Director: Rich Peppiatt
Cast: Moglai Bap, Mo Chara, DJ Provai, Michael Fassbender, Josie Walker, Fionnula Flaherty, Jessica Reynolds, Adam Best, Simone Kirby
Screenplay: Rich Peppiatt
105 mins. Rated R for pervasive drug content and language, sexual content/nudity and some violence.

Forgive me, but my knowledge of Belfast-based hip hop groups is lacking, and I hadn’t heard of Kneecap prior to the release of this “biopic.” I am a fan, though, of musical biopics, specifically ones that embrace their subject matter’s style. After seeing Kneecap, I had to familiarize myself with the trio to see if their film matches them. Yep, we got the vibe.

Kneecap follows the rise of the titular group, with disengaged music teacher JJ coming into contact with two troublemakers of the “low-life scum” (their words, not mine) variety. Together they changed the world of Irish music by embracing their roots and rapping in their native language to uplift their heritage.

It’s a difficult task to have any person or group play themselves in the true version of their lives. But then again, Kneecap is a difficult movie to place in any one regard, including its truth, or potentially lack thereof. While I’m aware that the film intentionally overindulges with some flair, I’d almost rather not know the truth behind any of its specifics. The film, like the personas of its group, are larger-than-life, and their legend is more important than the truth of it. It’s a strange and exciting film, one that doesn’t have many like it to compare. The closest I can get is perhaps Rocketman, in that the inflated reality of that film perfectly matches the energy of Elton John, whereas Kneecap’s anarchic, messy, protesting style perfectly matches what the trio bring to the table.

Kneecap functions both as a music biopic and an examination of the loss of language identity. As an English speaker, I can’t even imagine the impact of one’s language on their personal identity, likely because I’ve never been in jeopardy of losing it. Kneecap, for all their zaniness, for all their shenanigans, they’re fighting for a part of themselves to be kept sacred, and that’s a noble cause even for a group of so little nobility. It’s a treat to see these elements interplaying in the film, matched only by the solid directing of their various songs and drug trips.

While the band have no chance of winning Best Actor at this year’s Oscars, there’s a real intimacy within their performances that was believable enough to get by. They are further uplifted by strong supporting performances like Michael Fassbender as Arlo, father to Moglai Bap, who is presumed but may not actually be dead.

Kneecap is an interesting combination, a true-ish music film that functions as an examination of language itself, and it also was a raunchy and fun little movie at the same time. This is one to catch, especially for fans of the music and goofiness that this film’s trailer promises.

3.5/5
-Kyle A. Goethe