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A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Great movie. Not sure what people expected but I found it highly entertaining.

It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

It had been so long since I first (and last) saw this film that I honestly could have told you nothing about it in detail. Recently in a discussion with other fans of hip-hop music, this film came up and was roundly lauded by those that had seen it as being hilarious, smart, cutting and a "classic" (albeit that that final word tends to get thrown around by fans of this genre so much that it really means nothing). As a result I eventually got around to watching it again. The structure of the film is very much Spinal Tap and it owes a huge debt to that film – right down to the short clips playing out under the closing credits and of course the running joke of one specific role always ending badly (in Tap it was the drummer, here it is the manager). The plot therefore follows the group coming up, falling apart and then being put back together again, but it isn't really the plot that matters here.What matters is that the film is a comedy set in the rap world of the early 90's and as such it has plenty of artists and aspects of the culture to make fun of. This it does but unfortunately it doesn't do it particularly well. The reference points and the artists "targeted" will be clear to anyone with a reasonable knowledge of the period, but it doesn't really do anything with it other than present slightly exaggerated and slightly renamed versions of these people, situations and events. I was surprised by just how little of anything was behind these because they don't seem affectionate, they don't seem to be satirical, they don't seem to be cutting and they rarely seem to be particularly funny. Mostly they just "are"; so references to various artists and types of artist are mostly just done and we are expected to laugh because "oh look they going Ice-T/De La Soul/MC Hammer etc". This wasn't enough for me and I was surprised by how little I was even amused by the film, much less laughed.The exaggerated humor gets broader and broader as it goes on; with lots of excess. The cast are part of this and of course the main place for blame is Cundieff himself. As the lead actor I liked him and his Ice-T impression throughout was pretty good, but his script is not up to scratch. In terms of his direction I had no issues but to be honest it did feel like he must have watched Spinal Tap every single day before shooting, so similar was the style. Scott and Lawrence are funny while Lemmons plays her part well. Johnson's turn as a groupie is a surprising find once you recognize her as being Sherry Palmer from 24! Overall Fear of a Black Hat is a broad spoof of hip-hop culture but one that doesn't seem to know what it wants to do. It owes so much to Spinal Tap but yet is not as funny; it apes hip-hop culture but yet cannot work out if it is doing it affectionately or with an edge, so ends up doing neither. What is left is occasionally amusing but is mostly just a load of reference points without context and expansion to an end. This is remembered as a classic and I would suggest that in many cases it is being "remembered" by those people, not watched recently.

I really wanted to like this movie, but it never gave me a chance. It's basically meant to be Spinal Tap with a hip hop theme, but it fails miserably. It consistently feels like it was written and acted by high-school kids for some school project, and that's also the level the humor seems to be aimed at. There is no subtlety and, more damningly for a mockumentary, it never once feels like a documentary. And while the lines aren't funny in the first place, an attempt at dead-pan delivery would have helped -- certainly, anything would be better than the shrill overacting we are subjected to.I'd recommend this to people who think that words like "butt" are inherently hysterically funny. Other people should stay away and not waste their time.

This picture apparently was largely the work of the lead character: Rusty Cundieff. Mr. Cundieff wrote, directed, developed most of the "MTV"-like song and dance scenes, and, of course, starred in this film. This was a very good effort and one of my favorite all time films. This is a parody "mocumentary" of the life and times of an up and coming rap group. This film shows the rise, fall, disintegration, and reuniting of this group. Note - Mr. Cundieff has also worked with Michael Moore in the past on "TV Nation."

You don't have to know a thing about rap music to love this screamingly funny satire about culture clash, the media, fame, hypocrisy and a lot more.A black woman (college-educated, oh-so-serious public TV type) is filming a documentary on a three-man rap group from the streets. Calling their mean selves Niggas With Hats (NWH), they're very concerned, at least while on camera (which is all we see) with maintaining their `hood' persona.All their managers are mysteriously shot dead while NWH are `out of town' (wink, nudge). Early on they switch from using family members as managers to employing Jewish white boys. Before the film ends, they go through six of these poor fellows.The dialog between the group and their middle-aged Caucasian record company owner is sidesplitting. With misplaced confidence, the businessman feels compelled to speak street talk in a doomed attempt to bond with his artists. We watch the astonished faces of our rappers as they listen to his ludicrous slang, which dates back to Malcolm X's time.NWH even puts out a Christmas album called `Ho, Ho, Ho's.' A rival rap group dogs their rise to fame, each outfit trying to destroy the other. NWH finally prevails, however, when it's discovered that the opposition's lead singer went to a prep school and even edited its yearbook. His career ruined, the antagonist and his crew are banished in shame.There's an angry Spike Lee wannabe and an opening act, Vanilla Sherbet, a bouncy white rapper who insists he was raised by a black family. The concert audiences are pimply white youth who ape the group's moves, clothing and speech mannerisms and for whom the rappers can barely disguise their utter contempt.Relating these details in no way spoils the fun, for it's the telling of the tale and the facial expressions of those to whom all of this happens that make the movie.No matter what your age or background, you'll be howling out loud through many parts of this parody. See it soon.