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In a parallel universe, Belly (1998) is a seminal classic—an Academy Award winner powered by star-making performances from Nas and DMX. It sits comfortably in the Criterion Collection, discussed alongside Boyz n the Hood and Menace II Society, pored over in film schools and held in the highest cinematic regard.
But this isn’t that universe. Here, Belly is a misfire—a visually striking but ultimately hollow attempt at filmmaking from a director who, until then, was nothing short of legendary in the world of music videos: Hype Williams.
Music videos were a constant presence for anyone who grew up in the ’90s with MTV on—even if it was just background noise. That era also saw a wave of music video directors successfully leap into filmmaking. Michael Bay, David Fincher, and Spike Jonze all made the transition with ease, their distinct visual styles translating seamlessly to the big screen.
Hype Williams, meanwhile, built a résumé that doubles as a greatest-hits playlist of ’90s hip hop. He crafted iconic visuals for artists like LL Cool J, Missy Elliott, Busta Rhymes, Puff Daddy, Nas, DMX, R. Kelly, Mase, Jay-Z, Usher, Mariah Carey, Will Smith, Faith Evans, and Jermaine Dupri, just to name a few. On paper, that made him a logical—almost safe—choice to direct a feature film. In practice, giving him complete creative control proved far riskier.
Based on a script by Williams himself, alongside lead actor Nas and Anthony Bodden, Belly follows two childhood friends navigating the world of organized crime and drug dealing as their paths begin to diverge. Nas’ Sincere grows weary of the life, dreaming of escape—even envisioning a move to Africa—while Tommy, played by DMX, doubles down, determined to rise within the drug trade.
On paper, this has all the ingredients for a solid crime drama. Rappers-turned-actors had already proven they could carry films and build compelling careers—just look at Ice Cube, Tupac Shakur, and Will Smith. Add a visually inventive director into the mix, and Belly should have been something special.
Instead, it’s an incoherent mess—style drowning out substance at every turn. The leads are difficult to connect with, lacking the on-screen charisma needed to anchor the film, while the story itself feels so disjointed it has to rely on constant narration just to hold together.
That’s what makes it frustrating. You can tell this is a passion project for Hype Williams, who pours enormous effort into making every shot look striking. Scenes are soaked in bold, single-color lighting, and the opening nightclub sequence sets the tone for everything that follows: stylized visuals, surprising angles, and a barrage of editing tricks all competing for attention. It’s visually fascinating in bursts—but rarely engaging enough to truly pull you in.
The real issue isn’t the visual style—it’s the absence of a solid script to support it. What story Belly does have is boilerplate gangster material, but it’s told so haphazardly that it never feels coherent. Characters act without clear motivation, drifting from scene to scene like ideas rather than people. Everyone is dialed up to such an exaggerated degree that they come off as caricatures, which makes it nearly impossible to connect with them on any human level.
A lot happens, but almost none of it lands. Events don’t build on each other, emotional beats don’t register, and the narrative never finds a rhythm. By the time the film lurches into its final act—where DMX’s Tommy is trying to assassinate a priest—it’s less shocking than it is confusing. But my confusion might just come down to this: the movie had already lost me about 30 minutes in.
Despite all the glossy imagery, the film leans heavily on narration from both leads, often delivered in rhyme, to explain what’s going on. It’s a crutch, and not a very effective one. In films like Menace II Society, narration adds perspective and depth; here, it’s patchwork, filling in gaps the visuals and storytelling fail to cover. It breaks one of the most basic rules of filmmaking—show, don’t tell—and ends up highlighting the film’s weaknesses rather than masking them.
Which makes Belly such a frustrating “what if.” You can almost see the version of this movie that works: the same striking visuals, but anchored by a focused script and characters you actually care about. In this universe, though, it remains a visually impressive trainwreck—fascinating to look at, but ultimately hollow.
