Fortunately, “I Got a Story to Tell” bears a life force that looms even larger than Wallace’s — that of his Jamaican-born “moms,” Voletta, who has so much star presence that even Angela Bassett couldn’t quite do justice to it when she played her in the 2009 movie.
We have plenty of information about the idea of the Notorious B.I.G., but Biggie: I Got a Story to Tell offers a rare look at the actual human being behind the legend.
Maybe half of the film is about his music career, and of that, not much at all is devoted to his commercial prime. This makes the film anti-mythological, but also far more robust.
I Got a Story to Tell is essential viewing, provided that you’re the kind of person who can rap the first verse of “Hypnotize” from memory. You come away wishing B.I.G. could’ve dreamed bigger.
Anyone expecting “Biggie” to be some version of “Unsolved Mysteries” will be disappointed. But it’s unquestionably an affectionate, entertaining and even enlightening portrait.
This movie is less about the myth of Biggie than it is about the everyday experiences of a man described by his friends as much funnier and more big-hearted than his public image sometimes suggested. Despite the title, “I Got a Story to Tell” is primarily concerned with all the tales that went untold.
There's enough good, previously unseen stuff in Biggie: I Got a Story to Tell to make it an easy recommendation, though seeing and hearing stuff you haven't seen before isn't the same as learning a lot of things you didn't know before. It's captivating because Biggie was captivating, without being enlightening.
These mid-90s, north-west Brooklyn specificities are fascinating and relevant; to Biggie’s art, certainly, but possibly also to his death.
Biggie: I Got a Story to Tell celebrates an influential musical legacy as well as a complicated life story, with a potent mix of sentiment and aesthetic appreciation.
Without a doubt, Wallace was more comfortable with his boys, and Biggie serves as an origin story on how his rise to hip-hop stardom took not just him but also his people out of the projects.
如果2014年看，我会逐帧研究，可惜已经过了喜欢hiphop的阶段。 打三星是因为感觉在消费死者。
2017年纪录片《Biggie: The Life of Notorious B.I.G.》的精简版。很难评判哪部更好。5星
一星給biggie 一星給那個時候的紐約
粉丝向，也没什么新鲜的东西。
又一部奈飞套路纪录片，回顾访谈穿插视频资料，富顿街残酷史。如果biggie的纪录片不能给到观众第一次听ready to die那种直达灵魂的震撼感，就是失败的。
biggie应该是我最喜欢的rapper了，这片子就拍的一般般
我为啥看了这个纪录片。。。。
牙买加大伯呼麦血统，爵士乐邻居启蒙，比起说唱更爱R&B韵律至上；临街battle一战成名，毒贩老友规劝转行；儿子死了近三十年后才知道他卧室里的过期土豆泥是准备拿去卖的crack，原来活人可以对死人那么愤怒；女儿出生压力大，不成功则成仁出差贩毒，Puffy一通电话召回录音室；一人得道鸡犬升天街坊团体young mafia出道记；还有与2Pac牛肉的宿命结局：I'm going going back back to Cali Cali……确实比之前几部相关的自传电影/纪录片多了些料，很好奇现在听说唱的00后是否还会关注这段九十年代美帝东西岸的江湖恩怨
网飞纪录片一般也就这水准
中规中矩的流水线，居然刻意不采访lil kim…………
精彩。
东岸 永远滴神
就是那种看了就知道形式和套路的访谈传记片,无限加工无限出风头然后捧上天,你信不信把Big L搬出来然后把D.I.T.C.全体都采访一遍,在剪一句Eminem在50Cent《Patiently Waiting》里的歌词,然后第二天大家都说Big L是东岸的地下瑰宝大家都放put it on,这种纪录传记就像以前的运动员的个人集锦,不厉害才怪咧
biggie的歌一出来就瞬间拉回到自己刚接触rap的时间，90年代真的是rap music巨星闪耀的时代，同时又是悲剧频出的时代，biggie的天赋差点浪费在总给自己留后路的选择上，这点上2pac就要坚定得多，在最好的年纪留下最棒的作品，应该也是了无遗憾了
没什么音乐，基本是流水账
让我们看到了不一样的The Notorious BIG 他的人生 他的奋斗 他的挣扎以及他的选择还有他的家人和朋友 how became a legend
一部纪录片，在第6分钟就成功让我落泪，实属可贵。Biggie的纪录片已经够多了，Netflix制作的版本无非是中规中矩之上的上乘标准，但是在“纪录”之外的是，正如片名，更像是一个发生在身边的故事，亦或是都市传说。片头片尾对Biggie葬礼的首尾呼应，氛围渲染力极强，即便不是Biggie的乐迷，相信也会有所共情。本片最着重的点其实是Biggie十几岁的成长，但是一个伟大饶舌歌手的成长其实只是表层，更深层的是对于黑人在街头这一社会问题的描述与探讨，再由Biggie的形象来予以呈现，可以说提升了本片的立意与社会意义。不过本片对于葬礼的描述，纽约之王其实是在他的音乐里获得了永生。他的葬礼没有哀乐没有落泪，而是纽约街头的男男女女载歌载舞地欢送，因为他的音乐和理想早就传达给了纽约市民，给了他们生的希望。
我的说唱启蒙导师，瑞思拜特
Biggie活了24岁，也死去了24年。Faith还能回忆起他的妈妈总叫他Christopher, puff讲起他仍然坚持他是the greatest rapper, 纽约hiphop的savior，Brooklyn的人民仍然那么爱他，NYC的公园还有一个叫Christopher Wallace Park. He made a story about a poor bastard grew up in downtown somehow becaming a superstar with his top-notch mind.
论即兴，毫无疑问，B.I.G是王！！！
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