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Biggie and Tupac, 2002
English
UK
Profile of Biggie and Tupac
Biggie and Tupac can be described as captivating and suspenseful. The plot revolves around murder, crimes, and death row. The main genres are documentary, drama, and music-oriented. In terms of style, Biggie and Tupac is a music concert. In approach, it is serious and realistic. It is located in Los Angeles. Biggie and Tupac takes place in the 1990s. The soundtrack is hip hop.
Summary of Biggie and Tupac
In this probing documentary from director Nick Broomfield, the notoriously abrasive Englishman conducts his own investigation of two separate drive-by shootings that took the lives of rappers Biggie Smalls and Tupac Shakur in the late 1990s. Starting with the original police investigations, Broomfield attempts to knit together pieces of information while establishing the framework of the Los Angeles gangsta rap scene. He also presents home video footage of the rappers before they became household names. But it's when Broomfield tracks down former LAPD officer Russell Poole that the conspiracy theory begins to emerge. Poole has been working incessantly to expose corruption within the Los Angeles Police Department, collecting evidence that connects off-duty police officers to the murders of both rappers. Also targeted is Death Row Records head honcho Marion "Suge" Knight, whose well-documented criminal tactics lead Broomfield to implicate Knight as a key figure in both murders. A brief interview with Knight in prison proves futile, leaving Broomfield with an endless supply of questions but no concrete answers. In true Broomfield fashion, BIGGIE AND TUPAC comes off more as an entertaining shockumentary than a serious work of cinematic journalism, but it is this tone that makes it virtually impossible to dismiss.
Details
| Language: | English |
| Country: | UK |
| Release date: | 11 January 2002 |
| Runtime: | 108 min |
Cast and Crew
as Himself
as Herself
as Himself
as Himself
Clips

Critics Reviews
Los Angeles Times
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- by: Manohla Dargis
Entertainment Weekly
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- by: Owen Gleiberman
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