Biggie and Tupac 2002

Richard Roeper, Ebert & Roeper: It's like a rap Rashomon. There's a million different stories here. Read more

Dave Kehr, New York Times: Whether or not you buy Mr. Broomfield's findings, the film acquires an undeniable entertainment value as the slight, pale Mr. Broomfield continues to force himself on people and into situations that would make lesser men run for cover. Read more

Manohla Dargis, Los Angeles Times: Bristles with the sort of passion and bold purpose so often lacking in contemporary nonfiction filmmaking. Read more

Owen Gleiberman, Entertainment Weekly: [Broomfield] uncovers a story powerful enough to leave the screen sizzling with intrigue. Read more

Ernest Hardy, L.A. Weekly: Broomfield is energized by Volletta Wallace's maternal fury, her fearlessness, and because of that, his film crackles. Read more

Gene Seymour, Newsday: Nothing sticks, really, except a lingering creepiness one feels from being dragged through a sad, sordid universe of guns, drugs, avarice and damaged dreams. Read more

Roger Ebert, Chicago Sun-Times: Compulsively watchable and endlessly inventive as it transforms Broomfield's limited materials into a compelling argument. Read more

Eric Boehlert, Salon.com: Nick Broomfield's dishonest film Biggie and Tupac solves nothing about the rap world's most notorious murders. Read more

Neva Chonin, San Francisco Chronicle: In exploring their deaths, Broomfield sheds light on his subjects' lives and art, reminding us why their loss still reverberates and their albums still sell in the millions. Read more

Time Out: Read more

Dennis Harvey, Variety: Read more

J. Hoberman, Village Voice: A first-person whodunit in which the filmmaker casts himself as a seedy gumshoe poking around a hallucinatory world in which poverty, crime, and drugs mix with fantastic wealth and grandiose scenarios lifted from The Godfather and Scarface. Read more