
A critical hit and audience favorite out of the Sundance Film Festival, in DOPE, Malcolm (Shameik Moore) is carefully surviving life in a tough neighborhood in Los Angeles while juggling college applications, academic interviews, and the SAT. A chance invitation to an underground party leads him into an adventure that could allow him to go from being a geek, to being dope, to ultimately being himself. (C) Open Road
About Dope
Artist : Shameik Moore, Tony Revolori, Kiersey ClemonsAs : Dom, Will Sherwood, Mr Bailey
Title : Dope Aanhangwagen
Release date : 2015-06-19
Movie Code : 3850214
Duration : 115
Category : Comedy, Drama
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A narrative as freewheeling as this one might ordinarily daze and confuse. But Malcolm makes for such a forceful character, it's easy to go along with whatever direction he's headed in.

Dope digs into racial culture in a real way with Malcolm struggling with the fact that he doesn't fit being a geek or a menace to society, and it's a hoot to root him on as he finds his place somewhere in between.

Shameik Moore is a forceful, sympathetic locus, with an appealing gentleness of spirit that in no way seems entirely innocent. There's a drive there. As for Zoe Kravitz, she is having one terrific year.

Be sure to stay for the end credits. No other summer-movie credit crawl is going to get audiences dusting off their old Running Man and Cabbage Patch dance moves like this one. Take that, Jurassic World.

"Dope" is, in the end, just another unfunny grab bag of stereotypes. Don't believe the hype.

If "Dope" were as earnest as Malcolm seems to be, you might expect it to be a bit of a bore. No worries on that count, though.

A funny and often intelligent crowd-pleaser about three geeks who get smart about drug-dealing.

The acting is uniformly good. This is Moore's first big role, and he delivers a performance both entertaining and believable.

A freewheeling comedy about sex, drugs and identity politics.

Writer-director Rick Famuyiwa . doubles down on an applying-to-Harvard satire that both upends demographic expectations while insisting (at times a bit strenuously) that we all aim a little higher.

When so many black movie characters are simple stereotypes, it's a pleasure to see a film with real wit about the benefits and pitfalls of playing to and against those expectations.

"Dope" is the bomb.

It's downright dainty as far as plot, but a mostly tasty layer cake of drugs, jokes, sex, jokes, cool young cast members, jokes, 1992 hip-hop, cartoony characters, a heist and a lot more jokes.

This vibrant film is a bit of a mess, but it's a beautiful one.

"Dope" may be the perfect movie for the summer of 2015.

As a comedy, the film isn't especially funny, and as a screwball drug caper a la "Go," it's raggedly plotted, with ridiculous coincidences popping up everywhere.

Moore, who's done some TV work and is also a singer and dancer, emerges as a genuine movie star in "Dope." He's very good looking and has charisma to burn, and he controls the screen in every scene he's in. Which is practically every scene.

Mr. Famuyiwa . shoves disparate genre elements together as if pulling jigsaw puzzle pieces from a half-dozen different boxes, and if the finished work isn't quite convincing, it's still fun to look at.

Again and again, Dope puts us in Malcolm's Air Jordans, letting us sweat or fear or hope right with him.

A fantastical, slight, and occasionally fun, hip hop-scored romp.

"Dope" is funny, slick and sharp.

The tone of "Dope" is very interesting - funny, but rarely stupid-funny. The film does not wear its serious observations, about aspirations and realities and hypocrisies of all kinds (not just racial), in a heavy fashion.

Here is the rare movie overstuffed with memorable moments that would have been better if there had been fewer of them.

In an era full of indifferent, cookie-cutter indies, an excess of ideas and personality is hardly a bad thing.

The cast, drawn from comedy, rap, TV, modeling and other spheres, is sharply on form throughout, as is Famuyiwa's direction; the pic's esprit is amplified by every editorial trick in the book, from split-screen to freeze-frames.

While Famuyiwa deserves the lion's share of acclaim for making "Dope" such an inventive, hyperactive and electrifying comedy, it is Moore who gives "Dope" its big heart.

The tone is fast and funny, with a modern "Risky Business" or "Ferris Bueller's Day Off" vibe, but there's an additional layer that stems from the violence of the neighborhood.

Even as Famuyiwa acknowledges the preconceptions that Malcolm's blackness engenders, he invites audiences to identify with the character on the basis of his relatable interests, aspirations and vulnerabilities.

The film's ability to confound expectations while delivering some big laughs may be its most crowd-pleasing characteristic but the anti-stereotype message rings clear as a bell throughout.

Shameik Moore gives a smashing breakout performance in a comedy of social expectation that plays like an exhilarating gift.

It's a remorselessly entertaining, Frankenstein's monster of pop-culture borrowings and appropriations. So much so that it becomes very much its own thing.

"Dope" is too smart and lively to be dismissed. It's even original in its mixing of ingredients, however unoriginal those ingredients may be. But it's also unfeeling and, beneath its in-the-hood surface, as much a bit of artifice as a Wes Anderson movie.

Dope's biggest strength lies in its affectionate and honest portrait of a different kind of young urban blackness than we're used to seeing on movie screens.
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