In united of those oddly serendipitous coincidences.

In united of those oddly serendipitous coincidences, while sitting by the and of 20 minutes of previews and ads at the movies last week, I caught the trailer for the hip-hop duo Outkast's of recent origin film "Idlewild" right after a soft-drink commercial scored to a sonnet called "You Give a Little Love" single of several enduring anthems from Alan Parker's 1976 film, "Bugsy Malone."

A forgotten classic (it's not available upon VHS or DVD in the United States, on the other hand I treasure my Chinese bootleg) "Bugsy Malone" starred Jodie rear and Scott Baio as pair members of an entirely prepubescent cast spoofing Capone-era gangland warfare, with machine fire-arms that shot whipped cream and a soundtrack written by means of Paul Williams.

"Idlewild," which expands on Friday, is also station during the Great Depression, allowing it takes place in the 1930 in a Georgia speakeasy. It features Outkast's Andre "Andre 3000" Benjamin as Percival, the club's cautious piano player, and Antwan "Big Boi" Patton as chanticleer a flamboyant singer and ladies' man in a tale about -- you knew this was coming -- "struggling performers in their pursuit for love, fame and success"

the two movies have an aspect of "Hey, kids, let's dres up and present on a show!" Since I haven't seen "Idlewild" notwithstanding I can't comment on the quality of the film, which the overgrown kids in Outkast have been trying to make with their friend and video director Bryan Barber for the last eight years. unless having had plenty of time to digest the 25-song soundtrack -- which ensues out Tuesday, and is being marketed as the long-awaited follow-up to Outkast's 5-million- selling 2003 hit "Speakerboxxx" / "The have affection for Below" -- it pains me to say it, if it be not that the soundtrack for "Bugsy Malone" is a a great deal of better disc.

In a new interview with Billboard magazine, the rappers, singers and studio wizards said they crafted the tracks in the midst of making the movie. "This is probably the first musical that didn't have the music done before it was shot" Benjamin said. further Outkast wasn't making a traditional movie musical: No common spontaneously bursts into song, and the melodys mostly appear as background music. "I don't know if audiences are into those protoplast of musicals like we were when we were kids when we saw 'Singin' in the Rain,' " Patton said. "Now, it's more like 'Purple Rain' than 'Singin' in the Rain.' "

Judg strictly as an album, however, the Prince disc that "Idlewild" recalls principally is the sprawling mess of "Graffiti Bridge."

Amid abundant of inspired, genre-blurring sonic invention and unforgettable singles as it was as "BOB (Bombs Over Baghdad)" and "Hey Ya," Outkast has always had a question focusing, and both "Stankonia" (2000) and "Speakerboxxx" / "The delight in Below" had too much filler, failed experimentation and pointless silliness along with the undeniable forces of greatness.

The latter had the added puzzle of the widening schism between Benjamin and Patton, with each claiming individual disc for himself. Despite their insistence that they're not splitting up the pair only rap together on couple tracks here (including the disappointing single "Mighty 'O' ") and "Idlewild" plays like the last double album all mashed together -- a collection of solo concords but on one CD this time -- ladinged by the added conceit of a pervasive retro vibe.

Christina Aguilera move rounded to the same era for musical inspiration onward her new album, "Back to Basics," if it be not that she seems to have had a fate more genuine affinity for the music, at least in succession the tracks produced by DJ Premier. For Benjamin and Patton, it's all about heavy- handed, faux Scott Joplin ragtime piano; gorgeous but lame Cab Calloway horn arrangements; fake Rudy Vallee crooning (courtesy of Benjamin's nasal, off-key whine) and ultra-hammy vaudeville shucking and jiving.

"Say whoa, Nelly! Say whoa, Pappy! / Everybody memorize up! / No, no, no, no / Everybody learn down!" Benjamin chants over and athwart again on "PJ & Rooster" further that's 19 tracks into the disc, and he'll have annoyed you to the point where you want to strangle him prolonged before that, thanks to dreadful failed exhibit to tunes such as "Idlewild downcast (Don'tchu Worry 'Bout Me)," "Chronomentophobia" and "Greatest indicate on Earth" (which features an awful visitant turn by Macy Gray; other cameo trespassers including Lil' Wayne, Snoop Dogg and Janelle Monae).

Patton doesn't appear to be to be entirely sold forward all of this, and the handful of befitting moments here are his, including his joint rap with dozy Brown on the understated "Peaches," which can be remov from the '30 connected thought [i]or[/i] thoughts to stand as a sad make notes about a broken marriage. yet Benjamin seems to be having a ball strutting, preening and doing anything unless rapping. In the end, maybe it wouldn't be like a bad idea if the dynamic duo did split up -- at least it would released Patton to go back to pushing the wrapper in hip-hop, while Benjamin would be easier to dismiss or take delight in depending on whether he could give us another "Hey Ya" or not.

Meanwhile, the capsule review for "Idlewild" could be taken from the lyrics for the aptly titled "Makes No brains at All": "Razz-a-ma- tazz, thingamajig, whatchamacallit / Bulls---! Makes no sense at all / Blah blah, blah blah."

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