We the Party Blu-ray Review

"We the Party," shot on the Red One digital camera by cinematographer Anthony J. Rickert-Epstein, presents a mixed bag in its visual execution. Encoded in 1080p on ARC Entertainment’s Blu-ray, the film is displayed in an aspect ratio of 2.00:1. This ratio isn’t typical for theatrical releases but offers slightly more image at the top and bottom of the frame. The digital capture reveals excellent detail and clarity that enhances the depth of field, a customary virtue of the Red One technology. The director and cinematographer effectively use the digital intermediate process to infuse a broad spectrum of intense colors. This results in vivid visuals, particularly in scenes depicting teen parties and heightened emotional states, where the colors truly pop.

However, the film's visual quality suffers from several notable drawbacks. There is a conspicuous lack of natural grain that you might expect from a film-based production, leading to a glossy but flat visual output. The saturation levels are often overcompensated; reds, in particular, dominate frames to the point of overshadowing other colors. In darker scenes, this causes black levels to be invaded by hot reds and yellows, while whites are blown out in a manner that disrupts contrast, especially in exterior shots where the bright light suggests surreal or out-of-body experiences. The overall effect is harsh, with various neighborhoods of Los Angeles appearing stark and dry. Beyond color issues, fine details are most apparent in extreme close-ups but are frequently lost in wide shots due to excessive shallow focus or overpowering light.

In sum, while "We the Party" leverages its digital medium to some striking effect with its vivid color use and impeccable detail in certain scenes, it detracts with oversaturation and inconsistent white balance. For enthusiasts looking for a demonstration of digital cinema's potential on Blu-ray, this title shows technical virtues but ultimately falls short due to significant visual imbalances.

The DTS-HD Master Audio 5.1 track for "We the Party" presents a masterful balancing act amidst its hip-hop beats and rap lyrics. The dynamic range of the lossless format is fully utilized, allowing subwoofers to delight in the deep bass elements, while other textures like the string section harmoniously integrate into the mix. Notably, the rap adaptation of Pachelbel's Canon in D, performed by YG, exemplifies such intricate blending. During dynamic party scenes, the soundtrack skillfully juggles music and dialogue as perspectives shift between various house locations, thereby enriching the narrative's atmosphere. Subtle audio cues, such as those accompanying significant plot developments, add an almost subliminal depth to the experience.

Composer Tree Adams brings versatile underscoring that enhances the film's shifting moods, seamlessly fitting into the broader soundscape. Dialogue clarity remains consistently high throughout the movie, ensuring comprehensibility even for those less familiar with contemporary urban slang. In crowded party scenes, the surround channels effectively immerse viewers in the chaotic ambiance typical of teenage gatherings. The LFE presence is notably strong during musical moments but remains sparse elsewhere.

The audio presentation excels in delivering spoken dialogue with crisp precision, ensuring every syllable—whether uttered by a young teenager or an older character—is distinctly audible. Although deeper-toned voices occasionally struggle with clarity in other films, here they remain perfectly intelligible, ensuring that Mario Van Peebles and other actors' performances are rendered with remarkable sonic fidelity.

The extras on the Blu Ray of "We the Party" provide a deep dive into the film's creation, focusing on both the technical and personal aspects. The Audio Commentary includes in-depth technical discussions led by Writer-Director Mario Van Peebles and his children, Mandela, Makaylo, and Morgana. Mario directs the conversation, often highlighting color choices, editing rhythm, sound design, and audience reception, providing a behind-the-scenes view that is both authentic and heartfelt. Despite the younger Van Peebles deferring to their father, this commentary illuminates the familial collaboration and the deliberate decision-making behind the film's R rating for language authenticity. Also included are four HD-formatted but standard-definition-sourced music videos and the theatrical trailer, offering a broader auditory-visual experience beyond the main feature.

Extras included in this disc:

• Audio Commentary: Insightful perspective on technical and directorial choices by Mario Van Peebles and family.
• Music Videos: Features "Truth," "She's a Vegan,” “Light at the End of the Tunnel," and "Forever."
• Theatrical Trailer: Provides a glimpse into the film's atmosphere.

Mario Van Peebles’ "We the Party" ambitiously tackles the high school film genre, infusing it with his signature flair and a multifaceted narrative structure. Set in Baldwin Hills High School, the film follows Hendrix Sutton (Mandela Van Peebles), an aspiring DJ navigating teenage life under the guidance of his father, Dr. Sutton (Mario Van Peebles), who is also a teacher at the school. The film is populated with a diverse array of characters, including Hendrix's friends: Chowder (Patrick Cage II), Quicktime (Moises Arias), and Obama (Makaylo Van Peebles). It borrows elements from genres like urban realism and coming-of-age fiction, reflecting modern teenage experiences through hip-hop culture, internet fame aspirations, and social dynamics.

The movie is a medley of subplots featuring characters with unique backstories, such as the aspiring rapper C.C. (YG) and his gangster brother Big D (Snoop Dogg). While the central narrative thread remains Hendrix’s journey and his romantic interest in Cheyenne Davis (Simone Battle), Van Peebles also explores broader themes like economic inequality and the pressures of modern youth. Integral to this is a powerful scene where Dr. Sutton educates his class on societal values, contrasting materialism against inherent worth. Despite its moral undertones, the film maintains a vibrant pace, thanks to George Artope’s dynamic editing and a soundtrack that complements its youthful energy.

"We the Party" is visually and thematically dense, but it struggles under the weight of its ambitions. The large ensemble cast, mostly composed of inexperienced actors, evokes a sense of authenticity yet often fails to convey significant depth or emotional resonance. The plot’s convoluted nature, coupled with stylistic overindulgence, renders the movie somewhat disjointed, akin to an extended music video rather than a cohesive drama. Nevertheless, Mario Van Peebles’ performance as Dr. Sutton stands out, delivering a nuanced portrayal that juxtaposes his understanding and authoritative roles as both educator and father.

We the Party is an ambitious film directed by Mario Van Peebles, aiming to address themes of consumer culture and unrealistic expectations in the lives of young people. The narrative follows a group of teenagers navigating the challenges of high school, but it does so in a manner that feels both contrived and heavy-handed. Peebles' intentions are clear; he wants viewers to reflect on the pressures facing today’s youth. However, the film’s delivery often lacks subtlety, resulting in characters repeatedly stating the film's core messages rather than allowing the narrative to organically convey them.

Technically, the Blu-ray presentation is commendable. The visual quality is sharp, with vibrant colors that capture the energetic atmosphere of the high school setting. The sound design effectively complements the film's lively soundtrack, providing a robust audio experience that enhances the viewing. Despite these technical merits, the film's storytelling remains problematic. The plot’s coherence falters as it tries to juggle multiple subplots without successfully intertwining them into a cohesive whole.

Overall, We the Party strives to follow in the footsteps of classic teen films by making its own marks, aiming to entertain while conveying meaningful insights. However, its execution lacks the finesse necessary to elevate its message above its narrative shortcomings. For those interested in socially conscious teen dramas, it is worth a watch for its themes and technical strengths but be prepared for a delivery that might feel more didactic than seamless.

When We the Party was briefly in theaters in April 2012, some reviewers found it contrived. (Roger Ebert, who got Van Peebles from day one, was complimentary.) My response to such criticisms is usually along the lines of: And . . . ? Movie plots are by their very nature contrivances and teen films are especially notable in that regard. Have you ever sat down and really thought through the plot of a John Hughes film? They don't make much sense. Nobody holds detention sessions like the one in The Breakfast Club, and even a trained shrink with detailed case histories would be hard-pressed to assemble the perfect array of neatly defined types that just happens to gather there one Saturday morning, let alone meld them into the coherent unit they become in one day (one day!). Storytellers invent this stuff for entertainment and maybe to make a point or two. If they stick to the rules they set for themselves— Hughes did, and so does Van Peebles—they're fully entitled to their nips and tucks on reality. Highly recommended.