-Written by Kyle Bain.
A young rapper, Sol (Sauve Sidle), is presented with the opportunity of a lifetime to travel with a group of musical artists to find stardom. Lost Soulz follows Sol on this journey, one that is ultimately filled with self discovery and friendship in ways that he’s never before experienced.
Lost Soulz is somewhat of a tedious film that doesn’t work to develop characters or a narrative in a way that is conducive to creating emotion or genuine entertainment. Writer-Director Katherine Propper seems to know the direction in which she’d like to take her film, but I’m not sure that she’s ever able to flesh out a complete thought. Sol is like so many other YouTube rappers, the ones that I’ve drawn tired of over the course of the past few years (though he does appear to exist a step above them–as his music appears to possess more meaning). I know that I’m a cynic in this regard, anticipating that the majority of these rappers will one day fade into nothingness, leaving no stamp on the world–and, again, I think Sol exists just outside of that space, though still reminiscent of the thousands of individuals trying to make it big in the world of hip-hop.
That was a long way of saying that I believe Sol needed a complete character arc in Lost Soulz, one that sees him develop in unexpected ways from beginning to end. It seems, however, that Sol is already so well developed at the start of the film–so there isn’t far for him to go. He seems to remain stagnant throughout most of the film. I didn’t find the character particularly entertaining, and with that lack of development throughout Lost Soulz I wasn’t given much reason to connect with him. Without growth there isn’t much reason to care about Sol, and that’s sort of where I was left both during and after the film.
While I was frustrated by the lack of character development in regard to Sol, and that same issue exists for each of the other characters, there’s something else that made them even more challenging. Nearly everyone in Lost Soulz speaks so informally, and it becomes incredibly difficult to remain focused having to hear this for more than an hour and a half. Similar to how I feel about YouTube rappers, I’m jaded as a result of the fact that I both teach English and deal with a population/generation of students who veer as far away from formal English as humanly possible. My struggle with this aspect of the film comes as a result of my environment, and I’m certain that many viewers will appreciate the quasi-authenticity of what is heard on screen in regard to the dialogue.
If I haven’t yet made it clear, I struggled to appreciate much about this film. In many ways it feels incomplete, like Propper could have and should have created something that evolved more throughout the film. However, one thing, and one thing alone, forced me to remain focused, and that’s the soundtrack. The soundtrack of Lost Soulz is electrifying, and from the opening scene nearly every single piece of the soundtrack is developed with precision and grace. The music itself feels fully realized, expertly developed. The soundtrack is fun, the songs are thoughtful, and this alone develops a welcoming atmosphere that extends itself throughout the course of Lost Soulz.
Lost Soulz is a film about music, and this aspect of the film is well developed–but I’m not sure that Propper does an effective job of extending the film any further than that. I failed to find any character development, any true narrative, and I was jaded by many of the things that I face on a daily basis. Certainly part of my issue with Lost Soulz is my own fault–but a truly effective film would have been able to break down some walls, extend beyond the stereotypes, and create something that is far reaching.
Written & Directed by Katherine Propper.
Starring Sauve Sidle, Siyanda Stillwell “Yung Bambi”, Aaron Melloul “Seven”, Krystall Poppin, Alexander Brackney, Micro TDH, Tauran Ambroise, Malachi Mabson, etc.
4/10 = WORTH WATCHING, BUT YOU’VE BEEN WARNED
