chord. What cou

be on-the-nose keeps up with Boseman’s ferocity.

When the beat slows down, Boseman and Taylor never falter. At 17, Brown ste

a three-piece suit and winds up with a five- to 13-year prison. He’
s rescued by

divine intervention — or the music that might accompany one. Brown 
shows off

his vocal skills for Bobby Byrd (Nelsan Ellis), lead for a local gospel gro

performing for the inmates. Sympathetic to the wayward spirit, Byrd helps B

obtain parole and return to life as an adoptive member of his family. Brown

returns the favor by igniting Byrd’s routine with rock and roll. Bo

charm — and surface-level impersonation — sell Brown as a r
enegade. Loose, he’s

a criminal. Entranced by screaming audiences, he’s a musical medium

a higher power.

Taylor overstuffs Get on Up in an effort to balance out Brown’s

self-mythologizing. The writer-director finds room for socially-charged dra

that, whether 100 percent accurate or not, add a percussive beat to the typ

biopic blueprints; In one of the film’s most riveting scenes, a you
ng James is

blindfolded by a white man and forced to box one-armed against a pack of bl

kids. Time propels forward: Brown will not be a puppet, will not play by the

rules. Later, Taylor recreates a concert performed the night after Martin

Luther King Jr. was assassinated. White cops keep wild, devout fans at bay,

assuming a riot is matter of if, not when. Taylor is confident enough to wh

us out of the Brown story proper and into the cultural frenzy, what it felt

like to live outside Brown’s saga. It’s exhilarating.

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