‘K-Pops’an entertaining case of like father like son
Although far from perfect, the one-man band that is the cleverly titled “K-Pops!” thrives on the love and dedication that went into making such a charming father-son culture clash. And the man responsible for it is eight-time Grammy winner Anderson .Paak, wholeheartedly giving acting, writing, directing and producing a worthy whirl in a tale born of his own experiences as a Black Korean American patriarch.
It literally sings, as .Paak and his real-life preadolescent son, Soul Rasheed, play exaggerated versions of themselves using the bustling streets of Seoul as an ideal backdrop for their endearing antics on and off the set of “Wildcard,” an “American Idol”-esque TV series that will crown the next king, or queen, of K-pop.
Yes, it’s self-serving and nepotistic, but it’s also sweet and engaging, as .Paak’s BJ and Rasheed’s Tae Young prove an ideal comedy duo boasting sizzling chemistry and razor-sharp timing. They are so potent that they present valid reason to overlook the shameless contrivances central to a script that asks us to believe that BJ went 12 years not knowing he fathered a son during a brief fling with Yegi (Jee Young Han), a fellow musician he met while both were living in L.A. And even more preposterously, that BJ and Tae Young accidentally meet as strangers backstage at “Wildcard,” where the latter is a contestant and Pops drums for the house band.
Even for a first-time writer, the setup is creaky, but it’s a testament to the immense appeal .Paak and Rasheed generate as their characters connect over a shared love of performing. That allure also goes a long way toward smoothing over. Paak’s limitations as a director far too reliant on musical montages to fill numerous narrative voids. Yes, your eyes roll, but your soul is lifted by the genuineness of the feelings inherent in these father-son bonding exercises, such as Tae Young teaching his fish-out-of-water dad the ins and outs of Korean culture and Pops educating his son – using vintage vinyl as props – on how the roots of K-pop trace back to the Jackson Five.
Both actors are sensational, but it’s .Paak who linkers in the memory. The man has personality to burn. Even when BJ is acting like a douche, the charismatic .Paak emits an endearing energy as he effortlessly establishes an immediate kinship with his audience. And his singing and drumming are breathtaking. I suppose that’s to be expected of a music man as accomplished as .Paak, but he insists on going the extra step toward ensuring you’re nothing less than entertained.
He’s also surrounded himself with an impeccable ensemble that includes the irresistible Yvette Nicole Brown as BJ’s randy moms, Brenda; Jonnie Park as his best friend and employer from back home, Cash; and Cathy Shim and Kevin Woo as the stoic host of “Wildcard” and the show’s frosty-locked, egotistical frontrunner, Kang.
What draws you in, though, is .Paak, as he sings, dances and acts his way into your heart. It’s a debut performance that doesn’t just put the soul in Seoul, it also fortifies the notion that dads are never too old to grow up.
Movie review
K-Pops!
Rated: PG-13 for some strong language and suggestive references
Cast: Anderson .Paak, Soul Rasheed, Jee Young Han, Jonnie Park, Kevin Woo, Cathy Shim and Yvette Nicole Brown
Director: Anderson .Paak
Writers: Anderson .Paak and Khaila Amazan
Runtime: 116 minutes
Where: In theaters Feb. 27
Grade: B
