I love when filmmakers mix reality show elements with horror, probably because I’m admittedly a junkie of both. The concept of Rhyme Slaya has already been covered by David DeCoteau in 2004 with Ring of Darkness, only J. Starr and Rhyme Slaya have done a much better job of fleshing the idea out and producing an actual horror story. This film follows independent rappers as they enter a contest to win a recording contract that will produce and release their next record on a global scale. It’s a make or break opportunity for the aspiring artists and one of them decides to make the competition a little easier by hacking and slashing their way through the other entrants. Life on the streets is hard, but living in the world of Rhyme Slaya is downright murder! All the bloody bodies in the yard, let’s get through this review together. (See what I did there?)
When I started my viewing of this title, I instantly saw that J. Starr has upped his quality of production and the camera work is leaps and bounds better than his previous release, Urban Cannibal Massacre, which was distributed by TomCat Releasing and has a strategic product placement in Rhyme Slaya. This is why I love supporting independent talents such as Ghetto Hollywood Motion Pictures. As the filmmakers and producers get better with their craft, I’m genuinely happy for them and proud to share their accomplishments with my readers. Not only did J. Starr’s work behind the screen impress me here, but I think it makes the film look sleeker and sharper and I think this will be a deciding factor that pushes this movie into the hands of buyers. It doesn’t look low budget, it looks independent. There is a difference and Rhyme Slaya is on the latter side in a positive way.
However, as with Urban Cannibal Massacre, Rhyme Slaya contains J. Starr’s typical style of filmmaking which I always equate to a mix of underground, groundhouse flicks and VHS releases of the 80’s. This isn’t a bad thing, either. It’s great that J. Starr can keep that style of filmmaking alive in 2016 while also infusing his original ideas and using new technology to make the style current and appealing to audiences. His “ghetto hollywood” style is also going to keep viewers interested the whole way through because he goes the old school route of killing a character every few minutes. Small plot advancement. Murder. Small plot advancement. Murder. Small plot advancement. Murder. Some of the murders are of characters we never even met or they’re someone’s fuck buddy, but no one is going to care because they all die in gory and grizzly ways by use of practical effects. Viva la practical effects, yo!
Another one of the film’s biggest highlights is that all the actors (or about 90% of them) are rappers in real life, too, so when they actually open their mouths to spit some rhymes – they’re talented! They’re really good! I’m glad the casting was carried out in this way because it gives the cast a chance to shine in two ways – as actors and as rappers. I would have hated it if Rhyme Slaya was filled with borrowed tunes and lip syncing. And, there’s a direct correlation between independent filmmaking and independent rappers. A mutual respect can be found between the groups because we (yes, we) are both working towards the same goal – making it in our specific industry. We can understand the struggle that the other group faces, because we face them in our jobs as well. If anything, audiences should support and purchase Rhyme Slaya because it’s broadcasting talent on a whole different level. It already poses the question of what would you do for the chance to live your dreams, but I also find it oddly inspirational.
Here are my two criticisms, though. First, there was some questionable audio. The audio was either higher than needed or sounded like it was recorded in a room with an echo. One scene in particular was almost painful. Secondly, I don’t know if I’m a fan of all the cursing. I think having all the rappers cursing and calling each other names and being violent only perpetuates the stereotypes that America is divided against right now. Black people are not ignorant. Black people are not violent. I understand that rappers in general have to put on false personas to match whatever they’re preaching about, but the cursing was a little too much here. This could definitely be a detriment to this title’s overall appeal.
Still, Rhyme Slaya is high quality and fun. It has a high body count and uses special effects. It has a couple scenes with female nudity and serves as a mix tape of talented artists who are very capable rappers as well as actors. Most importantly, it was far better than I expected it to be. J. Starr successfully put rappers in the limelight and threw them into the world of horror and both parties came out on top. You’ll bob your head. You’ll even die. Rhyme Slaya is a stylish good time. Final Score: 7 out of 10.
Lead and supporting cast members include Maddi Madd, Mia Jones, Kaitlyn Elizabeth, T Vicks, Steelo, Lavail Blackwolf Duncan, Octavius, Mark Goler, Lyle Shelley, Rob Bruce, Chris Noel, Jay Hussle and Shane Striver.
