Review: Hysteria Aside, "MADAME WEB" is Quite Enjoyable

TRASH IN MY EYE No. 10 of 2024 (No. 1954) by Leroy Douresseaux

Madame Web (2024)

Running time:  117 minutes (1 hour, 57 minutes)

MPA – PG-13 for violence/action and language

DIRECTOR:  S.J. Clarkson

WRITERS:  Matt Sazama & Burk Sharpless and Claire Parker & S.J. Clarkson; from a story by Matt Sazama & Burk Sharpless and Kerem Sanga (based on the Marvel Comics)

PRODUCER:  Lorenzo di Bonaventura

CINEMATOGRAPHER:  Mauro Fiore (D.o.P.)

EDITOR:  Leigh Folsom Boyd

COMPOSER:  Johan Soderqvist

SUPERHERO/FANTASY/HORROR/ACTION

Starring:  Dakota Johnson, Sydney Sweeney, Isabela Merced, Celeste O'Connor, Tahar Rahim, Adam Scott, Emma Roberts, Kerry Bishé, Zosia Mamet, José María Yazpik, and Mike Epps

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SUMMARY OF THE REVIEW:

Madame Webb is not the worst film ever, and even with its corny and eye-rolling moments, it is a fast-moving action movie.

Madame Webb and the three young women she protects carry this film past its weirdness with their energy.

Madame Webb is for comic book movie fans looking for entertainment rather than culture war conflict.

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Madame Web is a 2024 superhero fantasy, horror, and action film directed by S.J. Clarkson.  The movie is based on the Marvel Comics character, Madame Webb/Cassandra Webb, that was created by writer Denny O'Neil and artist John Romita Jr. and first appeared in The Amazing Spider-Man #210 (cover dated: November 1980).  This is also the fourth film in “Sony's Spider-Man Universe” (SSU) series.  Madame Web the movie focuses on a NYC paramedic who starts having visions of a shadowy figure hunting three young women.

Madame Web opens in 1973 in the jungles of Peru.  There, scientist Constance Webb (Kerry Bishe) searches for a rare spider deep in the Amazon.  At her side is her assistant, Ezekiel Sims (Tahar Rahim), who has plans of his own.  They are also surrounded by legends and rumors of “Las Arañas,” a secret Peruvian tribe in which its members have spider powers.  In the end, discovery leads to betrayal, death, and birth.

Thirty years later, New York City, 2003, Constance's daughter, Cassandra “Cassie” Webb (Dakota Johnson) is a paramedic.  An accident causes Cassie to start having strange visions, which she comes to believe are clairvoyant.  These visions of the future feature three young women:  Julia Cornwall (Sydney Sweeney), Anya Corazon (Isabela Merced), and Mattie Franklin (Celeste O'Connor) being hunted by a mysterious figure.  This man wears a costume; he has enhanced strength and speed; and he can crawl on walls and ceilings like a spider.  Forced to confront her past and her psychic abilities, Cassie must safeguard these three young women before this deadly adversary murders them.

Madame Web is fourth film in Sony's Spider-Man Universe following Venom (2018), Venom: Let There Be Carnage (2021), and Morbius (2022).  In my estimation, dear readers, Madame Webb is the second best of the quartet behind only the original Venom.

In fact, Madame Webb isn't the “worst film ever,” “absolutely horrible,” or any of the over-the-top things haters and trolls are saying on social media.  It isn't a great film, but Madame Web is quite entertaining.  However, I have ideas about why this new film is getting so much hate.  One reason is that there is a corner of social media that is dedicated to dissing films that are largely led by women characters.  We saw this in the vitriol and invective directed at the 2016 Ghostbusters film and Marvel Studios' recent target, The Marvels.  There are also some structural and narrative reasons that might irritate some viewers, and in order to talk about them, I will have to give you, dear readers, a...

SPOILERS WARNING:  Madame Web is a hybrid of superheroes, dark fantasy, horror, action, and mysticism.  On the superhero end, only the adversary trying to kill the three young women wears a costume.  Sometime in the future of Madame Web's timeline, Julia Cornwall, Anya Corazon, and Mattie Franklin will each be a version of the hero, Spider-Woman, but now they are not.  We only see them in their respective costumes in Cassie's visions of the future.  Still, in the main body of the story, each actress plays her respective character as if she takes her role seriously.  The trio is fun and rebellious, and their energy makes this film hop when it starts to drag.

On the action end, Madame Web has car chases and crashes and eye-crossing fights.  The film's mystical angle comes across as a bit hokey, especially when Cassie talks about her powers.  However, when Cassie's visions kick-in, they are trippy, confusing, and disorienting; they come and go in so many alternate versions with horror movie intensity.

Madame Web certainly could have been a better film had the main male characters had more development.  Screen time isn't the issue.  Adam Scott's Ben Parker, to whom you should pay attention, is more errand boy than friend, and the bad guy often comes across as a stock villain.

That said Madame Web is an entertaining film, and Dakota Johnson is good as Cassie Webb, considering neither her character nor this film in general has the benefit of a strong screenplay.  Madame Webb is a slightly above-average comic book movie, and it should entertain most fans of superhero movies... except those with culture war agendas.

6 of 10

B

★★★ out of 4 stars

Friday, February 16, 2024

The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: Prime Video's "THE UNDERDOGGS" is Vulgar, Funny and Holds The Titty

TRASH IN MY EYE No. 5 of 2024 (No. 1949) by Leroy Douresseaux

The Underdoggs (2024)

Running time:  96 minutes (1 hour, 36 minutes)

MPA – R for pervasive language, sexual references, drug use, and some underage drinking

DIRECTOR: Charles Stone III

WRITERS:  Danny Segal and Isaac Schamis

PRODUCERS:  Kenya Barris, Mychelle Deschamps, Jonathan Glickman, Constance Schwartz-Morini, and Calvin Broadus (Snoop Dogg)

CINEMATOGRAPHER:  Mitchell Amundsen (D.o.P.)

EDITOR:  Paul Millspaugh

COMPOSER:  Joseph Shirley

COMEDY/SPORT

Starring:  Snoop Dogg, Tika Sumpter, Mike Epps, Elias Ferguson, Jonigan Booth, Caleb Cm Dixon, Adan James Carrillo, Alexander Michael Gordon, Kylah Davila, Andrew Schulz, Thom Scott II, Kal Penn, Kandi Burruss, Tony Gonzalez, Terry Bradshaw, and George Lopez

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SUMMARY OF THE REVIEW:

--Snopp Dogg is excellent is this truly funny sports comedy.

--This film has a lot of profanity and bad behavior, and their reference to sex acts and sex organs is plentiful.  It's family comedy that is not appropriate for viewing, unless the family is a bit daring.

--The Underdogg's scatological tale of a washed up, arrogant coach and a group of kids who know mostly disappointment does not come across as corny or phony.  The Underdoggs keeps it real, perhaps, too real sometimes.

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The Underdoggs is a 2024 sports comedy film from director Charles Stone III.  The film is an Amazon “Prime Original” that began streaming on “Prime Video” January 26, 2024.  The Underdoggs follows a washed-up former professional football player who decides to coach a peewee football team as way to regain his fame only to learn some important live lessons.

The Underdoggs opens at the “California High School State Championship 1997.”  Jaycen "Two J's" Jennings (Elias Ferguson) is the star wide receiver at Long Beach Polytechnic High School, and by catching the “Hail Mary” pass thrown his way, he wins the state championship for his school.  Jaycen goes on to be a star professional football player, but his ego eventually gets him tossed from the professional ranks.

Now, Jaycen Jennings (Snopp Dogg) is a washed-up ex-professional football star – an arrogant washed up former football star, and the days of being “Two J's” are behind him.  Still, he is desperately trying to hang onto fame, hopefully by landing a plum gig hosting his own Fox Sports TV show.  However, Jaycen hits rock bottom when he is sentenced to community service after an accident.

Eventually, he finds his way to the Los Angeles County Community Outreach Program, where he decides to coach a peewee football squad, a group of poor kids known as “the Green Team.”  Jaycen, however, sees this as a chance to get what he wants, but will he be forced to really give these kids what they need – a coach that cares?

I am shocked by how much I really like The Underdoggs.  Of course, the screenplay by Danny Segal and Isaac Schamis (from a pitch by Snoop Dogg and fellow producer, Constance Schwartz-Morini) revisits familiar territory.  The tale of a fallen coach, mentor, or role model and his team of poor kids, outcasts, and assorted misfits has played out in such films as The Bad News Bears (1976) and Role Models (2008).  The Mighty Ducks (1992), which is referenced in The Underdoggs, is apparently a similar film, but I have never seen it (nor have I ever wanted to).

I have been a long-time fan of Snopp Dogg, and perhaps because of serendipity, he is perfect as an actor is this story of underdogs.  I like that the film allows Jaycen to stay true to himself while also evolving, but the children also keep it real while learning to take pride in themselves and in their efforts.  In this way, The Underdoggs is a perfect, lesson-heavy, family film, but...

The Underdoggs is rated “R” by the MPA for “pervasive language, sexual references, drug use, and some underage drinking,” and alla' that shit is actually in the film, sometimes in large quantities.  There is even a funny “disclaimer” at the beginning of The Underdoggs that basically says that today's children use the same profane words spoken in the film.  Perhaps, the filmmakers' argument is this is indeed a thoroughly modern family-friendly film.  I think the “F-bomb” is said in The Underdoggs seemingly more than one hundred times.  So its appropriateness will vary from family to family, respective of decorum and personal tastes.  I have to admit that I was uncomfortable with the amount of profanity and bad behavior in this film, but...

I still laughed a lot.  The Underdoggs is uproariously funny.  I think Mike Epps as Kareem, Jaycen's friend who becomes his assistant coach, and Tika Sumpter as Cherise Porter, who was Jaycen's high school girlfriend, make the best of characters that are not that well written.  Epps is always a scene-stealer in everything from comedy to action to horror, and he grabs all he can here.  Sumpter makes Cherise an effective moral check on Jaycen's selfishness.

In the end, I feel totally comfortable recommending The Underdoggs to adult and older teen viewers.  It is one of the funniest films of the new year, so far.  I think some young viewers will be crazy about The Underdoggs, whether their parents approve or not.

A-

7 of 10

★★★½ out of 4 stars

Tuesday, February 6, 2024

The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved.  Contact this blog or site for reprint and syndication rights and fees.

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Negromancer News Bits and Bites from June 20th to 30th, 2021 - Update #33

by Leroy Douresseaux a.k.a. "I Reads You"

You can support Leroy via Paypal or on Patreon:

ENTERTAINMENT AND CULTURE NEWS:

BLM - From VICE:   Robert L. Johnson, the founder of Black Entertainment Television (BET) and America’s first Black billionaire, wants a reparations check. He wants it from the government. And he wants it to come with an apology for slavery, Jim Crow, and hundreds of years of racism.

SCANDAL - From Variety:   "Smallville" actress Allison Mack was sentenced to three years in federal prison for her part in the NXIVM cult on Wednesday morning in federal court in Brooklyn, NY.

MOVIES - From IndieWire: "F9" star Sung Kang finds its validating that acclaimed director, Christopher Nolan, has a "soft spot" for, "The Fast and the Furious: Tokyo Drift" (2006), the third entry in the "Fast & Furious" saga and the one that introduced his Kang's character, "Han Lue."

MUSIC - From MJVibe:   According to the site, recent streaming sales data has made the late Grammy Award-winning recording artist, Michael Jackson, the solo artist with the highest sales of recording music.

NETFLIX - From Deadline:  Rian Johnson has alerted us. "Knives Out 2" has started production, as filming begins in Greece.

BOX OFFICE - From Deadline:  The winner of the 6/25 to 6/27/2021 weekend box office is "F9" with an estimated total of 70 million dollars.

From Variety:  "F9's" 70 million dollar weekend box office debut is the largest opening since the COVID-19 pandemic started affecting movie theaters in the North America.

From Variety:  The stars of "F9" react to its record-breaking box office success.

CELEBRITY - From Deadline:   On that HBO asshole show, writer-director Quentin Tarantino insists he will retire after he directs a tenth film (his next) and that he thought about doing a reboot of his first film, "Reservoir Dogs."

EMMYS - From Deadline:  If you care, here is the full winners list from the 2021 / 48th Annual Daytime Emmy Awards.

DISNEY - From WeGotThisCovered:   Set photos from Disney's live-action "The Little Mermaid," reveals film's star, Halle Bailey, with reddish hair.

TELEVISION - From Deadline:   "Supernatural" (2005-20) was one of the most important shows in the history of The CW.  Now, one of its stars, Jensen Ackles (Dean Winchester), is joining his wife, Danneel Ackles, are working on a prequel series, "The Winchesters."

From Deadline:  Meanwhile, Jensen Ackles's "Supernatural" co-star, Jared Padalecki, is "bummed" about not being involved in the prequel series.

TELEVISION - From YahooEntertainment:  Courtney Cox was hurt that she was the only one of the six stars of the former NBC sitcom, "Friends," who was never nominated for a Primetime Emmy Award during the series' original run.

MOVIES - From Deadline:  Paramount Pictures revealed the title and details about its seventh "Transformers" film, "Transformers: Rise of the Beasts."

DISNEY - From Collider:  Scarlett Johansson will star in and produce a film based on Disney's theme park attraction, "Tower of Terror."

DISNEY - From ABCNews:   Actor Harrison Ford, the one and only Indiana Jones, takes a break from filming "Indiana Jones 5" after injuring his shoulder on set.

CELEBRITY - From Deadline:  Tyler Perry and T.D. Jakes got the go-ahead from local authorities Thursday to purchase over 130 acres in Atlanta including a proposed expansion of Tyler Perry Studios for an entertainment district with theaters, retail shops and restaurants.

MOVIES - From YahooEntertainment:   "Fast & Furious" actor, Vin Diesel, talks about his feud with Dwayne "The Rock" Johnson."

DISNEY - From Variety:    Rachel Zegler has been cast as Snow White in Disney’s upcoming remake of the classic fairytale. Zegler is making her feature film debut as Maria in Steven Spielberg’s “West Side Story,” which bows later in 2021, and will also appear in the superhero sequel to “Shazam.”

LGBTQ/SPORTS - From OutSports:   Las Vegas Raiders defensive lineman Carl Nassib became the first active NFL player in history to announce that he is gay.

SCANDAL - From TheDailyEdge:   A list of Republican and Trump-connected child rapists, sex traffickers, pedophile enablers and child porn offenders

OSCARS - From Deadline:    The Academy of Motion Picture Arts and Sciences on Monday announced its newly elected 2021–2022 Board of Governors.

From WeGotThisCovered:   Warner Bros. reportedly wants Dwayne Johnson to joins its "Mortal Kombat" film franchise.

TELEVISION - From Deadline:  Mike Epps will play legendary comedian and actor Richard Pryor in Adam McKay's HBO drama series about the 1980s Los Angeles Lakers.  Three others actors have been cast, including Carina Conti as Paula Abdul.

NETFLIX - From Deadline:  Steven Spielberg has entered his Amblin Partners into a Netflix that will find the Amblin producing multiple films each year for Netflix.  Spielberg and Amblin will continue to produce films for Universal Pictures.

BOX OFFICE - From Variety:   The winner of the 6/18 to 6/20/2021 weekend box office is "The Hitman's Wife's Bodyguard" with an estimated take of 11.6 million dollars.

CULTURE - From YahooEntertainment:  Grammy Award-winning singer Macy Gray wrote an op-ed for "Market Watch, in which she called for the U.S. flag to be replaced: "It is tattered, dated, divisive and incorrect."  She has drawn cheers and rage.

 

From MarketWatch:   Opinion: "For Juneteenth, America needs a new flag that all of us can honor" by Macy Gray.

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MOVIES - From Deadline:   Pacific Theatres Exhibition Corporation, which includes Arclight Cinemas, is really not set to reopen anytime soon. The exhibition company released a statement today that they’re filing Chapter 7 in order to liquidate their assets for creditors.

TRAILERS:

From YouTube:   Netflix has released a trailer for its African-American cast Western film, "The Harder They Fall," from director Jeymes Samuel which arrives in Fall 2021.

From YouTube:  Here is the trailer to Universal/Illumination's "Sing 2," the sequel to 2016's "Sing."  The film is due December 22, 2021.

From YouTube:  Here is the second trailer for Universal's "Candyman" reboot/re-imagining, which is due August 27th.

From YouTube:  Here is the official trailer for "Halloween Kills," which is due October 15th.

Review: "The Last Black Man in San Francisco" is a Stunning Film

TRASH IN MY EYE No. 19 (of 2020) by Leroy Douresseaux

[This review was originally posted on Patreon.]

The Last Black Man in San Francisco (2019)

Running time:  121 minutes (2 hours, 1 minute)

MPAA – R for language, brief nudity and drug use

DIRECTOR:  Joe Talbot.

WRITER:  Joe Talbot and Rob Richert; from a story by Joe Talbot and Jimmy Fails

PRODUCERS:  Dede Gardner, Jeremy Kleiner, Khaliah Neal, Christina Oh, and Joe Talbot

CINEMATOGRAPHER:  Adam Newport-Berra

EDITOR:  David Marks

COMPOSER:  Emile Mosseri

DRAMA

Starring:  Jimmie Fails, Jonathan Majors, Rob Morgan, Tichina Arnold, Mike Epps, Finn Wittrock, Danny Glover, Willie Hen, Jamal Trulove, Antoine “Mile” Redus, Jordan Gomes, Maxamilliene Ewalt, Michael O'Brien, and Daewon Song

The Last Black Man in San Francisco is a 2019 American drama film and is the debut film of director Joe Talbot.  Oscar-winner Barry Jenkins (Moonlight) contributed to the film's Kickstarter crowdfunding campaign, and two-time Oscar-winner Brad Pitt (Once Upon a Time in Hollywood) is one of the film's executive producers.  The Last Black Man in San Francisco centers on a young Black man's efforts to reclaim his childhood home, which is now an expensive Victorian house in a gentrified neighborhood.

The Last Black Man in San Francisco introduces Jimmie Fails IV (Jimmie Fails).  He is a young man living in Bayview-Hunters Point, San Francisco, and he spends his time wandering around town with his best friend Montgomery “Mont” Allen (Jonathan Majors).  Jimmie lives with Mont and Mont's grandfather, “Grandpa Allen” (Danny Glover), in the old man's house.

One day, Jimmie takes Mont to San Francisco's Fillmore District, which is where Jimmie grew up.  He shows Mont a Victorian house that Jimmie claims his grandfather, James Fails II, built in 1946.  An older white couple are the house's current occupants, and Jimmie laments that the couple does not take care of the house.  Jimmie surreptitiously attempts to maintain the house by doing minor repairs and upgrade work (like painting).  When the couple can no longer keep the house, it is put up for sale by Manifest Realtors.

Jimmie and Mont visit Clayton Newsom (Finn Wittrock), the real estate agent charged with selling the house, and learn that because of an “estate situation” the house could remain unsold for years.  Jimmie decides to move into the house, becoming a squatter on an empty property that he sees as his birthright.  But is everything that Jimmie knows about the house, the whole and true story?

I would have a hard time explaining The Last Black Man in San Francisco in detail.  On one hand, the film certainly has themes related to gentrification, but on that other hand, the film speaks to the dangers of holding onto things too long.  The story's ultimate point seems to be that people should be more than just one thing to everyone and that each of us must break free of the boxes in which we have put ourselves or in which others have put us.  The Last Black Man in San Francisco is a hugely thoughtful and layered film, surprisingly so from a first time director like Joe Talbot.

The Last Black Man in San Francisco also has outstanding production values.  I usually think of great cinematography as coming from epic films about the past – war movies and historical and costume dramas.  The photography of Adam Newport-Berra is some of the best cinematography that I have ever seen in a film with a contemporary setting.  Combined with the sets and locals, the cinematography makes The Last Black Man in San Francisco one of the most beautiful films in recent years.  The soundtrack, a mix of songs about San Francisco and Emile Mosseri's lovely score, actually enhances the beauty of this film.

Jimmie Fails, playing a character named after him, and Jonathan Majors as Montgomery are breakout stars in this film, and it is a pity that Majors did not get Academy Award notice for his idiosyncratic character and layered performance.  Lack of mainstream award wins, however, does not change the fact that The Last Black Man in San Francisco is a unique and terrifically grand film.  It is a love letter to the city of San Francisco that shows its love not by depicting the entire city and its hot tech sector.  It loves San Francisco by depicting the heart of the city – the forgotten people and places that gave the city its flavor and atmosphere... which made it a target for gentrification.

A+
9 of 10

Sunday, August 16, 2020


NOTES:
2020 Black Reel Awards:  1 win: “Outstanding Independent Feature” (Joe Talbot, Dede Gardner, Jeremy Kleiner, Christina Oh, and Khaliah Neal); 7 nominations: “Outstanding Actor, Motion Picture” (Jimmie Fails), “Outstanding Supporting Actor, Motion Picture” (Jonathan Majors), “Outstanding Score” (Emile Mosseri), “Outstanding Breakthrough Performance, Male” (Jimmie Fails), “Outstanding Breakthrough Performance, Male” (Jonathan Majors), “Outstanding Cinematography” (Adam Newport-Berra), and “Outstanding Ensemble: (Julia Kim)


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this site or blog for reprint and syndication rights and fees.

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Review: Her Performance in "Nina" Means Zoe Saldana Has No Reason to Cry

TRASH IN MY EYE No. 16 (of 2020) by Leroy Douresseaux

[This review was originally posted on Patreon.]

Nina (2016)
COUNTRY OF ORIGIN:  United Kingdom
Running minutes:  90 minutes (1 hour, 30 minutes)

WRITER/DIRECTOR:  Cynthia Mort
PRODUCERS:  Ben Latham-Jones, Stuart Parr, and Barnaby Thompson
CINEMATOGRAPHER:  Mihai Malaimare Jr.
EDITORS:  Mark Helfrich, Susan Littenberg, and Josh Rifkin
COMPOSER:  Ruy Folguera

DRAMA/BIOPIC/MUSIC

Starring:  Zoe Saldana, David Oyelowo, Ronald Guttman, Mike Epps, Keith David, Ella Joyce, Stevens Gaston, Jessica Oyelowo, Kevin Mambo, and Yasmine Golchan

Nina is a 2016 biographical dramatic film written and directed by Cynthia Mort.  The film offers a fictional account of Nina Simone, the Black woman who was an American singer-songwriter, jazz musician, classical pianist, and Civil Rights activist and whose career began in the late 1950s.  Nina takes place over a decade late in her life and examines her relationship with the young man who is suddenly thrust into the position of being her manager.

Nina opens in 1988 and finds beloved singer Nina Simone (Zoe Saldana) alcoholic, mentally unstable, and financially shaky.  After an incident involving a gun, Nina is committed to a Los Angeles psychiatric hospital.  There, she befriends a young nurse, Clifton Henderson (David Oyelowo), who is also a fan of hers.  When she leaves the hospital, Nina hires Clifton as her personal assistant, and he accompanies her back to her home in Bouc-Bel-Air, France.

Once there, Clifton discovers that Nina is not only difficult and confrontational, but that she also refuses to take her medication and prefers drinking alcoholic beverages over eating.  Clifton attempts to salvage Nina's career, but her decades of ill will and a bad reputation among music business players and heavy hitters may derail Clifton's plans for a Nina Simone comeback.

Simply put, Nina is a poorly written movie.  Ostensibly, it is one of those stories about a great, famous, or important person who salvages the wreckage of her life to rekindle an famous public career.  What we get is mostly Nina Simone being stubborn and self-destructive with Clifton Henderson standing by her side, looking sad, angry, or exasperated.

I think Zoe Saldana gives a great performance as this film's Nina Simone.  I say “this film's Nina Simone” because there was a lot of controversy about her casting – especially concerning Saldana's skin tone and physical appearance compared to the real-life Nina Simone's physical characteristics.  Saldana seems to bury her true self in the make-up in order to become a dark-skinned Black woman and emerges as a character who is a fighter fiercely protecting what she believes she has left of herself.  Whatever one might say of this film, I think that there is no doubt that Saldana proves that she is an actress capable of playing the “great roles.”

The problem is that this role is not great, mainly because the writing and directing can only deliver what is barely an average film.  Writer-director Cynthia Mort even finds a way to waste the highly-skilled actor, David Oyelowo.  The passion, artistry, and professionalism he brings to his performances are absent here mainly because Clifton literally just waits around for Nina to throw an over-the-top tantrum.  The screenplay gives Saldana enough material to really be showy with Nina, but that same script gives Oyelowo very little he can use to show off.

I am not a Nina Simone expert, but I know enough about her to know that she is hugely respected and much beloved among music fans, historians, and critics.  In no way does this film come close to doing this kind of woman justice.  Watching this film, I have to wonder what the filmmakers of Nina were thinking.  Luckily, the passion that Saldana obviously brings to this project results in a performance that makes Nina worth watching.

5 of 10
C+

Sunday, November 13, 2016


The text is copyright © 2016 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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"Saving Our Selves: A BET COVID-19 Relief Effort" Airs Wed., April 22nd

Anthony Anderson Joins Kelly Rowland, Terrence J, and Regina Hall as Host of “SAVING OUR SELVES: A BET COVID-19 RELIEF EFFORT” Special Set to Air on Wednesday, April 22, 2020 at 8 PM EDT

Performances by Alicia Keys, John Legend, Usher, Jhene Aiko, Chloe X Halle, CeeLo Green, H.E.R., Ella Mai, Jermaine Dupri, Ludacris, Swae Lee, Tyrese Gibson, Buju Banton, DJ D-Nice, SiR, D Smoke and Charlie Wilson

Gospel Performance by Kirk Franklin, Fantasia, Jonathan McReynolds, Kelly Price, Tasha Cobbs, Le’Andria Johnson and Melvin Crispell III

Additional Appearances by Tiffany Haddish, Idris Elba, Ciara, Don Cheadle, Mike Epps, Deon Cole, Angela Rye, Dr. Rheeda Walker, Charlamagne Tha God, Symone D. Sanders, DJ Khaled and Chance The Rapper

Special to Simulcast Across BET, BET HER, BET International Channels and to Over-the-Air Broadcast Viewers via Bounce

BET Has Partnered with United Way to Create a Relief Fund to Receive Financial Donations That Will Be Disbursed to Local Charities That Provide Food and Emergency Assistance to Those Who Need Help Most

For More Information Visit BET.com/COVID19

#BETCOVIDRELIEF

NEW YORK--(BUSINESS WIRE)--BET announces comedian and actor Anthony Anderson as the fourth host of the upcoming “SAVING OUR SELVES: A BET COVID-19 RELIEF EFFORT,” special. Anderson joins stars Kelly Rowland, Terrence J, and Regina Hall as host for the two-hour special broadcast. “SAVING OUR SELVES: A BET COVID-19 RELIEF EFFORT,” is set to air on Wednesday, April 22, 2020 at 8 PM EDT.

Performances include Alicia Keys with a special tribute to New York City, and a Gospel moment with Kirk Franklin featuring Fantasia, Jonathan McReynolds, Kelly Price, Tasha Cobbs, Le’Andria Johnson, and Melvin Crispell III. Exclusive performances by John Legend, Usher, Jhene Aiko, Chloe X Halle, CeeLo Green, H.E.R., Ella Mai, Jermaine Dupri, Ludacris, Swae Lee, Tyrese Gibson, Buju Banton, DJ D-Nice, SiR, D Smoke, and Charlie Wilson.

Additional celebrity guest appearances will include Tiffany Haddish, Idris Elba, Ciara, Don Cheadle, Mike Epps, Deon Cole, Angela Rye, Dr. Rheeda Walker, Charlamagne Tha God, Symone D. Sanders, DJ Khaled and Chance The Rapper.

Expanding the reach of the telecast, BET will simulcast the special across BET and BET Her domestically, as well as their channels internationally bringing awareness to over 90 million homes. Additionally, BET will join forces with Bounce to help expand the audience to include free, over-the-air broadcast viewers with Bounce simulcasting “SAVING OUR SELVES: A BET COVID-19 RELIEF EFFORT.”

Addressing the communities around the world, a global check-in segment for “BET SAVING OUR SELVES: COVID-19 RELIEF EFFORT” will highlight how various regions around the globe are coping through COVID-19. BET Breaks’ International talent Nomalanga (South Africa), Flora Coquerel (France), and Jourdan Riane (UK) will report on how the pandemic is affecting their countries. British Hip Hop Artists behind the viral “Don’t Rush” social media challenge, Young T and Bugsy, and Idris Elba’s wife, Sabrina Elba, will make appearances as well. Internationally, the show will be broadcast on Saturday, April 25 in the UK at 9:00 pm BST, Korea at 9:00 pm KST, Africa at 6:00 pm CAT, and France at 10:30 pm CEDT.

The focus of the initiatives is to combat the racial disparities of the COVID-19 pandemic. Recent findings have shown that Black Americans are being disproportionately harmed by the health and financial devastation wrought by the COVID-19 pandemic. BET, in partnership with the NAACP, United Way Worldwide, leaders in the African American creative, civil rights and business communities will provide critical financial, educational and community support directly to the African Americans hardest hit by this crisis. Corporate brand donors who have generously contributed to the fund include Procter & Gamble, Unilever, Toyota, Salesforce, McDonald’s, AARP, Pine-Sol®, Morgan Stanley, TJ Maxx, Weight Watchers, and NBA.

You can now donate to the fund online via BET.com or by texting BETGives to 51555. More information on BET’s partnership with UWW and additional extensions of our relief efforts are forthcoming. For further details, please visit BET.com/COVID19.


About BET
BET, a subsidiary of ViacomCBS Inc. (NASDAQ: VIACA, VIAC), is the nation's leading provider of quality entertainment, music, news, and public affairs television programming for the African-American audience. The primary BET channel is in 90 million households and can be seen in the United States, Canada, the Caribbean, the United Kingdom, sub-Saharan Africa, and France. BET is the dominant African-American consumer brand with a diverse group of business extensions including BET.com, a leading Internet destination for Black entertainment, music, culture, and news; BET HER, a 24-hour entertainment network targeting the African-American Woman; BET Music Networks - BET Jams, BET Soul and BET Gospel; BET Home Entertainment; BET Live, BET’s growing festival business; BET Mobile, which provides ringtones, games and video content for wireless devices; and BET International, which operates BET around the globe.

About United Way
United Way fights for the health, education and financial stability of every person in every community. Supported by 2.9 million volunteers, 9.8 million donors worldwide and $4.7 billion raised every year, United Way is the world’s largest privately-funded nonprofit. We’re engaged in 1,800 communities across more than 40 countries and territories worldwide to create sustainable solutions to the challenges facing our communities. United Way partners include global, national and local businesses, nonprofits, government, civic and faith-based organizations, along with educators, labor leaders, health providers, senior citizens, students and more. For more information about United Way, please visit UnitedWay.org. Follow us on Twitter: @UnitedWay and #LiveUnited.

About BOUNCE
Bounce (@bouncetv) is the popular multi-platform entertainment network targeting African Americans, with programming seen over-the-air, on cable, on DISH channel 359, over-the-top on Roku®, on mobile devices via the Bounce and Brown Sugar apps and on the web via BounceTV.com. Bounce features a programming mix of original series and movies, off-network series, theatrical motion pictures, specials, live sports and events and more. Bounce is part of The E.W. Scripps Company (NASDAQ: SSP).

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BET Announces Social Media Awards Show

BET Networks Announces New Tentpole Social Media Extravaganza “THE BET SOCIAL AWARDS” Airing LIVE Sunday, February 11, 2018 at 10 P.M./7 P.M. ET/PT

Executive Produced by Actor/Comedian Mike Epps the Inaugural Social-Kudofest Will Highlight the Top Trending Topics, Social Influencers and the Most Talked about Viral Moments of 2017

“THE BET SOCIAL AWARDS” Will Air LIVE from Los Angeles

NEW YORK--(BUSINESS WIRE)--This winter BET Networks will slide into viewers’ DMs and screens with the inaugural “THE BET SOCIAL AWARDS” from Executive Producer Mike Epps. A first-of-its-kind award show, “THE BET SOCIAL AWARDS” will celebrate the very best (and worst) in social media over the past year. From your favorite celebrity follows, to the biggest memes, hashtags and trends of the year, this one-hour event will cover all of the most memorable social media moments that flooded your timelines in 2017. Airing LIVE Sunday, February 11, 2018 at 10 P.M./7 P.M. ET/PT from Los Angeles, “THE BET SOCIAL AWARDS” will celebrate the most talked about moments across Facebook, Twitter, Instagram, YouTube, Snapchat, Musical.ly and more.

“THE BET SOCIAL AWARDS” are a natural fit for the Network, which regularly dominates the social sphere and drives the conversation with buzzy programming and viral moments that trend worldwide. In fact, BET’s specials now claim 6 of the Top 10 Most Social Cable Specials for 2017 year-to-date* – including the Top 3 of the year (The New Edition Story, BET Awards and Hip Hop Awards)*. Now the network is turning the tables to honor and celebrate the best in social media. “THE BET SOCIAL AWARDS” will feature Social Media stars, celebrities, social-inspired performances, comedic nominee packages, unexpected award moments, and tons of surprises. Keeping with BET’s tradition of celebrating the best in entertainment, the Network will once again host an electrifying night of television and social media that is bound to be #LIT!

Host and Categories to be announced at a later date.

“THE BET SOCIAL AWARDS” is a BET Production, with Mike Epps, Kyra Robinson and Eric Conte serving as Executive Producers and Dan Weinreich as producer of the special.

For updates and more information about “THE BET SOCIAL AWARDS”, please visit BET.com/SocialAwards. Join the conversation on social media by logging on to our social media platforms using the hashtag: #BETSocialAwards.

*Source: Nielsen, Social Content Ratings, 1/1/17 - 11/26/17, episode-level linear data.


About BET Networks
BET Networks, a subsidiary of Viacom Inc. (NASDAQ: VIA, VIA.B), is the nation's leading provider of quality entertainment, music, news and public affairs television programming for the African-American audience. The primary BET channel is in nearly 85 million households and can be seen in the United States, Canada, the Caribbean, the United Kingdom, sub-Saharan Africa and France. BET is the dominant African-American consumer brand with a diverse group of business extensions including BET.com, a leading Internet destination for Black entertainment, music, culture, and news; BET HER (formerly CENTRIC), a 24-hour entertainment network targeting the African-American woman; BET Music Networks - BET Jams, BET Soul and BET Gospel; BET Home Entertainment; BET Live, BET’s growing festival business; BET Mobile, which provides ringtones, games and video content for wireless devices; and BET International, which operates BET Networks around the globe.

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Negromancer News Bits and Bites for the Week of August 10th to August 16th, 2014 - Update #13

NEWS:

From the BostonHerald:  Jackie Chan says that he has been approached about appearing in a few sequels, including "Rush Hour 4" and "The Expendables 4."

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From Today:  Star Trek legend, George Takei (Sulu), recalls his family being taken at gunpoint (with bayonet) in 1942 on their way to an American internment camp during World War II.  This story and more will be included in "To Be Takei," the documentary about his life.

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From Deadline:  Mike Epps apparently delivered an explosive screen test that has him as the front-runner to play iconic stand-up comic and actor, Richard Pryor, in a planned biopic from Oscar-nominated director, Lee Daniels, for The Weinstein Company.

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One of the other actors being considered is Marlon Wayans, who was the choice when Adam Sandler's Happy Madison was producing a Pryor film with Dreamgirls' Bill Condon directing.  Michael B. Jordan and Nick Cannon are also being considered.  Kate Hudson and Anne Hathaway are among those considered to play Pryor's wife, Jennifer Lee Pryor.

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From YahooFinance:  Amazon is refusing to accept pre-orders on some Walt Disney DVDs in a battle that is similar to Amazon's feud with book publisher, Hachette.

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From YahooCelebrity:  Tyler Posey, star of MTV's "Teen Wolf," played Jennifer Lopez's young son in the 2002 film, Maid in Manhattan.  Lopez and Posey reunited on stage last night at the 2014 Teen Choice Awards.  This article also has a list of the award ceremony's winners.  Most of the winners were movies based on books written for teens and the young adult audience.


COMIC BOOKS - Movies, TV, and Comics:

From IGN:  SPOILERS! Lex Luthor's dastardly plot in "Batman Vs. Superman: Dawn of Justice" may have been revealed.  It involves a corpse and kryptonite.

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From Yahoo:  Vin Diesel teasing or trolling his fans about starring in a possible Marvel Studios film featuring the Inhumans.

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From TheWrap:  The Teenage Mutant Ninja Turtles update won the August 8 to 10, 2014 weekend box office.

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From THR:  Ninja Turtles sequel announced for June 3, 2016.

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From YahooMovies:  Photographic evidence that Guardians of the Galaxy star, Chris Pratt, was homeless and lived in a van at one time.


STAR WARS:

From LatinoReview:  Episode VII plots, villains, spoilers, etc.

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From IndieRevolver:  An alleged look at how Han Solo (Harrison Ford) will look in Star Wars: Episode VII.

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From IndieRevolver:  About the alleged Sith villain of Episode VII.

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From Twitter:  An interesting photo.


OBITS:

From Variety: Lauren Bacall, legendary Hollywood actress and icon of the Golden Age of Hollywood, has died at the age of 89.  She made her debut at the age of 19 in the film, To Have and to Have Not (directed by Howard Hawks), opposite another legend and icon, Humphrey Bogart.  She died at her apartment in Manhattan today, Tuesday, August 12, 2014.  My heart is broken.  Negromancer sends condolences to Ms. Bacall's family and friends.

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From TheWeek:  Bacall on Humphrey Bogart's illness and death.

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From CNN:  The actress, Arlene Martel, has died at the age of 78.  She was known to "Star Trek" fans as "T'Pring," the Vulcan priestess who was engaged to marry Spock in the episode "Amok Time" (the first episode of the second season).  Martel died Tuesday, August 12, 2014.  Negromancer sends condolences to her family and friends.


TRAILERS:

From 20th Century Fox:  Second trailer for the animated film, The Book of Life. Film is due Halloween 2014.


MISC:

From YahooNews and the NYPost:  Brittney Griner of the WNBA's Phoenix Mercury is engaged to fellow WNBA player, Glory Johnson of the Tulsa Shock.  Both Arizona and Oklahoma, however, practice bigotry in their marriage laws.

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From Truthout:  How the Mainstream Media Helped Kill Michael Brown.  The author's argument makes sense, especially the standpoint of the relationship between law enforcement a crime reporters.

Review: "The Honeymooners" is Sweet and Charming (Happy B'day, Cedric the Entertainer)

TRASH IN MY EYE No. 93 (of 2005) by Leroy Douresseaux

The Honeymooners (2005)
Running time: 90 minutes (1 hour, 30 minutes)
MPAA – PG-13 for some innuendo and rude humor
DIRECTOR: John Schultz
WRITERS: Danny Jacobson and David Sheffield & Barry W. Blaustein and Don Rhymer (based on characters from the CBS television series)
PRODUCERS: David T. Friendly, Marc Turtletaub, Eric C. Rhone, and Julie Durk
CINEMATOGRAPHER: Shawn Maurer
EDITOR: John Pace

COMEDY

Starring: Cedric the Entertainer, Mike Epps, Gabrielle Union, Regina Hall, Eric Stoltz, John Leguizamo, Jon Polito, Carol Woods, Ajay Naidu, and Alice Drummond

The subject of this movie review is The Honeymooners. This 2005 family comedy takes the classic television series, The Honeymooners, and transforms the characters into African-Americans, while also setting the story in the 21st Century.

Ralph Kramden (Cedric the Entertainer) is a dreamer. By day, he is a New York city bus driver. During his off-hours, he is an inventor, an entrepreneur, and an innovator who is always one get-rich-quick scheme away from instant wealth, and he has a closet full of failed products to prove it. Most of the time, Ralph’s best friend and upstairs neighbor, Ed Norton (Mike Epps), is along for the ride. Ralph’s wife, Alice (Gabrielle Union), has been putting up with it for years, but now she has had enough. Alice has her sights on a practical dream, the American dream; she and Ed’s wife, Trixie (Regina Hall), want to buy a duplex fixer-upper house that the two couples could share and build into their dream home. However, Ralph’s latest half-baked project turns out to be really half-baked, and he spent his and Alice’s savings on it. Now, he needs Ed’s help on another big money plan if he’s going to replenish their savings before Alice leaves him.

Other than the character names, a few domestic and job facts, and the title, the film The Honeymooners bares little resemblance to the CBS television series of the 1950’s that many consider classic TV and an important program in television history. The four lead characters that were white in the original are now black, which should set some tongues to wagging. All that doesn’t, in the end, matter when it comes to the issue at hand, and that’s the current film. Is The Honeymooners a good film, and how good is it?

The Honeymooners, like a lot of Hollywood film product for so many years now, is cursed with a limp script and an unimaginative director. The concept: Ralph’s latest get-rich-quick plan backfires and not only costs him money, but might cost him his marriage, was a stable of the original TV program. Apparently that concept worked great for a half-hour TV show (about 22 minutes of actual show and the rest commercials), but stretched to a 90 minute feature-length film, it doesn’t fly… or at least not long enough. The director moves The Honeymooners at a plodding pace, almost as if he were following the recipe to make bland-tasting baked goods. The script contains not a sparkle of wit or imagination, and the romance and love between husband and wife are woefully hollow notes.

The weak film structure forces the burden to entertain the audience upon the backs of the cast. Cedric the Entertainer and Mike Epps are up to the challenge; in fact, they add a lot of their own construction work to this shell of a film and make it worth seeing. A lot of the humor in Cedric’s comedic style comes from his expressive face and watching how he reacts in certain situations and to particular incidents. Epps is the perfect sidekick, a combination clown and straight man, he can do the silly stuff, or he can be the guy who balances the hijinks of the class clown. Sadly, the talented Gabrielle Union and Regina Hall (who adds meat to the comic routine she used in the Scary Movie franchise) have to fight for what little screen time they have. The limp script spends so much time anally fixated on Ralph’s next-great idea that it ignores half of what made the Ralph Kramden/Ed Norton act work – the wives.

John Leguizamo also does an edgy and hilarious turn as a jack-of-all-scams dog trainer that should remind a lot of people not only how funny this fine comedian is, but what a good actor he is. Cedric, Epps, and Leguizamo make a dynamic comic trio. Ultimately, the cast is funny enough and surprisingly charming enough on the strength of performances to make The Honeymooners worth watching, even though it’s not worth a trip to the theatre.

5 of 10
B-

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"The Help" Wins Big at 43rd NAACP Image Awards

The NAACP Image Award an award bestowed by the National Association for the Advancement of Colored People (NAACP). The award honors outstanding achievements by people of color in film, television, music, and literature. The awards are voted on by members of the NAACP.

The 43rd NAACP Image Awards winners were announced in a ceremony, February 17, 2012 and broadcast live on NBC.  I was caught up in two basketball games broadcast on ESPN Friday night, so I had to get help from the Associated Press via the Miami Herald to get this information to you, dear readers.

2012 NAACP Image Awards winners - Motion Pictures:

Motion Picture: "The Help"

Motion Picture directing: Salim Akil, "Jumping the Broom"

Motion picture writing: Ann Peacock, "The First Grader" (National Geographic Entertainment)

Actor in a motion picture: Laz Alonso, "Jumping the Broom"

Actress in a motion picture: Viola Davis, "The Help"

Supporting actor in a motion picture: Mike Epps, "Jumping the Broom"

Supporting actress in a motion picture: Octavia Spencer, "The Help"

Independent motion picture: "Pariah" (Focus Features)

Foreign motion picture: "In the Land of Blood and Honey" (FilmDistrict)

Documentary, theatrical or television: "Sing Your Song" (HBO Documentary Films)

Image Entertainment Acquires Bernie Mac Documentary

Image Entertainment Acquires I AIN’T SCARED OF YOU: A TRIBUTE TO BERNIE MAC

A Full Galaxy of Stars Share Thoughts on the Beloved Comic

CHATSWORTH, Calif.--(BUSINESS WIRE)--Image Entertainment, Inc. (OTCQB: DISK) has acquired the North American home entertainment and digital rights to I AIN’T SCARED OF YOU: A TRIBUTE TO BERNIE MAC. The film, set to be released on Image’s One Village label, chronicles the life and career of a true “king of comedy” and includes exclusive footage of early, never-before-seen performances. The announcement was made by Image Entertainment’s Chief Acquisition Officer, Bill Bromiley.

“Bernie Mac was taken from us much too soon,” said Bromiley. “This film reminds us of his comic brilliance and viewers will be able to share in the enormous affection his friends, family and coworkers have for him by way of their candid, intimate interviews.”

I AIN'T SCARED OF YOU: A TRIBUTE TO BERNIE MAC traces Bernie Mac’s unique performance style and tireless pursuit of comedy that broke through racial and class barriers, enabling his ascension to club, television and film stardom. The film’s title comes from Mac’s first appearance on Def Comedy Jam where he took the mic and immediately exclaimed to the audience 'I Ain't Scared of You!' turning their boos into cheers. Instantly, this sharp-tongued Chicago native with a heart of gold won over millions of fans.

Directed by Robert Small and executive produced by Small and Rhonda McCullough, I AIN'T SCARED OF YOU features exclusive footage of early, never-before-seen performances, courtesy of Mac's friends and family. Additional footage includes his better-known work, such as the Kings of Comedy Tour, “The Bernie Mac Show” and several of his feature films.

Bernie’s daughter conducted many of the revealing interviews with his co-stars, colleagues and friends including Anthony Anderson, Tom Arnold, Angela Bassett, Bill Bellamy, Cedric the Entertainer, Don Cheadle, Cameron Diaz, Mike Epps, Andy Garcia, D.L. Hughley, Warren Hutcherson, Samuel L. Jackson, Ali LeRoi, Je’niece McCullough, Rhonda McCullough, Carl Reiner, Chris Rock, Zoe Saldana, Kellita Smith, Steven Soderbergh, Joe Torry and Camille Winbush. All filmed after his untimely passing, the interviews have a distinctively retrospective point-of-view and paint a vivid picture of who Bernie Mac was as an actor, comedian, husband, father and friend.


ABOUT ONE VILLAGE ENTERTAINMENT
Launched in 2007, One Village Entertainment, a division of Image Entertainment, is devoted to the development, production and acquisition of feature films, comedy specials, stage plays, documentaries and music content targeting the African-American consumer and urban market. The programming is distributed across multiple platforms including theatrical, broadcast, Blu-ray™/DVD and digital streaming and downloading. Among the more than 50 titles that carry the One Village imprimatur are live stand-up performances featuring Kevin Hart and Charlie Murphy, documentaries 2 Turntables and a Microphone: The Life and Death of Jam Master Jay and Soulmate, and the feature films American Violet starring Oscar-nominee Alfre Woodard and the acclaimed theatrical romantic comedy Russ Parr’s 35 & Ticking. Bestsellers in the One Village line also include the stage play productions What My Husband Doesn’t Know and Love in the Nick of Tyme by David E. Talbert, who is described by Variety as "the acknowledged kingpin of urban musicals."

ABOUT IMAGE ENTERTAINMENT
Image Entertainment, Inc. is a leading independent licensee and distributor of entertainment programming in North America, with approximately 3,200 exclusive DVD titles and approximately 340 exclusive CD titles in domestic release and more than 450 programs internationally via sublicense agreements. For many of its titles, the Company has exclusive audio and broadcast rights, as well as digital download rights to over 2,100 video programs and approximately 400 audio titles containing more than 6,000 individual tracks. The Company is headquartered in Chatsworth, California. For more information about Image Entertainment, Inc., please go to http://www.image-entertainment.com/.

Review: "Jumping the Broom" Hops with Family Melodrama

TRASH IN MY EYE No. 71 (of 2011) by Leroy Douresseaux

Jumping the Broom (2011)
Running time: 112 minutes (1 hour, 52 minutes)
MPAA – PG-13 for some sexual content
DIRECTOR: Salim Akil
WRITERS: Elizabeth Hunter and Arlene Gibbs; from a story by Elizabeth Hunter
PRODUCERS: Tracey E. Edmonds, Elizabeth Hunter, T.D. Jakes, Michael Mahoney, Glendon Palmer, and Curtis Wallace
CINEMATOGRAPHER: Anastas N. Michos
EDITOR: Terilyn A. Shropshire

COMEDY/DRAMA/ROMANCE

Starring: Angela Bassett, Paula Patton, Laz Alonso, Loretta Devine, Meagan Good, Tasha Smith, Julie Bowen, DeRay Davis, Valarie Pettiford, Mike Epps, Pooch Hall, Romeo Miller, Brian Stokes Mitchell, Gary Dourdan, T.D. Jakes, El DeBarge, Tenika Davis, and Vera Cudjoe

Jumping the Broom is a 2011 comedy and drama film that focuses on an African-American wedding. In fact, the film’s title is taken from an African-American tradition in which the bride and groom jump over a broom after being married. In the movie, two very different families meet and clash on Martha’s Vineyard in the days leading to the sudden wedding of a young couple.

Jumping the Broom focuses on Sabrina Watson (Paula Patton) and Jason Taylor (Laz Alonso), who are engaged to get married after knowing each other for only half a year. Jason’s family, the Taylors, is a downtown working class family from Brooklyn. Sabrina’s family, the Watsons, is an uptown group, and her parents have an estate in Chilmark on the island of Martha’s Vineyard.

Jason’s mother, Pam Taylor (Loretta Devine), is very upset that Jason is getting married to Sabrina at the last minute. Sabrina’s mother, Claudine Watson (Angela Bassett), is just as upset as Pam about this quickie marriage. What most upsets both mothers, however, is that they barely know each other’s family. As the two families come together at the Watson’s estate for the two-and-a-half day wedding event, everyone knows that class warfare is about to ensue. But no one suspects that some ugly family secrets are about to spill out into the open.

Obviously, Jumping the Broom is a hyper-idealized version of what happens when families get together for a big, busy, complex, and problematic event like a wedding (or a funeral). The things that this movie gets right are the petty feuds, unresolved disputes, simmering grievances, clashes of culture and class, the egos, the jealousies, the cheating, the selfishness, the marital discord, the second thoughts, etc. I could go on, but if you have a large enough family and have been to a big family get together, you know the pain and this movie will be painfully familiar. Jumping the Broom is good because it takes the pain and ugliness and shows us the good side of two families coming together for the first time, while spinning some remarkably sharp comic insights.

The film has some problems. Some of the dialogue is stiff, or is that just some bad acting? Also, there are way too many characters. DeRay Davis’ Malcolm has potential, but is extraneous here, as he pretty much serves the same purpose as Mike Epps’ Willie Earl Taylor, but less effectively. On the other hand, there is absolutely not enough of Vera Cudjoe’s Mabel.

Still, Jumping the Broom is kind of like an African-American version of My Big Fat Greek Wedding, and non-African-Americans can enjoy Jumping the Broom the same way non-Greek Americans really dug My Big Fat Greek Wedding. Jumping the Broom is a universal tale of two families joining to celebrate two people bringing both clans together.

6 of 10
B

Wednesday, August 17, 2011

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Review: "Faster" is One Angry Movie

TRASH IN MY EYE No. 20 (of 2011) by Leroy Douresseaux

Faster (2010)
Running time: 98 minutes (1 hour, 38 minutes)
MPAA – R for strong violence, some drug use and language
DIRECTOR: George Tillman Jr.
WRITERS: Tony Gayton and Joe Gayton
PRODUCERS: Tony Gayton, Liz Glotzer, Martin Shafer, and Robert Teitel
CINEMATOGRAPHER: Michael Grady
EDITOR: Dirk Westervelt

CRIME/ACTION

Starring: Dwayne Johnson, Billy Bob Thornton, Carla Gugino, Oliver Jackson-Cohen, Maggie Grace, Xander Berkeley, Adewale Akinnuoye-Agbaje, Mike Epps, Moon Bloodgood, and Tom Berenger

Released during the 2010 Thanksgiving holiday weekend, Faster is a hard-boiled revenge thriller starring Dwayne Johnson (formerly The Rock). The title, “Faster,” really doesn’t fit this movie, nor does it indicate just how mean this flick is.

The day he is released from prison, a convicted bank robber, known only as “Driver” (Dwayne Johnson), hits the streets. He is on a mission to take revenge on the men who killed his brother, Gary (Matt Gerald), and got him sent to prison for 10 years. Tracking Driver are two detectives, the professional Cicero (Carla Gugino) and a burnout known as “Cop” (Billy Bog Thornton). Meanwhile, an unknown person, someone on Driver’s hit list, hires a flamboyant and egocentric hit man known as “Killer” (Oliver Jackson-Cohen) to stop Driver.

Faster is one angry movie, but while some of it is quite good, the movie mostly feels undeveloped. Director George Tillman, Jr. helms the film with what seems like a ham-fisted determination to shock the audience with each moment of violence or bloody payback. It works… sometimes. Faster is a blunt instrument that punishes the audience for its bloodlust and love of retribution. What the film lacks are those fine touches that can transform a crime film from mere action movie to hard-boiled classic. These touches include a deeper insight into the hero, a clearer adversary, and a better use of the setting, among other things.

For most of Faster, Dwayne Johnson is a huffing, puffing force of nature, so much so that you might miss the moments in this film when Johnson, without a word of dialogue, conveys so much of Driver’s pain and grief. Hiding behind the depiction of a murderous badass is a quieter portrayal of a man struggling with spiritual issues like redemption and especially forgiveness.

Faster wastes good characters in Carla Gugino’s Cicero and Adewale Akinnuoye-Agbaje’s evangelist character. Billy Bob Thornton and Oliver Jackson-Cohen actually get some time to develop their characters, although Jackson-Cohen’s Killer seems out of place here.

I’ve said this many times before about many other movies (as have other critics and reviewers): Faster is good, but it could have been much more than the one-note action flick that it is.

6 of 10
B

Friday, March 04, 2011

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"All About the Benjamins" Right On the Money

TRASH IN MY EYE No. 42 (of 2006) by Leroy Douresseaux

All About the Benjamins (2002)
Running time: 95 minutes (1 hour, 35 minutes)
MPAA – R for strong violence, pervasive language, and brief sexuality
DIRECTOR: Kevin Bray
WRITERS: Ronald Lang and Ice Cube
PRODUCERS: Matt Alvarez and Ice Cube
CINEMATOGRAPHER: Glen MacPherson
EDITOR: Suzanne Hines

ACTION/CRIME/COMEDY

Starring: Ice Cube, Michael Epps, Tommy Flanagan, Carmen Chaplin, Eva Mendes, Valarie Rae Miller, Anthony Giaimo, Roger Guenveur Smith, Anthony Michael Hall, and Bow Wow

Bucum (Ice Cube) is a Miami-based bail enforcement agent (bounty hunter). Reginald “Reggie” Wright (Michael Epps) is a conman and frequent quarry of Bucum’s. Reggie’s failed to show up for a court date, so Bucum is out for him again. Bucum spots Reggie exiting a small market where he’s just picked up a lottery ticket for his girl, Gina (Eva Mendes). During the chase, Reggie ducks into a van to hide. What he doesn’t know is that the vehicle belongs to the brother/sister criminal team of Julian Ramose (Roger Guenveur Smith) and Ursula (Carmen Chaplin). The siblings are involved in a double-cross/heist of $20 million in diamonds for their boss, Williamson (Tommy Flanagan). They discover Reggie in their van, and though he eludes them, he leaves behind his wallet, which, of course, contains the lottery ticket.

When Reggie and Gina discover that the ticket Reggie lost is the winner of a $60 million jackpot, they convince a reluctant Bucum to help them find Reggie’s wallet and the ticket before he brings Reggie to jail for missing that court date. One thing complicates it: Bucum also wants to find the $20 million in uncut diamonds and bring down Williamson for two reason: for his own reputation and to trump the cops.

All About the Benjamins is simply a very good buddy action movie. It doesn’t have the self-referential coolness of The Last Boy Scout, nor is it the trendsetter that 48 Hours and Lethal Weapon were, but it’s an engaging B-movie crime flick complete with violent hoods, sly conmen, and a rebellious bounty hunter out to get paid even if he has to take his cut off the side

Ice Cube isn’t a great actor (or a very good one for that matter), but he always gets an “A” for effort. He plays that belligerent Bucum as not quite an unstoppable badass, but as more as guy whose smartness “the Man” underestimates. Mike Epps does a neat turn as the conman Reggie who never seems to run out of one-liners, though this is not a good acting effort on his part. He overacts, badly at times, but his comic sensibilities somewhat save the performance. This was Eva Mendes’ first shot as an action movie chick, but even here she shows the excellent comic timing, acting ability, and star quality that earned her some nice supporting roles next to big stars (Denzel Washington in Out of Time and Will Smith in Hitch). Also look for the usually small, but nice appearance by Roger Geunveur Smith.

6 of 10
B

Monday, February 20, 2006

Review: "The Hangover" is Simply Fantastic

TRASH IN MY EYE No. 4 (of 2009) by Leroy Douresseaux

The Hangover (2009)
Running time: 100 minutes (1 hour, 40 minutes)
MPAA – R for pervasive language, sexual content including nudity, and some drug material
DIRECTOR: Todd Phillips
WRITERS: Jon Lucas and Scott Moore
PRODUCERS: Daniel Goldberg and Todd Phillips
CINEMATOGRAPHER: Lawrence Sher
EDITOR: Debra Neil-Fisher
Golden Globe winner

COMEDY/MYSTERY

Starring: Bradley Cooper, Ed Helms, Zach Galifianakis, Justin Bartha, Heather Graham, Mike Epps, Sasha Barrese, Jeffrey Tambor, Ken Jeong, Rachel Harris, Mike Tyson, Jernard Burks, Rob Riggle, and Cleo King

It may be a cliché in movies and television series to send characters to Las Vegas for a bit of hedonism. Now, it is also a city where families can have fun and where businessmen can get down to business. Still, Las Vegas has long been the go-to place for many pleasure-seeking men.

The new film, The Hangover, from director Todd Phillips (Old School), takes a quartet of middleclass guys to Vegas for a bachelor party. While their plan for an evening of nightmarish debauchery eventually becomes a waking nightmare, their distress and torment are comedy gold for movie audiences.

Two days before his wedding to his bride-to-be, Tracy Garner (Sasha Barrese), Doug Billings (Justin Bartha) and three pals leave Los Angeles and drive to Las Vegas for a blow-out bachelor party that will be so crazy (they hope) they’ll never forget it. Doug’s friends are Phil Wenneck (Bradley Cooper), a good-looking, junior high school teacher, who puts on that married life is killing him. Dentist Stu Price (Ed Helms) is an uptight dweeb, who is made all the more anxious by his controlling girlfriend, Melissa (Rachel Harris). Melissa treats Stu like a slave, and he has to lie to her about the Vegas trip. Finally, there’s Tracy’s deranged brother, Alan Garner (Zach Galifianakis); pudgy, bearded, and dumber than a bag of hammers, Alan may be as dangerous as he is clueless.

After offering a toast to their diabolical plans on the roof of their Caesar’s Palace, the guys head out for an evening of ritualized Vegas fun (gambling, drinking, whoring, etc.). But the next morning, Phil, Stu, and Alan wake up and discover they can’t remember the events of the previous evening. For unknown reasons, they now share their Caesar’s Palace suite with a tiger (in the bathroom) and a six-month-old baby (in the closet). And they can’t find Doug. With no memories of what transpired and only a day before the wedding, the three hung-over men must retrace their hazy steps, follow a handful of clues, and sift through all their bad decisions in order to find Doug and get him back to L.A. in time for his wedding.

In The Hangover, the surprises are everything, and those surprises are the strange people with which our heroes interacted, the shocking places they’ve been, and the outrageous things they’ve done. Some of those specific surprises involve Mike Tyson, a Vegas wedding chapel, and flamboyantly gay Asian gangster (Ken Jeong), and delightful performances given by Heather Graham and Mike Epps in small roles. That’s to say nothing about the riot that is the end-credit montage.

A lot of the fun in this movie is recognizing that the boys, especially Phil, Stu, and Alan, are types as much as they are characters, and that while each often acts as we would expect him to, it’s when they do something out of character that The Hangover hits a high point. Still, it would have been good to have richer character interplay, but there’s isn’t much time for soul searching when all a scene requires is that the character put his face in a hooker’s lap. It’s satisfying that Cooper, Helms, and Galifianakis are so good at making these character types at least seem like great characters.

The fun in this movie is getting the surprises, and The Hangover is all about shocking the viewer. Considering that one expects shocking things to happen when four ordinary guys go to Vegas for a bachelor party, the genius of The Hangover is that it finds a way to make the predictable always unpredictable.

8 of 10
A

Friday, June 19, 2009

NOTES:
2010 BAFTA Awards: 1 nomination: “Best Screenplay – Original” (Jon Lucas and Scott Moore)

2010 Golden Globes: 1 win: “Best Motion Picture - Musical or Comedy”

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Review: "Guess Who" Laughs to Get Along (Missing Bernie Mac)

TRASH IN MY EYE No. 147 (of 2005) by Leroy Douresseaux

Guess Who (2005)
Running time: 106 minutes (1 hour, 46 minutes)
MPAA – PG-13 for sex-related humor
DIRECTOR: Kevin Rodney Sullivan
WRITERS: David Ronn and Jay Scherick and Peter Tolan, from a story by David Ronn and Jay Scherick (based loosely on the screenplay, Guess Who’s Coming to Dinner by William Rose)
PRODUCERS: Jason Goldberg, Erwin Stoff, and Jenno Topping
CINEMATOGRAPHER: Karl Walter Lindenlaub
EDITOR: Paul Seydor

COMEDY with elements of drama and romance

Starring: Bernie Mac, Ashton Kutcher, Zoë Saldaña, Judith Scott, Hal Williams, Kellee Stewart, Robert Curtis-Brown, RonReaco Lee, Niecy Nash, Kimberly Scott, Denise Dowse, and Mike Epps

In the famous 1967 film, Guess Who’s Coming to Dinner, a young white woman (played by Katharine Houghton) brings her black fiancé (famously played by Sidney Poitier) home to meet her parents, the mother played by Katherine Hepburn and the disapproving father played by Spencer Tracy.

Director Kevin Rodney Sullivan (Barbershop 2: Back in Business) updates this classic of interracial (a tired, archaic term) dating in Guess Who. This time, Theresa Jones (Zoë Saldaña), a young black woman, brings her fiancé, Simon Green (Ashton Kutcher), a young white man, home to meet her parents, Percy (Bernie Mac) and Marilyn Jones (Judith Scott). Percy has already had a credit check done on Simon and knows that he has a high-powered job at an investment firm, but Percy doesn’t know two things about Simon: (1) he quits his job the day he’s supposed to meet Theresa’s parents who may end up being his in-laws and (2) Simon is white. Complicating matters is that Simon and Theresa plan on announcing their engagement on the very weekend that Percy and Marilyn are holding a big and expensive ceremony to renew their vows after 25 years of marriage. Percy is upfront and blunt with his disappoint in Theresa’s choice of Simon, and Simon tries his best to make friends with Percy. Will Percy ever learn to like… or at least tolerate Simon?

Guess Who is more funny than smart, and it’s actually very funny when it deals with tense issues of interracial dating and race relations in an off-handed way. Several times the films seems as if it wants to deal with America’s proverbial elephant in the room (race), but most of the time it has to awkwardly limp away from that after fumbling the ball at the 20-yard line and getting injured. Guess Who is a film about race relations that never uses the word “nigger,” but feels safe using the ineffective racial slur, “honky.” That is the best Guess Who could do as far as walking the tightrope between what is acceptable and offensive. It avoids discussing what people have in common (humanity) and what divides us (skin color, ethnicity, religion, etc.), so it certainly isn’t a daring film. In the end it’s also about as glib as Meet the Parents and, to a lesser extent, its sequel, Meet the Fockers, in terms of dealing with the conflicts that result when an outsider marries into the family and when two really different groups of people come together because of a marriage.

On the other hand, the film is funny, very funny. Mac and Kutcher have excellent screen chemistry; in fact the script gets that right, so much to the point that it could be a text book example of how to make interpersonal dynamics in screen narratives in which a screen duo or couple are of different skin colors work. The drama does seem a little leaden and forced, but if a viewer goes in expecting a typical comedy of errors and misunderstandings, he’ll get one that has a lot of laughs. There is deep fun in watching Mac’s Percy Jones and Kutcher’s Simon Green dance awkwardly around each other for a long time, each graceless meeting helping each to learn about (if not understand) the other.

That makes the inevitable hug of real friendship seem so… well, real, and rewards us with a happy moment to top of a truly funny film. You see, every movie about us (all of us) learning to get along shouldn’t involve cursing, screaming, tears, and finally a tragic incident that brings us together to appreciate life. Sometimes, we can all laugh our way to getting along, or so says Guess Who.

7 of 10
B+

NOTES:
2006 Black Reel: 1 nomination: “Best Actress” (Zoe Saldana)

2006 Image Awards: 1 nomination: “Outstanding Actress in a Motion Picture” (Zoe Saldana)

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Review: "Resident Evil: Extinction" is More Apocalyptic

TRASH IN MY EYE No. 131 (of 2007) by Leroy Douresseaux

Resident Evil: Extinction (2007)
Running time: 95 minutes (1 hour, 35 minutes)
MPAA – R for not-stop violence, language, and some nudity
DIRECTOR: Russell Mulcahy
WRITER: Paul W.S. Anderson
PRODUCERS: Paul W.S. Anderson, Jeremy Bolt, and Robert Kulzer
CINEMATOGRAPHER: David Johnson
EDITOR: Niven Howie

HORROR/ACTION/SCI-FI with elements of drama

Starring: Milla Jovovich, Oded Fehr, Iain Glen, Ali Larter, Ashanti, Christopher Egan, Spencer Locke, Matthew Marsden, John Eric Bentley, and Mike Epps

Following the events of Resident Evil: Apocalypse, the recent film, Resident Evil: Extinction, presents a world where only pockets of humanity scattered around the globe remain because the world has been overrun by flesh-eating zombies. Series heroine, Alice (Milla Jovovich), hides in the Nevada desert, traveling the lonely highways on a motorcycle. Fate forces her to rejoin her old comrades Carlos Olivera (Oded Fehr) and L.J. (Mike Epps) and a group of new survivors, including Claire Redfield (Ali Larter), K-Mart (Spencer Locke), and Nurse Betty (Ashanti). They’re all part of a lonely convoy of small trucks and one school bus, trying to evade the undead humans, who were turned into flesh eating zombies by the T-virus.

Meanwhile, Dr. Isaacs (Iain Glen), a scientist from the Umbrella Corporation, the people responsible for the creation of the T-virus is seeking Alice’s whereabouts. Isaacs believes her blood is the key to finding a way to destroy the virus. He tracks to Alice and the convoy just as they arrive in what is left of Las Vegas, which is now nearly buried in sand and likely stocked with the undead.

Resident Evil: Extinction is an improvement over Resident Evil: Apocalypse, but Extinction isn’t as thrilling or as frightening as the original 2002 Resident Evil. Extinction is somewhere in the middle, but closer to the first film. Director Russell Mulcahy (best known for directing Highlander over two decades ago) piles on more visual style and flair than Apocalypse had, so the fight scenes in this film are much more exhilarating. Although often predictable, Extinction is, at times, genuinely chilling and creepy thanks to the stellar makeup on the zombies.

Yeah, the filmmakers sell us out at the end by setting up the story for another film, but what they deliver in Resident Evil: Extinction is mostly good. Bring on the next film.

6 of 10
B

Thursday, October 18, 2007

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Review: Inventive "Resident Evil: Apocalypse" is Sadly Sad

TRASH IN MY EYE No. 180 (of 2004) by Leroy Douresseaux


Resident Evil: Apocalypse (2004)
Running time: 94 minutes (1 hour, 34 minutes)
MPAA – R for non-stop violence, language, and some nudity
DIRECTOR: Alexander Witt
WRITER: Paul W.S. Anderson
PRODUCERS: Jeremy Bolt, Don Carmody, and Anderson
CINEMATOGRAPHERS: Derek Rogers and Christian Sebaldt
EDITOR: Eddie Hamilton

ACTION/HORROR with elements of sci-fi

Starring: Milla Jovovich, Sienna Guillory, Oded Fehr, Thomas Kretschmann, Sophie Vavasseur, Raz Adoti, Jared Harris, Mike Epps, Sandrine Holt, Matthew G. Taylor, and Zack Ward

After barely surviving the zombie infestation/lab tragedy in Resident Evil, Alice (Milla Jovovich) wakes up in a Raccoon City hospital. Outside, Raccoon City is now a city of the stalking dead, as the T-virus that turned man and beast into the flesh-eating ghouls of the first film has escaped from the Hive into the city, and most of the residents are now zombies. Alice and a band of survivors of the new outbreak must find the daughter of a Hive scientist if they want his help to escape the city. However, Alice must also face Nemesis (Matthew G. Taylor), a creature/super soldier created by Hive scientists using the T-virus as a catalyst. They apparently also experimented on Alice in between her escape from the Hive and her waking up in a hospital. And now, Alice is quite the super girl, but will it be enough to save her and the other survivors?

Resident Evil: Apocalypse is not nearly as good as the first film, and it almost falls into the category of awful movies based upon video games. However, Apocalypse is what the first film was: a very scary zombie movie that might make someone jump from his seat. The creatures are quite effective. Who knew that a little makeup would make so many actors and extras be such convincing flesh-eating ghouls. The action scenes are warmed over video game sequences and retread action movie clichés. It is, however, nice to see Milla Jovovich and her stunt doubles flying around and kicking behinds, and the Nemesis character is actually pretty cool. Luckily, the genuinely funny Mike Epps is on hand to add some really nice comic relief. Would that he performed more house calls like this for many lame action movies.

4 of 10
C