Kid Cudi’s Entergalactic doesn’t really do justice to the profound insinuations of its’ title and indeed some of its’ imagery. For a project that sounds so weighty or experimental, it’s honestly pretty conventional. It’s a romantic comedy about a street artist in Manhattan and the next-door neighbour he falls in love with. Not universe-defining concepts or stakes. And yet it’s a movie you want to live in, a movie that is filled to the brim with soul, in addition to its’ breathtaking style, that is so cool and ingratiating. It doesn’t surprise me at all that it was initially pitched by Cudi and Ian Edelman as a television series -several chapters of the movie are written to a TV episodic framework. It’s got a world and a pace and a set of characters that would suit the format well. It doesn’t lose much being translated to a movie (or a television special as Netflix defines it -as though there’s any real difference anymore), but there is palpably more that could have been made from it -and might have been worth watching off of its’ visuals alone.
Indeed this is another case of an animated movie coming out in a post-Into the Spider-Verse world looking to imitate to some degree the Into the Spider-Verse look. One can hardly blame a movie for wanting to emulate one of the most visually astonishing films of the last decade, and here it does seem there is a certain unique touch applied to that 2D-3D blend that is so enticing to watch -the folks who worked on this film unless I’m mistaken are not connected to Sony Animation. There are little details in the motions that are distinct, its’ energy is more laid back than Spider-Verse or The Mitchells vs. the Machines; and the designs are more pastel-oriented and not so slick. This is of course perfect for the movies’ tone and adult sensibility -at times almost reminding me of I Lost My Body. It’s a really good look that lends itself so well to the urban black millennial chic that makes up most of the movies’ aesthetic.
What’s also curious is that in most cases the animated characters are designed off of their actors. This is especially apparent in Jessica Williams’ Meadow, the primary love interest, Laura Harrier’s Carmen, the still attached ex, and Ty Dolla Sign’s Ky, the best friend (the notable exception though seems to be Timothée Chalamet, the strangest casting choice, as stoner friend Jimmy). Kid Cudi himself is of course the lead, Jabari, who’s earned a reputation around the city for his street art, primarily of a stylized id-like character called Mr. Rager (named for one of Cudi’s best known songs). He’s in the midst of some major career opportunities and a decision to put his love life on the back-burner when he meets Meadow, the new photographer next door, and one can easily guess what will happen.
The thing with romantic comedies though is that the story doesn’t have to be groundbreaking if it can raise up enough charm, humour, character, or style. Entergalactic has all of these in at least some good measure. Its’ visual style is probably the strongest and most consequential of these: it is bright and defined, sharp, invigorating, and creative. There are a few occasions for it to dip into other expressions, through second-hand accounts or a dream of Mr. Rager’s world, but its’ predominant look is never not exciting and atmospheric. I particularly love the intensity of the shadows that do wonders for tangibility and heighten the films’ emotional mood in a number of key sequences. It honestly works to buffet investment in the characters by giving them such interesting looks.
I also appreciate the film unabashedly being adult-oriented -something almost certainly rooted in its’ TV origins where adult animation thrives in contrast to the almost complete absence of it in the movie sphere. It’s refreshing to see, especially in this style, a story that speaks directly to adults (especially urban millennials like the characters here) and adult relationships, accentuated in this by the animation. These are young sexual characters and the integral role that sexuality plays in their lives is emphasized, both to comedic effect (as in Jabari having to hide a boner in answering the door) and to honest, sincere sensuality in the tender way a montage illustrates their love-making.
It is a genuinely sweet relationship that blooms between Jabari and Meadow, who have a very realistic chemistry and nicely complimentary energies. And Jessica Williams, even through just her voice work, radiates such a lovely tangible mixture of chill and adventurousness to her personality which draws you to her with ease. It’s no wonder Jabari is so smitten. For his part, he’s pretty charismatic himself though, as awkward as the script might require him to be (Cudi doesn’t typically sell these bits).
What also doesn’t sell so well might just be the films’ resignation to a couple of the romantic-comedy tropes without much an attempt to integrate them in a believable way. I don’t mind that there’s a third-act break-up here, as is so common of the genre, but the movie might have found a way to bring it about more smartly than in a misunderstanding that could be cleared up in seconds if Jabari wasn’t unnecessarily incompetent in the moment. A couple instances like this feel a bit too easy, where the reality the movie has built up strongly, is ever so slightly strained.
Entergalactic is intended as a companion to a new album by Cudi that released at the same time, and as such the music of that album is interwoven into the movie. It’s not a rock opera type deal or even a musical though, it’s more vibe-based, with the songs that are utilized playing non-diegetically behind the action to enhance the emotional beat of a sequence. But the songs are not exclusive to the films’ context. Cudi is known for incorporating strong elements of biography into his music, and he seems to be doing the same with the movie, Jabari is a self-insert (and Cudi even recruited his own non-actress sister to voice his characters’ sister) -so there’s harmony in the integration here of story and music. They certainly lend a mood that is fairly intimate and compelling to the perspective being shared -and occasionally cosmic of the variety the title might imply. Though I don’t know that I can retain any of their hooks or rhythms.
Next to Kid Cudi, he’s not going to get much attention or credit on this project, but the director Fletcher Moules, did a hell of a job! Him and the animators fully realized the gorgeous world of this film with impeccable craft and ingenuity. I hope more animation projects from Netflix or others take note. It provides an awesome, visually pleasurable quality that wouldn’t be there had Cudi gone in a different, live-action direction with his ambitions for Entergalactic. Still can’t quite reconcile that title with the mostly down-to-earth story that the movie is. Whatever it might be called though, Entergalactic, a movie, a T.V. special -it works. A sweet animation gem, deserving of more recognition than it will likely earn.
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