Please See This Film...

Even though this film is not accessible in a lot of cities, I wanted to write about it as I am deeply disappointing in the numbers it's received. We all cry and complain about the dreck (well, most of us) that is the Ice Cube and Tyler Perry empire, begging for something more and something different, and when it's right in front of us, what happens? It is virtually ignored.

I am speaking of the film "Night Catches Us", starring Anthony Mackie and Kerry Washington.

Since I've moved back to Oakland, I've had the very fine privilege of being around some original Black Panthers; the ones that were front and center when everything went down, both here and in Los Angeles. The vast majority of them epitomize the old saying "Still waters run deep". Silent, powerful, exuding the energy of all of the hurt, lessons, wisdom and knowledge that make up their being; and careful about the company they keep.

I would say this film is very much an allegory of that type of Black Panther personality, and it is fitting as it centers around two people that are former Black Panthers, struggling to get past their life-changing and disturbing experiences while in the party (Mackie and Washington).

That is basically all that the film is about. It is not an epic-type film (though they show original footage of the Panthers), but a slice of the very large pie that was/is The Panthers. And sometimes a slice is all we need to gather focus on a film's characters, and the beauty of the life it represents.

Kerry plays a civil rights attorney, seemingly having her old cohorts and her brother as her main clients. Her husband was tragically shot to death years before in a Panther strong-arm effort gone wrong. She has a daughter she's raising, and lives with a man who is apparently successful on a few levels. She has chosen to stay in the neighborhood where she's lived all of her life, because in some way, she still believes "the cause" will pick up where it left off.

Mackie is a former Panther that has been deeply branded a "snitch", and may have been the cause of Kerry's husband's failed attempt and ultimate death. He has left town years ago, immediately after the incident, and returns to tie up loose ends in the wake of his father's passing.

Without telling the whole film (which on the outside doesn't seem like a lot), the wonderful chemistry of Kerry and Mackie draws you in, and sneaks up on you, just like a panther. They have learned a lot of lessons over the years, and when they come together, even though the core of what they were is still the same, the changes they've been through have changed them as well. They represent in each other the idealism they once had, but slowly and carefully come together to overcome what their current differences are to get to something that is true and organic--something that has been missing from both of their lives: love.

Intermixed in this relationship is the background of Mackie still having to deal with his accusers (including Jamie Hector from "The Wire"), who haven't forgotten a thing, Kerry's brother's breakdown stemming from his deep disappointment in the revolution that never really seemed to happen, the easy comings of Black men in Black women's lives in the 70's and the decades beforehand (a likely offset of the way slavery set up the familial unit), and the very sweet burgeoning relationship between Kerry's young daughter and Mackie.

To me, this film is compelling, engaging, and involving. It makes you think, and definitely has very real-life parallels of love, friendship, and family, both the loving and contentious aspects of them. Some may feel a slow moving film that takes it's time to establish it's characters and get to the center of it's point may be boring. But guess what? This movie, just like a living former Black Panther, is selective about the company it keeps.

Black Cinema At Large Rating: B++. Ms. Invisibelle says check it out.




oh, and ps: the soundtrack by the roots is fantastic...this film is on cable on demand in many cities

To Like Or Not To Like? That Is The Question....

OK. So saw Tyler Perry's "For Colored Girls" over the week-end. I purposely didn't read any reviews before seeing it (though I really wanted to) as I wanted to view it from my own perspective. I thought about writing this review the same day as seeing it, but I was unsure how I felt about it.

The fact is, I'm still pretty unsure. I know for a fact that it is the only Tyler Perry movie that I have ever even remotely liked, but I'm not sure how much. I saw the play when I was a little girl with my parents. It was long ago, but I do remember certain things about it. I remember thinking while watching the film "I don't remember any men being in that play". Sure there was talk about them, but I didn't remember seeing any.

The other thing, which I think may be my biggest problem with the film (besides the bad wigs and make-up) was that I didn't remember it being such a joyless experience to watch. At the play I remember feeling uplifted, with a great deal of admiration for the women involved. I remember that being colored and a girl seemed like a very great thing to be.



It is obvious Perry did try very hard to rise above his limitations, but we eventually get back to the branded theme of "bad Black men are the root of all Black women's ills." I'm ready to admit that bad relationships are afflicting our community in a huge and negative way, but that, monolithically, is certainly not the root of a great many of our problems. I would place racism high amongst that list (which I don't remember being talked about on any level in the film), as well as poverty, fifth rate education in public schools, lack of concern for nutrition, no genuine leadership in the community, and a host of other reasons as things we are to examine to make ourselves whole in the world.

Another limitation that has kept me from really getting into Perry's films is a complete lack of subtlety. I remember that the play was beautiful, and though not all beautiful things are subtle (certainly not), that was the beauty of this particular play. It made you think, to solve the riddles of Ntozake Shange's verse and prose. In the film, the transitions from regular speaking to the lines in the play were jarring, and mostly clumsily handled. A couple of times I found myself thinking "what the f*ck is she talking about?" only to realize a few moments later that a character was speaking lines from the play.

I did not think it lessened the experiences that were to be learned by adding men into the mix. And of course, the prose had to be expanded upon to make the film less "play-like", because as a lot of my readers have let me know, they are not huge fans of straight-on plays on film...I didn't think that detracted from the original messages of Shange. It was beautifully shot, and the set design seemed to be thoughtful. Everyone gave close to amazing performances, with special kudos to Whoopi Goldberg (surprising), Phylicia Rashad, Thandie Newton (underrated), and Macy Gray (whom I always love as an actress).


But I could not escape the feeling of claustrophobia that set in for me midway into the film. The close, tight face shots; the small, cramped apartments--began to close in on me. In the beginning of the film it was expansive and full of possibilities; as the film progressed and the plotlines and characters started to begin to be involved with one another, I felt myself shrinking. As everything became smaller and more universal, instead of feeling identity in the close relationships and growth of these women, I felt suffocated, and thoughts of wanting to escape the film began to arise.

"How long is this movie?" "Why is it so relentless in it's sadness and anger and hopelessness?" "Why doesn't anyone move from this horrible apartment building?" "Why does Janet Jackson's face look like a Kabuki mask?" And so on. Rape, abuse, mental illness, murder, undercover homosexuality....why did I not remember all of that from the play?

When the film ended, I was relieved. I don't think I've ever felt that way before about a movie. But I have to say I was relieved to see the misery about the pain men cause be over, to not have to look at the dreary apartments anymore, and to not see Lorretta Devine's craptastic wig any longer.

And that is DEFINITELY not what I should have been left with. The meaning of "Colored Girls" is to give hope and good cheer, to let Black women know that everything we need in this life, and any other life, is already inside of us. To let us know that as long as we support one another is sisterhood, in creativity, in our awesome womaness, it doesn't matter what a man does, or a whole race, or the whole world. We have to, and can, support and hold each other up.

That was the feeling I was left with in the play. The film seems to be a lot less emphatic about those things. And those messages--in and of themselves, are what kept this from being a great film, and instead simply a great try.

Flashback Week: "Chameleon Street"

After watching a series of groan inducing "just why?" films like boiling hot mess "Armored" and the wretched "The Losers", it was quite refreshing to have a film like "Chameleon Street" thrown into the mix. Reader Tafari summed my current Black Cinema thoughts pretty well:

As for myself, the last good black movie I've seen since the fall of 2009 was Precious. Since then nothing good has been released. Thought about seeing the Funeral movie but decided to see Kick Ass instead and it was fucking AWESOME. So happy I followed my guts on that one!

Outside of Kick Ass, the only movie that I've seen since Precious and Avatar that I like/loved was Shutter Island. Everything else has been a total mess making me want my money back still.

What's a movie buff to do?

For reals! Now Chameleon Street isn't as much of a flashback as the others are in this series, since it was released in 1989, but it very much has the feel and tone of a Black film from the 70's. The difference is that instead of the foot to ass, get "the man" through violence films of the 70's, the main character uses his wits and resources to get by and through "the man".

It is the story of William Douglas Street, played by Wendell B. Harris Jr. (yes, he uses his full name at all times, lol) who, motivated by chasing the almighty dollar, finds himself assuming a number of different identities; surgeon, Yale student, a "Time" news reporter--all falsely assumed but accepted by everyone nonetheless. Everyone except his one weak spot and kryptonite, his self-involved wife. Though from humble beginnings, he is intelligent, has a razor sharp wit with a ton of charisma, and absolutely no time to suffer fools easily. This enables him to make the transitions, from jailbird to ultimately a political and social activist and everything in between, with ease.

While the budget limitations are obvious, and the transitions from one identity to the next can be a bit rough, I saw what the star/director was trying to do. It wasn't so much about the plot itself exactly, but was really more like a scathing observation of the hypocrisy and ignorance of America, and YT's ridiculous assumptions about Blacks and appearances. It also deftly handles the microcosms of Black male female relationships, and how difficult it can be to dedicate yourself to just one person. He had a lot to say, and he said it in this film....the narration is killer.

I have mostly seen Black men rave about this film--it seems to really resonate with them on some level for some reason. But this is what you would call a thinking person's movie; you can't just view it as is, you must see between the lines. It moves at a swift pace, and there are no spots in the film where nothing is happening, so you gotta pay attention. I recommend viewing with zero distractions, and zero expectations, and this movie will be thought about days afterward.


Read this in an article: "Instead of distributing the original film, studios wanted to make new versions with various actors. Harris remembers, “Each time it was given to a different person, it was given a different ambiance. For Wesley Snipes, it was changed into a kind of car chase movie. For Sinbad, it was changed into a kind of goof-ball character. For Arsenio, it was a hybrid of the two.” Will Smith also wanted to remake it, and has twice redone a scene from Chameleon Street where Harris solves a rubik’s cube to impress an employer."* Typical!!!

Also read this: "Harris shopped around many ideas in the 90s, including Negropolis, a version of ancient Rome where the emperor and ruling elite are all black and all the slaves are white. Roles were written for Oprah Winfrey as Cleopatra, Queen of the Nile and Cosmetology, Howard Stern as Alexander the Great and Harris as Canigula – Caligula with a ‘N.’"* Now that is a movie I wanna see!

Wendell B. Harris, Jr. is working on a sci-fi project as of late; I know that you readers have expressed multiple times how there is such a huge need for that in Black film. As such, whenever you hear or come into contact with his project, please do whatever you can to support!

Could not find a trailer, so here is a scene from Chameleon Street:



Some comments from Harris, and a scene from the film about "good hair":






*source: filmakermagazine.com

In Praise Of Precious....

This is a repost of a guest blog I did on my blogging brother Rippa, aka Rip Dem Up's spot: "The Intersection Of Madness and Reality". Please check him out...he mixes things up over there on a daily basis. Warning--he may piss you off and he loves to do that! PS Thanks to my new followers for doing so, tho I haven't posted in a millennium--love you!



I haven't blogged in a long time--it's not that I haven't wanted to, or had writers block, but somehow I couldn't seem to make the effort. Rippa challenged me to write my thoughts regarding the movie Precious, and the hoopla surrounding it, after reading my heartfelt tweets/anger about the sad folks that started a website to recruit people not to see the film. I mean WTF??

Listen people. I am what you would call the hugest Black Cinema enthusiast. I am completely involved in it every day, whether directly or indirectly via the internet. And for the life of me I cannot understand this backlash on Precious on any level--especially because the bulk of it seems to come from folks who've never even bothered to see it.

I have a blog on Black Cinema, entitled Black Cinema At Large...and on it we have discussed quite often and many times over the problem with Black film today. Most of the common complaints that I have read on my blog are actually addressed and handled beautifully in this film. Want some examples? Here we go:

All we ever get to represent us on screen is either a Tyler Perry film or a Black man in a dress.

This one is easy. Though Tyler Perry executive produced this film, there is absolutely no whiff whatsoever of any Perryism, and only real women play the women, and even 99% of them weren't wearing dresses.


1) Why can't we have a film starring Black people that is just a story? 2) Why do we always have film that puts our pain on screen?

The themes in Precious are universal. There are far, far too many people in the world that are suffering because of poverty and ignorance, not just us. Incest, poverty, and violence are real, in every culture, and happen every single day. Are they never to be addressed on film? This story could happen to anyone, and director Lee Daniels keeps the scenes involving the incest and violence to a minimum, if only just to show the challenges Precious had to break away from. The very focal point of the story is Precious' journey toward enlightenment from darkness. Would it have been easier to view if Precious was light, or was thin, or had long hair? Be honest when you answer that.


1) We are so tired of rappers and singers instead of Black Hollywood actors getting all of the roles in Black film. 2) We never get to see any up and comers given a chance, we see the same actors over and over.

Okay, so Lenny Kravitz and Mariah Carey are in it. But guess what? Their parts are small, and they actually added some good performances to the story. Lee Daniels made sure that they earned their place in his film--they were not missteps. The main roles are played by someone who has never sang or rapped, Mo'nique, and by newcomer Gabby Sidibe. As I'm sure you've heard or saw by now, both of these actresses put their FOOT in it. Even Paula Patton, who I've never been particularly impressed with as an actress, did an amazing job as Precious' teacher. The students, all unknowns, were completely natural and believable.



When we get a decent Black film made, it never gets any hype or publicity and fades away. All we are left with is coonery.

Ummm...even if you haven't seen this film, you know that it has gotten publicity in a major way, along with tons of major accolades. It broke box office records in it's limited release, and has slowly been expanded it all major markets. This film causes us to actually think, which Americans are probably not used to when watching a movie, and is a Black film that is completely coon free as well--can most wrap their mind around that?


The music and soundtracks in Black film are so awful--what happened to the soundtracks we wanted to buy in the 70's (and 90's)?

When I worked for The Studio That Will Henceforth Remained Unnamed, I was always saying that the soundtrack is an essential tool in creating and effective and compelling film. Daniels seriously knows the value in it as well, and weaves throughout the story added layers of amazing narrative through music; Labelle, Mary J. Blige (produced by Raphael Saadiq), Mahalia Jackson, Queen Latifah; all strong and talented women that came from humble beginnings. And he didn't take the easy way out by filling it with Lenny Kravitz and Mariah Carey.


The Black Hollywood elite never use their money or clout to back Black films.

Oprah and Tyler Perry? Nuff said



The fact is, if you are paying attention at all, you would know that Precious isn't all about pain, or being ghetto, or fathers raping their daughters, or Black stereotypes. It is about Precious breaking through a foundation of generations of ignorance. Her mother has no value for anything but the basest human functions--food, sex, and TV. Her mind cannot expand beyond what is happening inside of her house, and can barely expand beyond her own animal instincts and thought. Precious lives in the peripheral vision of her mother's mind, only to be recognized when she is hungry, angry, or horny.

The sheer weight of the legacy Precious has to handle, not alone her real weight, make her life almost unbearable. The only difference between Precious and her mother is that Precious has a small ray of hope (though she has no reason to), that she desperately clings to like a life preserver, hoping that one day someone will pull on it and lift her up. She escapes her real life through daydreams and fantasies, until the real life and daydreams start to meld. Yes, tragedy does bring her to a place of enlightenment, but isn't that the case with everyone on this planet? Isn't that why we're here? Does anyone learn anything from having it easy all the time? If you know someone like that, I would be interested to hear about it.

The ignorance of parents passed on to their children is absolutely real. I have been blessed in this life to have two parents that both have their master's degrees, and I have had some very hard and severe challenges in my life with both of them and in life, even on that foundation. But doing some volunteer work in West Oakland (historically a poverty ridden area for a few decades) years ago brought my awareness to a new level....I had always taken for granted so many things that the youth in the community had no knowledge of---the level of ignorance was absolutely crushing....it made me very sad, and very reflective for quite some time. Most of the sadness came from knowing that most of these kids were good, and had so much potential, but it would never be realized because these kids would never be able to move beyond the tools their parents gave them, which was barely above survival level. Most of them had never even been to San Francisco, across the bridge and only 4 miles away.


Precious was able to break free, and the joy of this film is seeing her journey--how when she hears her teacher and her lover speak, she says that "they sound like a channel I don't watch" and instead of being intimidated, strives to be more like them. We see her in a fantastic scene--where the images and sounds surrounding her from all angles; Malcolm X, Shirley Chisholm, the race and civil rights struggle--are slowly but surely chipping away her blindness. Her sheer determination and inexplicable force of will propel her to a life outside of the one she inherited, and though her life does not end up being challenge free, she is a testament that our lives are what we make them to be, and we are the ones solely responsible. And if that is cause for protest, then I got nothin'.

On an added note, anyone who knows anything about producer/director Lee Daniels knows that he consistently and repeatedly steps out of the box. I actually started my blog because of his film "Shadowboxer", because of the unfairness I felt is received from the critics. From that film (with elements of stepmother, son incest), to the very excellent and underrated "The Woodsman" (with pedophilia) to "Monster's Ball" (interracial love and sex) to Precious, Daniels creates images and themes that stir up a myriad of emotions in folks--admiration, reflection, sadness, excitement, anger--everyone has their own interpretation.....and after all, isn't that what art's ultimately supposed to do? If you can't support the content of his films, just be glad that something creative is being done by and for Black people--the studios are watching your every move!

To all of the people who still hate this film, and continue to be vocal about it, I invite you all to marinate on all of the recent studio greenlit Black films coming to a theater near you: Why Did I Get Married 2, Big Mamma's House 3, and Beverly Hills Cop 4---carry on!

Now THIS Is What I'm Talkin' Bout!

Usually it takes my beloved Mr. Howard (aka Terrence) to wake me out of my blogging beauty sleep, but even his laughable "Cleanse And Protect! You Gotta Wash Your Hands!" public fuckery campaign in Philly that takes his love for baby wipes to the next level couldn't wake me this time. I love you guys to death, and have wanted to share a bunch with you, but could not seem to put fingers to keyboard.

Until the very lovely Jez at "Shook" Magazine from in UK sent me this amazing 2 CD masterpiece "Can You Dig It? The Music and Politics of Black Action Films, 1968-75".

Oh. My. God. Let me tell you this--I was in a Radiohead stupor for the past 2 weeks--literally I have listened to nothing but Radiohead very single solitary day at home, at work, and in the car. Only a small miracle could have moved me from Radiohead and my blogging slumber, and that is what I consider this compilation--a small miracle. The gatekeeper of this blog, Pam Grier, graced the cover of the CD, piquing my interest, and I was absolutely hooked from the very first song--Roy Ayers' "Coffy". Need I say more? Well, maybe for the young folk I do, lol. But I don't think I can ever say enough about this spectacular collection.


Blacula, Black Belt Jones, Trouble Man, Cleopatra Jones...you name it, all the classics are here repped by some of the finest jewels in music; James Brown, Issac Hayes, The Impressions, Joe Simon, The Blackbyrds, Marvin Gaye...by the time I got to "Brothers Gonna Work It Out" by Willie Hutch from the classic Blaxploitation "The Mack", I was completely, thoroughly, and absolutely in love, lol. Did you know Sweet Sweetback's Theme was by Earth, Wind and Fire? I might have, but forgot--it's tidbits like that that make this even more of a treasure. All of my memories of these films came rushing back, and I was very grateful to the people behind this project for having the amazing foresight and what must have been a good deal of patience for licensing. I even loved the fact that they called it a homage to "Black Action Films" as opposed to Black Exploitation, or Blaxploitation, two terms I never really cared for.

I wish I could print the entire site here, but I can't--it might take you a while to read, plus it would take up about three pages of this blog...here is a bit more info (trust me, it will be the best gift to yourself you can possibly get all year, for reals!). Purchase and have one of your best parties ever!:

Can You Dig It?’ charts the rise of ‘Black Action Films’ from 1968-75. As well as featuring a double-CD collection of the stunning music from these films, ‘Can You Dig It?’ comes with a 100-page booklet, mini-film poster cards and stickers. For images, more info please call Karen or Angela on 020 7734 3341. Or email us on angela@soundsoftheuniverse.com or karen@soundsoftheuniverse.com

Here is the opening segment to the song "Brothers Gonna Work It Out", taken from an actual scene in "The Mack". Loves it.

Superhead = Super Stupid

This is a repost of an article I did over today at Soul Sis-Star Reviews....

[On] my other blog I said I was about to review "Panther", which I still will, but I took a little detour off on the DVD "Kiss And Tail", which starts off being about video girls and groupies for about 15 minutes, then veers off into a bombardment against Superhead, aka Karrine Steffans, author of "Confessions of a Video Vixen" and "The Vixen Diaries".

I want to make it clear that I have ZERO love for Karrine, and it's not because of her sexual exploits. It is because of her as of late consistent 'holier than thou' attitude that I have read about and seen in interviews. I also have no respect for those who want to be famous and known at any cost whatsoever.

You see, I used to be heavily involved in rap on the business side. These dudes would come at you every day, every which way till Sunday. I don't believe they even cared about who you were or what you really looked like, as long as they felt you were even semi-attractive. They just wanted to see if they could get it. For Karrine to act like she cured cancer or something just by getting these guys that practically anyone could get, then blabbing about it to the whole world and acting like she did something special is just so f*cking ridiculous to me. Add that to the fact that she always refers to herself as "a New York Times bestselling author". Oh really, Toni Morrison? Talk to me when you write a book about something besides whose peen you put your mouth on.

Let's just say that it is welcoming to see her get a taste of her own medicine. The folks in this film are for reals, for reals, and they don't hold back, which I absolutely love. It is not speculation, but from the horses' mouth based on actual experiences and interaction with her.


Save the comments about "you have to respect her hustle!". I don't respect anyone that lies about having a baby to get money (see Ma Barker), lies about having been pregnant numerous times (see Darius McCrary aka Eddie Winslow), lies about not having sex with Jay Z (see her own words in her first book) lies about doing porno (see Mr. Marcus and some Samoan porn star dude whose name I forgot) lies about being married, lies about how long she was doing said activities, and lies about almost everything except f*cking, from what I can see.

She has the audacity to say that the things she did like getting paid $200 by Murder, Inc. to give blow jobs to everyone for the day was "Like being in college. I had just got a divorce, so I got a little wild. I deserved that" Ummm....noooo, that is not like college, sorry.

Also this: "I had to do these things. It was L.A., L.A. does this to you. If I didn't do these things I would have died". Whatever, B. I have lived in L.A. off and on for 20 years, and guess what? I never had to s*ck a d*ck to pay the rent, no matter how hard it got. You know why? Cause I didn't want to!

Though the film can get repetitive, and really won't hold a lot of interest unless you know about Karrine Steffans or the folks she juked, it is nice to see a woman that is a complete psycho and has ruined so many people with her ugliness get her comeuppance. You can tell narrator Wendy Williams is loving every minute of telling all of the salacious details as well.

Everyone in this film pretty much agrees that this woman could not have any friends--and I could see all of the anger and hurt of betrayal from those on film that testified. Like Ja Rule said, "Yes, you are famous, but you are not a star. A star is someone you want to emulate, someone that has something you wish you had. I don't think anyone wants to be like Karrine".

Amen.

MMM (Mini Movie Marathon)....

Yeah, I know. I'm the ultimate slacker when it comes to posting. But you know one thing I never, ever slack on is watching movies. I think I set a record for myself over the past two weeks, watching everything from Bruno to Bye, Bye, Birdie (yeah, I watched it--don't judge me!). I'll give on overview of my experiences, and since not much is happening with Black Cinema, most of it is of the other kind....and lest you think I have absolutely nothing to do with my time, bear in mind that I watched most of these when folks are asleep, between the hours of 12am and 6am.

I definitely went on DiNiro overload, for real. I watched not one, not two, but three 3 hour Robert DiNiro odysseys; "Casino" (fabulous!), "Heat" (overrated, yeah I said it!), and "The Deer Hunter" (strange). I love Bobby D., he is always sooo cool and low key, even in Vietnam, as he was in The Deer Hunter. It was weird to see Christopher Walken looking young in it though, almost surreal.

Speaking of Christopher Walken, I also saw a film he was in called "The Dogs Of War" which I'm told is a classic. I tried to stay focused on the story at hand, but I wasn't too thrilled that the plot entailed just 4 white dudes taking out a whole African nation of brothers that were armed with guns.

Anyway, also saw the "hip-hopera" "A Day In The Life" which was written and directed by Sticky Fingaz, and I reviewed on Soul Sis-Star Reviews. The whole film, every single line of dialogue, is rapped. Yes. And that includes Michael Rapaport. I also revisited "Panther", which I will review as well...does anybody remember that Bokeem Woodbine used to be almost a real actor?

"Other" films I revisited were a Nicholas Cage flick called "Red Rock West", which is a cautionary crime-thriller about Karma kicking you in the back of your neck (very dark and trippy, like David Lynch), and a dark mystery called "Frailty" which was surprisingly good. It was directed by and stars Bill Paxton, along with Matthew McConaughey, who, to my huge shock, didn't get on my nerves even once. It is the story of a widowed father and his two young sons, the father one day saying he has been commissioned by an angel to slay "demons", the "demons" being folks in neighboring cities and towns, and also says his sons must assist him in slaying them...very absorbing--I recommend it.

Let's see...also saw "Isn't She Great" starring Bette Midler, in the supposedly autobiographical movie of Jacqueline Susann, who wrote "Valley Of The Dolls", and it seemed to take great liberties with her life. Also saw "Orphan" (don't ask).

I guess the ones the stuck out the most from the pack (yes there are more) were two pretty dark and twisted films--"Cruising" and "The Bad Lieutenant".

I remember my father taking me to see "Cruising", and only remembered it as a movie where Al Pacino went undercover as a cop going in the deep underworld of the gay leather club life. On reflection, I'm sure my father just went because it was Pacino, and had no idea what he was bringing me into. Pacino has to play a sort of gay hustler to find out who is murdering those that are part of the leather lifestyle. I did some research on the film, and at the time it created quite a stir, narrowly missing an "X" rating. The gay community was supposedly furious at the time, saying that it perpetuated fear and stereotypes about the gay lifestyle. These days, however, they show the film proudly at festivals...so there you go.

"Bad Lieutenant" is about a cop that has gone miles beyond corruption, much less anything that resembles human, played by Harvey Keitel (full frontal nudity alert!). It is filmed in a very late sixties, early 70's style of filmmaking, though it is from 1992. Keitel to me is part of that 70's, 80's cool that included the others I watched in this post, DiNiro, Pacino, Walken and more recently, Joe Pesci. He goes through his day, sexing and drugging it up to feel anything at all; being a cop is a very minor part of his day...he even steals from the people who steal. He is called in to investigate the rape of a nun, and the film just gets progressively darker, and disturbing, and hopeless. There was only one way for it to end, and it does end that way...check it out if you don't have an aversion to sex, drugs, and violence set in a backdrop of religion.

After the darkness comes light, that light being "Bruno". I absolutely loved Borat, so I was expecting great things...don't you make the same mistake (sorry Sergio).

When I look over these films, there does seem to be a commonality...most of them were directed by those who at one time or another considered the "bad boy" directors; William Friedkin (The French Connection, The Exorcist, Cruising), Abel Ferrara (Bad Leiutenant, King Of New York), Martin Scorsese (The Godfather, Goodfellas, Casino), Michael Mann (Heat, Hancock, Miami Vice), Larry Charles (Borat, Curb Your Enthusiasm, Bruno) and the big bad boy, Michael Camino (The Deer Hunter, Heaven's Gate, The Sicilian). Get a film by any of these directors, and trust--there may be a miss or two, but it will never, ever, be boring.

Feast your eyes on a few trailers:

Movie Review: The Human Contract

I didn't write about this film "from writer-director Jada Pinkett-Smith" on my movie review site "Soul Sis-Star Reviews" as I don't really consider it Black Cinema, but wanted to comment on it because of it's director, Mrs. Will Smith.

Full disclosure: I am not the biggest fan of Jada--I am not even what you would consider a small one, but I tried to stay as unbiased and objective as possible while viewing this.

I am, however, a huge and devoted fan of those who do many things in their lifetime, and do it with confidence, swagger, and success. Transistions that a normal person would like to do even one of in their lifetime. People like Paul Newman for example, who was an actor, a race car driver, and a philanthropist. Fred Williamson who was a football star, TV star on Diahann Carroll's 60's TV show Julia, then went on to produce his own movies, making him arguably the biggest Black action star ever.

Then we have Mrs. Smith, though trying out everything in her heart's desire; book author, relationship expert, TV star, rocker, producer, philanthropist, and now director, seems to be a Jack of all trades and master of none. Well, except how to marry very, very, well.

That's not exactly fair, I guess. I have a begrudging respect that she actually does it, tho the results are usually not impressive to me. There is something about her that I find very disingenuous, and with this film I found myself bouncing back and forth from the begrudging respect back to my thoughts of pretension.

The respect comes from the fact that she wrote a film that isn't entirely bad--a story of a bored and suppressed rich and well connected executive, who finds an interesting and much needed diversion with Spanish star Paz Vega.

The story is not complicated, seemingly aiming to be a sexy noir-ish film on par with "9 1/2 Weeks" or "Basic Instinct", where a mysterious and sexy stranger shakes up the life up a formerly repressed and conservative protagonist, bringing out a freak inside they never knew existed, thereby freeing all other emotional, spiritual repression, blah, blah, blah.

There are several issues which prevent this film from reaching the annals of the movies I just mentioned....first of all let me state that I promptly fell asleep 15 minutes in, despite the fact there was a sex scene and Idris Elba using his real Brit accent 10 minutes in. Not a good sign.


There is also the lead, probably the most unsexy dude ever in a supposedly erotic film, Jason Clarke. He is unlikeable in every way, not that handsome or hot, only showing emotion when he is angry, and when he is angry, then someone always gets beat down. Badly. What executive goes around doing things like that? (It is part of the supposed "big reveal"). The pacing is very uneven, mostly deadly slow, with no tension or anything compelling to keep you wondering what will happen next. In fact, the film doesn't really even have a point until about an hour into it--surely a factor that will lose many a viewer. Jada Pinkett plays the executive's sister. Ummm...why is he white and she's Black? Why is absolutely no explanation given about that? (at least not one that I heard).

Great attention is given to a rice dish that Vega feeds the exec; it pans over the plate slowly no less than three times, yet a scene where the exec saves a homeless man from near death is given exactly 15 seconds. Huh?

Anyhoo, Paz Vega turns out to be married, but she and her husband have "an understanding" and apparently he is solidly behind her while she's out juking whomever, male or female. Is this art imitating life, Jada? Or just titillating stuff that you do with the press so well?

Turns out the exec ends up having a problem with the husband situation, even though she'd been quite clear and honest all along from practically the beginning. And despite the fact that all she does is look extremely beautiful and is extremely kind and understanding to him, even though he is a self-centered, spoiled, whiney crybaby. Just a couple of the many holes in the story. He ends up learning about life and love through her, after it's just a bit too late.


What we have on our hands is not a 9 1/2 Weeks or a Basic Instinct, but something in the realm of their massively inferior sequels; "Wild Orchid" and "Basic Instinct 2", both also very unsexy "erotic" thrillers. But I must admit, even saying all of this, it is a pretty film to look at, and Jada has potential if she could focus on one thing. Maybe just writing, or maybe just directing. And no Spike Lee-ing by inserting herself in the film. Just my opinion.

Movies Revisited...Mo Better Blues

This is a repost from my other blog "Soul Sis-Star Reviews" (Movies Revisited), where Issa Rae and I give our two cents on Black Film we've watched. Please join us over there and give your two cents as well :-)


Even though this movie was highly anticipated when it came out, and I did indeed see it then, there were only a few details I remembered...the beautiful clothes, how pretty everyone looked, slightly crushing on Wesley Snipes (long gone, of course). But watching it again brought me a bit past my original superficial thoughts on the film.

For those of you who don't know, the plot synopsis is this (from IMDB--not a very good one, sorry):
"Opens with Bleek as a child learning to play the trumpet, his friends want him to come out and play but mother insists he finish his lessons. Bleek grows into adulthood and forms his own band - The Bleek Gilliam Quartet. The story of Bleek's and Shadow's friendly rivalry on stage which spills into their professional relationship and threatens to tear apart the quartet."

Like many of Spike's films, I found parts of Mo Better Blues to be pretentious and cartoony, edging on corniness--the dialogue of the children in the scene where Bleek Gilliam, the main character played by Denzel Washington was a child, the overly studied and propped shots of "the hood" that would even be too much for a photograph, the very familiar moving dolly shots that were part of Spike's trademark.

For some reason this time around they were endearing to me, maybe because it was a woeful reminder that there is a severe absence in trademarks or style in today's Black Cinema. There are some up and coming directors that are notable, to be sure, but none of them have established a familiarity of like, say, a Spike, Tim Burton, or Wes Bentley. Earnest Dickerson, the cinematographer on this film, was also on top of his game here--the colors, the crisp, professional look of the film, the surreal atmospheres, the intimacy of the jazz club, the way he made everyone look so lush and beautiful...even Spike almost had a handsome look in this one.

I got lost in the beauty of the movie, and wondered why I never crushed on Denzel back in the day. When I worked for The Studio That Will Henceforth Remained Unnamed, Denzel's production offices were right downstairs, and I was never even remotely curious. After viewing this film, I wondered for the rest of the day what planet I must have been on....yes, he was deserving of the sex symbol hype he garnered in the 90's--Denzel was hot as fish grease on the sun in this.


If this film were made today it would do gangbusters--the different moods of the film, from brooding, to comedic, to romantic flow very well together. The storylines--Bleek's sometimes acrimonious relationship with his right hand and sax player Shadow (Wesley), the shenanigans and gambling issues of his manager, Giant (Spike), the two timing love relationships that he had with his women, Clarke (Cynda Williams) and Indigo (c'mon, really, Indigo?) played by the one mega-weak link in the film (besides Cynda's anticlimatic "big" singing debut), Joie Lee, Spike's sister...the storylines mesh and never overwhelm each other.

I understand Spike has love for his sis, but I believe this would have been an infinitely even better film if a stronger, or at least more interesting actress would have been cast in ger role. Joie's personality (and I use that term loosely) seems to fade into the background; her look is different and while attractive in it's own right, is not particularly big screen worthy. In her love scenes with Denzel she has zero sex appeal--she made kissing on him look like a chore...what was up with that? Maybe she was uncomfortable with her brother shooting her that way...if that was the case, someone really should have let the Assistant Director step in.

I must admit, because of the dearth of interesting Black film (interesting to me, anyway) I have found that lately, rewatching film that are 10, 20, 30 years old, that I have a much deeper appreciation for the work, time, and creativity for movies such as this one. Mo Betta Blues has moved up more than a few notches in my book--if you haven't seen it, rent immediately--if only to reminisce on the comedic stylings of the late Robin Harris, the house comedian in the jazz club and to enjoy the jazzy score. Here is the trailer:

Psssst....

Hey guys...I'm back for a sec to tell you about a site that me and my girl Issa Rae from Black Film Academy started up...its called Soul Sis-Star Reviews, and it's all Black Cinema reviews for films old and new--from two minds that are probably just as twisted as the other, haha! Check us out HERE...we are still under construction so bear with us--love you!

PS: I am not leaving this blog, don't worry :-)

Movie Review: Black, Sexy, Love--- Finally!

It has been discussed on this blog several times how Black sex/love/intimacy is rarely shown in films, especially in a realistic way.... really maybe not since the Blaxploitation of the 70's. Well, the film I am reviewing in this post certainly leaves those longings in the dust.

Had the pleasure of seeing "A Good Day To Be Black And Sexy", and wowee. I. Freaking. Loved. It. I don't even know where to start.

It is a series of vignettes that show the perils and beauty of love and sex with several Black couples; the adulterous situation, the selfish lover, the love relationship that hits you out of the blue.

It opened with an "O" face shot, and a scene I wasn't too crazy about called "Reciprocity", in which a woman gets hers (downtown ifyaknowwhatimean) and doesn't want to reciprocate. "Oh boy, here we go", I thought, rapidly losing interest and thinking that this must be a typical, low budget outlook on Black male/female relationships...but after that--just wow. The next story, called "Her Man", involves a couple--the man being married, and the woman--being the mistress--making the mistake of starting to care too much, and making the inevitable demand for him to spend more time with her and being jealous of wifey. It is so real, so natural, and rang so true you it makes you think "damn, they really got this". It made me super curious to see the rest....and no matter who you are, you will find a strong affinity for at least one of these vignettes.

Some of the movie shows the beautiful, powerful side of Black love, some of it shows the ugliness, which is just as powerful, sometimes even more so if you let it be so. It is intelligent, humorous, and yes, sexy and erotic. Sometimes it was so sexy that it made Ms. Invisible hot in her seat, but I won't go much further into detail as sometimes Poppy Invisible, my father, peeks in here once in a while. My favorite is the story "Tonight, Part II", and I immediately had an hour long crush on both the male and female leads. It was absolutely affecting in it's magnetism...it shows how the power of silent, unknown attraction can be so mighty in it's power and emotion, it just makes all logic go out the window. You are completely out of your realm and comfort zone, but you are almost Zen in your focus that all you want is this person, and nothing else is really as important.

It made me remember one comedian, who I was meeting for the first time to set up a styling session, was at a radio station giving an interview. While I was sitting there in reception listening to him talk, I found myself becoming immensely attracted to him, I don't even know why. He looked out of the glass a couple times, but nothing seemed to register on his face--I didn't even think that he saw me. When the interview was over, he promptly came out, walked straight over and laid his body on the back of the sofa I was sitting on, and just started touching my neck and arm, real soft. In a normal situation that would have completely freaked me out, but at that time it felt like he should be doing it--and he did it before he even said hello to me.


"Tonight, Part II" is a story like that, and you drink in all of it with all of your senses. Director Dennis Dortch has one hell of an amazing eye for just beautifully sensual shots, focus, and colors that make you just feel it in your bones. Even the sound of beads clicking in someone's cornrows, or the way someone's t-shirt fits looks/sounds/feels sexy. You smell the leather in the seats of someone's car, feel the texture of the sheets on the bed. Even the music is completely on point. The characters were all amazing, in natural acting ability and to look at. I just hate when some people say "oh, they're light, or have good hair, or whatever else, so they must be 'mixed'". Black people are the most diverse in looks on earth, sometimes even in the same family, and Dortch shows us in every shade, color, and hair texture, which I loved. The girl in "Tonight", Mylika Davis, was particularly beautiful to me; young, petite, with a perfect jewel of a dark brown face. Her love interest, Jerome Hawkins, just might be my sixth husband :-)


The last vignette "American Boyfriend", focusing on interracial Black and Asian culture, was sort of a weak finish, but is still miles ahead of any Black Cinema I've seen for months. From what I've read, the stories are supposed to take place in Los Angeles, but everything had the look, feel, and flavor of New York to me.

This is a breath of fresh air movie about real Black love and sexual situations, sometimes almost graphic in it's rawness. It opens you up like a flower, and makes you think about past, present, and future love/lovers. Unless you are just the biggest prude ever, once you finish watching this movie you will be ready to smash anybody with a pulse, haha! It was released yesterday on DVD, Ms. Invisible says check it out, stat.




ANNOUNCEMENT: Black Cinema At Large is giving away a bootleg-free DVD copy of "A Good Day To Be Black And Sexy" in a little, bitty contest. Tell me what you think is the sexiest Black Cinema scene ever and why--my favorite will win this wonderful movie (we may have to vote!) just in time for Valentine's day. Leave it in the comments folkses-contest ends Saturday at midnight, PST!

Fuhgeddaboudit.....

Of course I saw many a movie while on my hiatus, a lot of which I'll be talking about over the next few days. One I saw while having a bout of insomnia: "Homie Spumoni".

You're probably like "wha?". It is the story of some Black dude whose Black parents lost him as a baby while vacationing in Italy. He is found by an Italian woman whose husband can't have kids, so she keeps him. Fearing racism in town, they move to America, name him Renaldo and raise him in little Italy, all the while the Black dude thinking he's Italian, but just dark-complexioned. His Black parents find him, starting off by telling him his real name is Leroy--"hilarity" ensues.

Yes, it is just as weird and ridiculous as it sounds. I read about this film a couple years ago, and saw that Whoopie Goldberg and Paul Mooney (!) played the parents, and Tony Rock the brother, so I was pretty curious to see it. I looked for it, but never saw anything from it, so I forgot about it, till the other night.

Donald Faison plays the "homie". Can I say what is the deal with him? He was charming in "Clueless", but after that I can't really decide what to make of him. I can't tell if he might be funny, or is just goofy, or just seems like he never has any direct contact with any other Black folks, ever. What I do know, however, is that in this movie he has a very big and mutating mole above his lip--and in the film sometimes it was covered with make-up, sometimes it was sweating, and sometimes it looked like a roach was chilling under his nose. And me being me, of course I was wholly distracted by it in almost every scene.

Anyhoo, getting past the fact that it is utterly ridiculous that this guy has absolutely no clue that he might be Black, and speaks like a Paulie Walnuts from the deepest part of Brooklyn, this movie kinda made me laugh. Sometimes I have a weakness for flat-out dumb humor, explaining my love for Friday and Friday After Next (NOT to be confused with Next Friday or First Sunday). Homie Spumoni is filled with completely un-PC humor about Asians, Blacks, Italians, and Jews. It was almost like it was written in the 60's by Don Rickles...I laughed when others would probably wince, but it was 4 in the morning, maybe I was punch-drunk.

Jamie Lynn Sigler (Meadow from the Sopranos) plays Faison's newly acquired girlfriend, tho she is Jewish in this film. There is less than zero chemistry between them. He sings and dances (completely entrancing in it's awkwardness), volunteers in an animal shelter, and works in his father's deli until his parents Goldberg and Mooney show up.

I must say, I have never found Whoopie so loose and funny before. It was like she said "I know I'm in a low budget movie, so I'm gonna ack a fool", and she does. There is one flashback that she narrates that was just so silly and hilarious to me, where she explains how they lost Donald in a basket while on the river in Italy while Daddy Mooney was drinkin' wine out of a leather pouch. Too funny!

Anyway, Joey Fatone (!) plays his best friend, Tony Rock as the brother makes attempts to bring Faison to his Blackness (one way of course is to bring him to some niggaratti house party; yeah, that won't scare him away) and Faison has to figure out where his place is in the world--especially after the 2 moms have a knife fight (don't ask).

While I got a few guilty laughs out of this--trust me, this is for insomniac viewing only.


Here is scene with Faison, with an outfit that looks like a reject from Coming To America, and his supposed new dad, Paul Mooney. I have and always will love Paul and his dry, wry humor:




And speaking of Faison, he seems to have an affinity for making dumb stuff. My blogging sis Wanda (and Sergio) sent this trailer over to me, tho I had heard about it weeks ago. It is a movie called "Next Day Air" described as this:

When a misguided UPS driver inadvertently delivers a package containing concealed bricks of cocaine to the wrong address, it sets in motion a desperate search and battle for the coke between the furious dealer that sent it, the fearful intended recipients that missed it, and the conniving accidental recipients that plan to flip it. Time is running out and everyone's trying to get their hands on the package that's been sent.

From IW: Gosh, we've never seen that before, have we?

Here is the trailer. Oh yeah, by the way, Mos Def, Lauren London, Mike Epps, Wood Harris (The Wire), and Debbie Allen are in it too:

T. Jakes Vs. T. Perry; 6 Of One, Half A Dozen Of The Other

Which means to say, what's the difference?

There are way more similarities then differences, for sure, but there are some distinct separations that make me prefer one (albeit only very slightly!) over the other...more on that in a bit...

Received this from Kim over at the Punkin Patch in my email:

Hey IW:

A friend of mine just sent me a link to the trailer of Tyler Perry's next movie "Madea Goes to Jail" (http://www.madeagoestojailmovie.com/). I don't know if you've seen or not but it looks like standard TP fare. I am beginning to wonder if Tyler Perry likes women. In all his movies some distressed, abused, down on her luck woman always has to be saved by a "good man". Usually the good man is 'light-skinded'. But this time he chose a chocolate brother Derek Luke to be the savior. And why do all these women have to either be a drug-addict, single momma with babies by different men, and now a prostitute??? Between him and the good Bishop TD Jakes (his new movie looks like its putting down professional black women who choose career over poppin out babies for their poor, long-suffering good man), I don't think these men have much love for the sistas. I'd love to hear your opinion. Thanks!

Kim

From IW: Hmmm. Let me begin by saying this...I have to admit, Perry playing Madea usually doesn't bother me (tho it seems to infuriate a lot of men), but for some reason these pix were positively creepy to me. For the first time I got a flash of repulsion that the most vocal men on the subject must be feeling...it seemed...downgrading in some way.

I know, I know--we have discussed Perry many times on this blog, and for the new readers, I have made it clear that his films do not move me. I don't know if it's because I was raised Catholic that I can't relate, as I find his stories simplistic, trite, formulaic, repetitive, unrealistic, and ultimately just plain boring. I have no problem with others enjoying them, tho, and I let it lie there....but if he never made another project ever again, I would not be one to miss him for a second.


I have never really discussed T.D. Jakes and his films (well, I've only seen one until this new one). I thought "Woman, Thou Art Loosed" was absolutely awe-inspiring in it's awfulness; besides the cinematography and editing equating to the works of an 8 year old. But the storyline, a woman who is the victim of incest by her stepfather who is made out to be the villain instead of him, until everyone, (including said sick raping pedophile) comes to forgiveness and redemption, without anyone--except for the real victim-- suffering or being punished at any point. I found it disgusting and irresponsible, further perpetuating the "act like it never happened" protocol in the black community.

But at least T.D. Jakes' situations are based in realism, which is a lot more than I can say for Perry, and his films give pause for thought here and there. Yes, Tyler and Jakes' movies have a very faith based gospel flavoring, and the "good man can cure all" morals are getting very tired, cause we all know very well that it usually isn't that black and white. It is also possible for a single Black woman not to have multiple social and personality issues, which are central themes in both of their projects. And I don't know about y'all, but sometimes I just don't feel like forgiving some folks, and I don't want it hammered in my head over and over again that I must do it at all costs.

But I almost (and almost is a big deal for me) enjoyed "Not Easily Broken". I went in with low expectations for my typical superficial reasons--I knew Taraji P. Henson's weave was going to be way off the wack-o-meter, and I cannot emphasize enough in this lifetime how much I can. not. stand. Kevin Hart. Who the f*ck told this dude that he was funny? If anyone out there thinks he is, please drop a comment about why you do--I'd be very, very interested to know.


But I digress....the other thing that made me skeptical is that Taraji's acting most of the time rubs me the wrong way...it is sometimes just...too much. Her black chick yelling makes me want to leave the theatre at some point. She is in all of her glory with that here, and it is starkly noticeable against Morris Chestnut's (looking foin as hayell!) very low-key steelo, but she makes up for it at the end with some quieter, thoughtful moments, so I forgave her. Bill Duke (who directed), a huge fave of mine, also made me a bit more hopeful.

For those of you that don't know, "Not Easily Broken" is the semi-classic situation of a married couple growing in two separate directions, one having boo-jee ambitions, while the other one preferring a simpler life. A car accident changes their relationship and stretches it to the breaking point, though the injury was pretty slight in my opinion to cause all the drama.

But at least there were realistic situations that I could relate to, always absent with me with Perry. Mother-in-law blues (played with an off the hook hilarity and realism by Black film staple Jenifer Lewis), keeping up with the Jones', hiding behind appearances, the importance of knowing most of us are exactly the same (even the ones we hate the most) are all addressed here. And yes, forgiveness was the key theme and moral in this film, but at least this time I didn't feel like gagging up my Raisinets when it was brought about, despite all of the hellacious cheap soap opera music abound on the screen.

I say a definite rent, if you're into this sort of thing.


Here is the trailer for "Madea Goes To Jail"; proceed at your own risk....

Adventures In Palookaville...

There was this guy that I used to date back in the day, Thomas Monagham (very Irish, right?). I use his real name, cause if he ever happens upon this blog I would be very glad to see/hear from him.

Anyway, Thomas and I met on the subway in New York. Actually he just really mashed on me and charmed me to death in just 5 minutes (till my stop), so I just had to see him at least one more time. He was an actor, and on our first date we went to a Greta Garbo Festival. I wasn't really into it at all at first, but then I actually really enjoyed it.

Thomas was always showing me new things in film, and he was very much the actor in style and looks in the vein of the holy covenant of the Mickey Rourke (when he was hot), Gary Oldman (when he was hot), Eric Roberts (when he was hot), and Sean Penn (when he was hot) mold, and he really exposed me to the works of all four actors. So when I saw 3 movies starring each one of them over the weekend, it led me to think of him and compelled me to post about them.


First up was "State Of Grace", which I had always mistakenly thought was a military film. Not at all. It's Penn as a deep undercover cop from Hell's Kitchen who comes back to his old neighborhood, with his old gangster cronies (including Gary Oldman), and basically has to be a rat fink.

Man, Sean used to be hot to death--I could see why Madonna married him. He wasn't handsome in the traditional sense, but the way he wore his hair, the way he dressed, even the way he smoked; his bad boy swagger was off the meters. The movie was pretty much a by numbers crime story, but Oldman and Penn are so charismatic it keeps you transfixed. There is a beautiful juxtaposition at the end between NY's famous St. Patrick's Day Parade, and Penn's bad ass high-noon style showdown, all in slo-mo. Rent it just to see that sequence alone.


I also rewatched "The Pope Of Greenwich Village", which I hadn't seen in years, starring Mickey Rourke and Eric Roberts. For those of you that don't know, there was actually a time when Eric Roberts was a much bigger star than his sister, Julia Roberts. How the mighty have fallen. It was a bit distracting to look at him sometimes, cause they look so much alike, but I digress.

Rourke and Roberts are cousins that get fired from a restaurant for Roberts' stealing. Roberts, though a complete and total airhead, comes up with a scheme to rob a safe, which they find out (too late) belongs to a mobster.

This movie has been a fave for many cause the characters are so memorable, and it is a real slice of New York life in the 80's. I say see it if you like films about New York, mobsters, and lovable losers.



I saved the best for last, which is Mickey Rourke as "The Wrestler". Holee sh*t this man can act. If you didn't know it was Mickey, you would swear you were watching someone's life. Since this is a Black Cinema blog, I won't go on and on the way I'd like to about this film.

Suffice it to say that between Darren Aronofsky and Rourke, there can't help to be some amazing sh*t. There is a scene where Rourke begins work as a deli worker in a supermarket, and for the couple of minutes before he starts his very first shift, it is just as taught, anxiety ridden, and fraught with anticipation as when he goes into a ring for a match. If a movie can convey that linear polarity, you know you have something very special before you on the screen.


The commonality of these films was that in the working class tribes of the Irish and Italians hoods and the Wrestling World, being loyal and working together came first and foremost. Before anything. And having dreams, and seeing them slowly die, and coming to the harsh realization that you may actually live out your days as a loser, compels people to do extraordinary and desperate things--some good, but a lot of it...not so much.

Here is the trailer for State Of Grace:



And for "The Pope Of Greenwich Village":






ps: if you don't know the term "palookaville", ask an old new yorker

Happy Holidays, blah, blah, blah....

Ok, I'm a bit of a Scrooge about Xmas. I just think most of it is kinda ridiculous, and I do my best to stay out of the way. But I do take full advantage of the aspect of folks going into complete slack mode, hence-my lack of posting. I will be back this weekend to give some real movie news (there is some good stuff) as well as a terrific interview I did with "Premium" director Pete Chatmon, that I believe you'll find a good read.

Until tomorrow, I'll leave you with some reposts of the reviews I did last year on "The Perfect Holiday" and "This Christmas". Read while drinking egg nog with lots and lots of brandy...peppermint schnapps in hot chocolate also allowed! On a side note, the picture above is from a real film, with the taglines "One man delivers hope...with a vengeance!" and "He Knows When You've Been Naughty". The plot is described as: "A down-and-out Santa is robbed of all the toys for all the poor kids in town. He searches for the thugs responsible and serves up his own brand of holiday cheer." Hmmm...don't think I'll be reviewing that one...

BLACK CINEMA AT LARGE

Your Black Cinemist At Large was on her j-o-b this weekend, having seen both "The Perfect Holiday" and "I Am Legend". Since I am not up to 100% yet, I'll write about the former one today, as I'm sure it's still a little too early to give spoilers on the latter. Plus I have a lot more to say about "I Am Legend", so I'll wait a couple more days.

I went into "The Perfect Holiday" with zero expectations, to say the least. I mean, I'm not afraid to say it, I am not the biggest Latifah fan, and the director's last handiwork was "The Cookout", what I consider to be possibly the most abysmal black film ever made in history. Lance "Un" Rivera started his career as a rap mogul, whose most famous claim to fame was being supposedly stabbed by Jay-Z....but I digress.

I find it very unfortunate that this film had a dismal showing at the box office, (early predictions were less than $3 million total), 'cause to my very great surprise, I actually enjoyed it. Seriously. No one was more surprised than me.

Since it's easier for me to give observations as opposed to reviews, I'll just do that. It is, I guess, in a way, a sort of capsule review....and also kind of a lazy mini cop-out, haha.

-One thing that bowled me over was that Charlie Murphy, playing a self centered Jay-Z type rapper, is now officially funnier in every way than his brother Eddie. Who saw that coming?

-Speaking of funny, Faizon Love is finally returning to his earlier promises of hilarity he touched on with "Big Worm" in "Friday". My man got in some serious zinger time.

-Gabrielle Union is not much of an actress, but she is starting to grow on me, and sometimes I find her pretty charming, and definitely a pleasure to look at...she has the most marvelous skin I've ever seen. Pass that secret on, girl!

-There were only a couple instances of side-eye; the soundtrack could sometimes get very loud and out of place (a la "The Cookout", work on that, Lance), and also the stylist in me noticed and was distracted by a couple of wildly inappropriate outfits...but when I saw the "Costume Designer" was Misa Hilton-Brimm, Puffy's first baby's mama, it made more sense. She is singlehandedly responsible for the whole 'ghetto fabulous' look, beginning with Lil' Kim and continuing on from there.

-Morris Chestnut is so fine, he is almost painful to look at. Gawtdayum! Nuff said....it doesn't even matter what came out of his mouth or how he performed (satisfactorily, by the way).

-I really, really, like Rachel True (Half & Half). She seems so cool, sweet, and "peace and love". You can even believe her being cool enough to get with Faizon Love, which she does in this.

-Gabrielle and Morris had real and genuine on-screen black love chemistry...VERY refreshing to see.

-The kids had just the right amount of sassiness, without being brats or getting on your nerves; (can anybody say "Are We There Yet?"-yikes) they almost seemed like real-life children.

-My man Katt Williams was in it, with only one or two hair processes instead of six, haha.

-King Latifah and Terrence Howard seemed to be there strictly for marquee value only...they had absolutely nothing to do with the story, tho Terrence was just as surly as ever....and he literally had about 2 lines of dialogue. I mean, why bother?

Lance Rivera either went to film school after that "Cookout" travesty, or he sat down and watched every holiday and Doris Day film ever made back to back, and copied their look and feel verbatim. And lo behold, it worked.

I was talking to someone the other day about how I would absolutely love to see a film with an all black cast, that didn't make a whole big deal about being "BLACK". That it just told a story, but the cast could easily be replaced by any ethnicity. This is one of those films; it reminded me of any garden variety Doris Day/Rock Hudson film that I used to watch growing up, and I loved it. All of the characters of this film were interchangeable with any of those in Doris' movies, and I enjoyed every minute of it.

That is the exact reason why I feel so bad about how this film is performing....there was a crystal clear bootleg copy available to the public the same day it opened, and since this movie doesn't have the crossover appeal of "American Gangster", it was doomed to fail, as a whole household can pay to see it for $5.00.

Bootleg can be the devil folkses.

I mean, we have a film that is charming, minimal coon, fairly intelligent, that looks like some actual money and effort were put in. A film that has good looking, positive, articulate folks; a family oriented script with a little sexiness thrown in, with a production value that is crisp, clean and beautiful, not to mention well-edited. Isn't this what we've been saying over and over we want to see?

And guess what? It's going to do buttkist at the boxoffice.

So next time those of you who buy bootleg before paying box office, think about where the problem lies when we can't get the "YT" studios to support and distribute black film. It called C.R.E.A.M.**

And it's as simple as that.


**c..r.e.a.m.=cash rules everything around me



"This Christmas"

I neglected to write about "This Christmas " yesterday, which actually did a very respectable 2nd place over the holiday weekend behind "Enchanted" (??!!) a movie I only heard about the day before it came out. How did a film like that break records? But I digress...

When I first saw "This Christmas", I wasn't exactly bowled over by it. To me, it was an extra large helping of "Soul Food" (even Mekhi Phifer was in it!) with a side of "Mo Betta Blues" with "Waiting To Exhale" for dessert. But in hindsight, there were some elements that did bring some thoughtfulness (spoilers ahead):

- Why does every movie like this have a long suffering matriarch that always says "family is family, no matter what"?

-Why is there always so much drama at one family dinner? I don't know about y'all, but on a typical holiday get-together with my family no one is being chased by thugs for money, no one is AWOL from the armed services, no one is secretly married to a white girl with a baby on the way, no one gets caught having an affair within two days of said event, no one pushes a car off a cliff, no one pulls a gun out on somebody at a club, two siblings don't have a knock down drag out fight in the rain on the front lawn, and nobody gets caught trying to have sex in the closet. (Yes, all of these happened in a 2 day span in the movie). Even one of these factors would be enough for my family to talk about for the next 10 holidays.

- Was it wrong for me not to feel sorry for the YT secret wife when she showed up and her AWOL man was in jail? He ruined his whole military career over her, and from what I could tell, she had no discernible attributes that seemed worthy of ruin. She didn't seem to have a job, much less a career, no money, not particularly charming or charismatic...she wasn't even that pretty...I mean, could they have cast someone else? Even Paris Hilton would have been more interesting.

- Was it wrong that I thoroughly enjoyed the scene where Regina King hands down whupped her husband's ass with a belt and a ton of baby oil? (Sorry guy readers, haha)

-Lauren London is so very, very pretty....wow. Keith Robinson (Dreamgirls, Half & Half), on the other hand, always seems stiff and uncomfortable to me, tho this is the loosest I've ever seen him. Regina King has obviously been working out a lot--her body looks great.

-Who knew Sharon Leal could be so sassy and actually hold screen time? She seemed like an entirely different person. In "Why Did I Get Married" she was like a lump on a log. Maybe cause she had to kiss Tyler Perry in that film, instead of Mekhi, like in this one. I would've been sour too. LMAO at her line "You decided to be with that fraction of a man!"

-I love Chris Brown and all (as I stated in my Omarion comments the other day), but why do they keep sending a boy to do a man's job? First, a remake of a Donny Hathaway song, which is admirable, but let's be real, no one can eff with The Don. Then they have him sing "Try A Little Tenderness" originally sung by Otis Redding in the film? Painful! That song is to be sung by someone that looks like Idris Elba or Delroy Lindo (both in the film), not some teeny-bopper that makes it sound like a pop song. And what is up with the older women attraction for him? He looks like someone's 16 year old kid brother. Damn, Gabrielle Union.
-Speaking of Chris Brown, why is it in the first scene where he had his shirt off, all I could hear was WOOOOOO!!! By all males by the way. Interesting.

The positives are that everyone had something valuable to contribute to the world (except YT), the film looked crisp and professional, and there were no bad wigs and weaves (the make-up was on point, too). Cooning was kept to a bare minimum...as a matter of fact, I don't remember any to speak of. People had nice cars without rims, and no one seemed to live in the ghetto.

If anyone had time to see this, I would really like to know what you thought of it....sucio!



P.S. Everyone: A peaceful journey to Ms. Eartha Kitt.