Filly Brown

Posted by Larita Shotwell on Sunday, August 11, 2024

"Filly Brown" tells a familiar saga of a no-nonsense Latina rapper and her struggles at home and in the biz.

Presenting a tough profile but revealing a soft inner core, “Filly Brown” tells a familiar saga of a no-nonsense Latina rapper and her struggles at home and in the biz. Despite the contributions of no fewer than four writers, including co-directors Youssef Delara and Michael D. Olmos, the resulting film is a trite piece of storytelling, with character development and plot points that feel not so much lived in as borrowed from other movies. Slick surface, a song-filled soundtrack and lots of young faces will draw buyers, but commercial prospects are limited.

Related Stories

Photo illustration of a robot's hand holding a magnifying glass VIP+

Cloud Adoption Key to Media Business Exploiting AI

The Choice

How Frontline Finished a Rough Cut of Election Doc 'The Choice' -- Then Started All Over Again With Kamala Harris

A regular performer on an Internet radio show, Majo (Gina Rodriguez) has adopted the rapper name of Filly Brown, and is bent on making a name for herself in the male-dominated hip-hop world. After visiting her mother, Maria (Jenni Rivera), in prison, Majo learns the cop whose testimony put Maria away is under investigation, and persuades her legal-aid attorney, Leandro (Edward James Olmos), to fight to vacate the verdict.

Popular on Variety

This proves, however, to be the first of many dead ends and outright falsehoods on Maria’s part, but Majo is so determined to get her released that that she considers even compromising her music, which she’s previously sworn to pal and DJ Santa (Braxton Miltz) that she’d never do. The prospect of legal fees compels Majo to go along with big-talking, small-time producer Rayborn (Pete “Chingo Bling” Herrera) and sex up her act, which has been distinctly political, feminist and confrontational in tone.

The fact that Majo and her performing crew, including a somewhat reluctant Santa, enjoy their resulting club gig raises questions about where Majo’s head is at: Is she a calculating operator, or a dedicated artist ready to stick by her principles but momentarily taking advantage of an opportunity? When she subsequently jumps over to a hot label run by the aptly named Big Cee (Noel G.) and leave Santa behind, it appears this question has been answered. Underneath, though, the film wants to suggest that Majo is still the real deal.

Such a confused conception of its protagonist dogs “Filly Brown” consistently, as the troubled script juggles too many plotlines to remain nimble and fresh. Majo’s blind fidelity to Maria — despite plenty of warnings from caring but tough father Jose (Lou Diamond Phillips, in the film’s best performance) — draws her into an ill-judged plot involving cash and drugs. Especially problematic is a subplot involving Majo’s rival, egotistical rapper MC Wyatt (Joseph Julian Soria), which distracts from the main matters at hand.

Fortunately for the film, the rapping is real, though curiously lacking in lyrics in Spanish and/or the Spanish-English hybrid language that makes Latino hip-hop so distinctive. Rodriguez gamely handles the assignment once the songs start and delivers some impassioned beats, though the role presents her with significant obstacles on the likability front. A confessional monologue by Phillips easily reps the pic’s high point, exquisitely Catholic without being religious for a moment.

Ben Kufrin’s widescreen lensing on the Red camera, often emphasizing soft browns and brilliant whites, is ultra-pro, despite cliched L.A. street shots. Krystyna Loboda’s highly versatile production design reps a huge contribution.

Read More About:

Jump to Comments

Filly Brown

  • Production: A Cima Prods./Olmos Prods./Silent Giant Entertainment presentation. (International sales: WME, Los Angeles.) Produced by Victor Teran, Amir Delara, Youssef Delara, Michael D. Olmos, Mico Olmos, Edward "E-Dub" Rios, Khool-Aid Rios. Executive producers, Edward James Olmos, Kevin Smith, Homa Soroor. Directed by Youssef Delara, Michael D. Olmos. Screenplay, Delara; story, Delara, Victor Teran, Amir Delara, Olmos.
  • Crew: Camera (color, widescreen, HD), Ben Kufrin; editor, Youssef Delara, Eric Brodeur; music, Reza Safinia; music supervisor, Edward "E-Dub" Rios; production designer, Krystyna Loboda; art director, Jeffrey Simon; set decorator, Michelle Daniels; costume designer, Jill Machlis; sound (stereo), Martin Kittappa; supervising sound editor, Trip Brock; re-recording mixer, Brock; visual effects supervisor, Nick Young; assistant director, Trent Dempsey; casting, Twinkie Byrd. Reviewed at Sundance Film Festival (competing), Jan. 20, 2012. Running time: 102 MIN.
  • With: With: Gina Rodriguez, Jenni Rivera, Lou Diamond Phillips, Edward James Olmos, Emilio Rivera, Noel G., Kerry Norton, Braxton Miltz, Joseph Julian Soria, Chrissie Fit, Pete "Chingo Bling" Herrera, Daniel Edward Mora.

More from Variety

Most Popular

Must Read

Sign Up for Variety Newsletters

By providing your information, you agree to our Terms of Use and our Privacy Policy.We use vendors that may also process your information to help provide our services. // This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.

Variety Confidential

A Variety and iHeartRadio Podcast

ncG1vNJzZmiukae2psDYZ5qopV9nfXJ%2Bjp%2BgpaVfoq6zt8StqmaelajBqsLApaponpmhubp5waumsKZdZn5yg5htbXFwYGQ%3D

CATALOG
    FEATURED TAGS