"Something New" is Quite Cool

TRASH IN MY EYE No. 135 (of 2006) by Leroy Douresseaux


Something New (2006)
Running time: 100 minutes (1 hour, 40 minutes)
MPAA – PG-13 for sexual references
DIRECTOR: Sanaa Hamri
WRITER: Kriss Turner
PRODUCER: Stephanie Allain
CINEMATOGRAPHER: Shane Hurlbut
EDITOR: Melissa Kent
Black Reel Award winner

COMEDY/DRAMA/ROMANCE

Starring: Sanaa Lathan, Simon Baker, Wendy Raquel Robinson, Mike Epps, Taraji P. Henson, Donald Faison, Alfre Woodard, Blair Underwood, Golden Brooks, Earl Billings, and Matt Malloy

Kenya Denise McQueen (Sanaa Lathan) has carefully calculated her professional life, and the young African-American accounting executive is up for partner at the firm for which she works. Still, she’s concerned that her personal life doesn’t measure up to her professional success. She accepts a blind date coordinated by a colleague, but the blind date turns out to be a white man named Brian Kelly (Simon Baker). She brushes him off, but that’s not the last she hears from Brian. He also turns out to be the sexy, free-spirited landscape architect a friend recommends. A relationship develops between Kenya and Brian, but though he’s comfortable with her, she can’t get past the fact that he is a white man. She’s later meets the IBM, the Ideal Black Man, a tax attorney named Mark (Blair Underwood), and they seemingly hit it off. Although Mark seems like her dream come true, Kenya’s heart might be somewhere else – regardless of what her friends, family, and the rest of society have to say.

Something New is the latest film about interracial (an absurd term) dating. The best-known recent examples include Spike Lee’s infamous Jungle Fever and the Julia Stiles hit, Save the Last Dance. Something New is not as incendiary as the former, nor does it have the youthful passion of the latter. The film by director Sanaa Hamri and writer Kriss Turner (a TV scribe whose credits include “Whoopi” and “Everybody Hates Chris”) is rather tame, but gets its energy from a willing cast. We know what the film is supposed to be about – unexpected love, but we know what this film is really about – a black girl dating a white guy. The actors grapple with that, and all they have to work with is Turner’s screenplay, which doesn’t know if it’s a love story or a lesson planner. Everything seems a little too loose, in a subject matter that demands structure (although I may be wrong) Still, what Turner’s script and Hamri’s directing offer would be enough to make this a good film. The actors make Something New a little better than just “good.”

One really impressive thing about this is that it showcases so many talented Black actors, whom we’d normally not see, at least not more than once a year. Alfre Woodard is fantastic as Kenya’s mother, Joyce McQueen, and one can only assume that being a Black actress has more often than not been an impediment to her career. Here, she shines as a woman madly wedded to her social status and to the idea that her children should live up to it – or so it seems. Wendy Raquel Robinson is equally good as the friend/voice of reason, Cheryl.

Leads Sanaa Lathan and Simon Baker do have screen chemistry, mostly because they play their characters so well, knowing exactly what to give their characters respective to the needs of the story. It’s their performances, in particularly Sanaa Lathan’s that gives this film its juice. Lathan practically emanates career obsession and embodies the hard-working, professional black woman tightly holding it together in all the ways it takes to climb the corporate ladder. At times, it is uncanny how true she makes Kenya’s reactions to people and situations. Her acting in the Starbucks’ scene when Kenya first meets Brian is uncommonly good – the art of verisimilitude with an attention to detail that gives this scene a documentary feel. It’s everything she does. Kenya’s vainly subtle ticks when she’s in public with Brian seem like painful compromises with strangers so that they won’t sneer at her for being with a white man. Those things that Lathan does make this a genuinely moving picture.

Baker is perfect as the laid-back, free spirit who just won’t hide his disdain for social hang-ups. In the end, he tips the balance and makes this movie seem, if not quite real, honest in its intentions. Something New makes its points in a gentle way while offering several entertaining supporting characters and then occasionally gives the viewer a hard nudge thanks to fine situational acting. Something New is the good choice for those wishing to either make that leap to the other side or just see how cool things could be if we all just got along… or at least the few of us who get along no matter what the hell the others have to say

7 of 10
B+

Saturday, June 24, 2006

Review: Date Night

TRASH IN MY EYE No. 26 (of 2010) by Leroy Douresseaux


Date Night (2010)
Running time: 88 minutes (1 hour, 28 minutes)
MPAA – PG-13 for sexual and crude content throughout, language, some violence and a drug reference
DIRECTOR: Shawn Levy
WRITER: Josh Klausner
PRODUCERS: Shawn Levy and Tom McNulty
CINEMATOGRAPHER: Dean Semler (D.o.P.)
EDITOR: Dean Zimmerman

COMEDY/ACTION/CRIME

Starring: Steve Carell, Tina Fey, Mark Wahlberg, Taraji P. Henson, Jimmi Simpson, Common, Bill Burr, William Fichtner, Kristen Wiig, Mark Ruffalo, James Franco, Mila Kunis, Ray Liotta, and J.B. Smoove

Steve Carell and Emmy-winner Tina Fey, two masters of some of the funniest and smartest television comedies in recent memory, come together for Date Night. Directed by Shawn Levy, Date Night follows a suburban New Jersey couple that comes to Manhattan for an out-of-the-ordinary night of fun and get the extraordinary night of their lives. This movie may not be Fey’s “30 Rock” or Carell’s “The Office” (their NBC television series), but it’s them and that’s enough.

They are sensible people Phil (Steve Carell) and Claire Foster (Tina Fey). This loving couple has two kids and a house in suburban New Jersey. Phil and Claire even have their weekly “date night,” a special night, in which they attempt to their dating years, as they dine on fish and potato wedges. Exhausted from their jobs and children, Phil and Claire rarely end their date nights with romance, or even sex. Then, they learn that a couple with whom they are friends is divorcing because the husband and wife started to feel like they were roommates and not really husband and wife.

On a whim, Phil decides a change of their regular date night plans in order to take Claire into Manhattan to the city’s hottest new restaurant, Claw. The Fosters, however, don't have reservations, and, once again on a whim, Phil decides to steal a no-show couple’s reservations. The Fosters are now the Tripplehorns, but the real Tripplehorns live dangerous lives, which the Fosters discover when two thugs, Armstrong (Jimmi Simpson) and Collins (Common), accost them over a flash drive the Tripplehorns apparently have. Soon, Phil and Claire are on the run, and their date night becomes a series of crazy adventures. Never mind saving their marriage; they have to save their lives.

Moviegoers who like Carell and Fey and want everything to turn out good for the Fosters will enjoy Date Night. Obviously, these acclaimed comic actors are the be-all, end-all of this movie. The material, however, is actually good, better than to be expected of Hollywood star vehicle. Screenwriter Josh Klausner has actually presented a rather snappy little scenario of a crime caper, although the way this caper ends is a bit clumsy and too pat. Director Shawn Levy, so adept at finding edge-of-the-seat thrills from practically any concept (see Night at the Museum), has made a film in Date Night that is funnier than most cop/buddy action comedies with action that is just as thrilling and fun to watch.

Steve Carell and Tina Fey don’t deliver their best work, but not for lack of effort. Carell’s wide-eyed mania, double-takes, and babbling are always just in time to strike the right note. Fey’s breezy performance is practically pitch-perfect for this film, an effortless turn from a comic actress flirting with genius. Date Night will likely make much of its audience want another date night with the team of Carell and Fey, but, in the meantime, we can enjoy this night again and again.

7 of 10
B+

Monday, April 26, 2010

Review: John Singleton's "Baby Boy" Returns to Singleton's Cinematic Roots

TRASH IN MY EYE No. 23 (of 2001) by Leroy Douresseaux

Baby Boy (2001)
Running time: 130 minutes (2 hours, 10 minutes)

MPAA – R for strong sexuality, language, violence and some drug use
WRITER/PRODUCER/DIRECTOR: John Singleton
CINEMATOGRAPHER: Charles E. Mills (D.o.P.)
EDITOR: Bruce Cannon

DRAMA with elements of crime and romance

Starring: Tyrese, Taraji P. Henson, Omar Gooding, Tamara LeSeon Bass, Candy Ann Brown, A.J. Johnson, Ving Rhames, Snoop Dogg, Mo’Nique, Angell Conwell, Kareem J. Grimes, Kaylan Bolton and Kylan Bolton

Jody (Tyrese Gibson) is a 20-year-old black man living with his mother (Candy Ann Brown). He is the father of two children by two different women. The relationship with one of the baby mama’s, Yvette (Taraji P. Henson) is the romantic focus of the film. Jody’s mother has an openly sexual relationship with Melvin (Ving Rhames), himself a former banger; he is a muscular Mandingo and Jody’s mother doesn’t have to call Tyrone when she needs some good, strong lovin.’ B’leive ‘dat!

Jody’s homey, Sweet Pea (Omar Gooding) is lost and also unemployed; he is desperate for meaning in and a purpose for his life. As he relationship with Yvette deteriorates, her old flame, a recently released convict named Rodney (rapper Snoop Dogg) shows up, literally gunning for Jody’s life.

Directed by John Singleton (Shaft), Baby Boy is more a slice of social studies than entertainment. It belongs to Singleton’s South Central Los Angeles milieu that he introduced in Boyz N the Hood, but it is thematically similar to the Boyz follow up, Poetic Justice.

The film opens with Jody dreaming that he’s an adult still in the womb; it is a visually jarring set piece that conveys the troubled state of Jody’s mind. It’s not long before we also realize that Jody’s life is frozen. He going nowhere, spending his days hustling, watching television, and involved in sexual escapades with many women.

He resents his mother’s relationship with Melvin, but Melvin is very familiar with the type of “li’l nigga” that Jody is because Melvin was himself once of a similar type. Jody has a twisted view of his relationship with his baby mamas. He tells Yvette that he lies to her about his philandering because he loves her too much to hurt her with the truth that he is a man whore. He uses the other women for sex because they’re, in his words, “tricks,” but he really loves Yvette because she is the mother of his son. His other baby mama, Peanut (Tamara LaSeon Bass), a girl whose own mother seems to be well to do, is less tolerant of Jody and dismisses him. In fact, when his relationship with Yvette collapses, Jody tries to seduce Peanut, but she quickly lets him know that she intends on treating him like an on-call sex toy. For Jody, Peanut treating him like an object jars Jody.

The film has only two characters as fathers – Jody and Melvin; in fact, fathers are conspicuously absent from this film. Melvin is estranged from his own children; his eldest son informs Jody off screen that Melvin beat his mother. Jody isn’t much better; his children are merely vestiges of his fornicating rather than the result of some kind of manhood. Jody’s own father is rarely spoken of, and Jody could have been hatched from an egg for all the knowledge of being a human father he obviously does not possess.

One of the themes here seems imply that Jody can’t be a father because he never had one to show him what it means to be a father and a man. That was Singleton’s dominant theme in Boyz, much to the delight of conservative i.e. Republican critics and fans of the movie. However, if a boy who did not know his own father himself grows to be a bad father, the reason is not necessarily because he didn’t have a dad.

Jody is selfish, spoiled, and manipulative. It’s difficult to tell what part his mother played in his personality, as there isn’t much back-story to her other than that she threw Jody’s older brother out of the house. Someone killed him, and Jody believes his mother throwing the brother out led to that. We also learn that mom has had lots of boyfriends.

As stated earlier, this film is more social studies than entertainment. Singleton seems to be saying to his audience, see how these people are. Or it may be that it is easy for him to make a movie about a subject with which he is very familiar. The film aims at making some kind of point, but Singleton stumbles to a tacked on and predictable ending. Maybe, the film’s resolution is “real” or “how it is on the streets,” but this is drama and it demands some kind of structure and purpose.

Singleton doesn’t have to provide pat answers to solve social “problems.” There are no easy answers to social issues, but the demand for resolutions comes with the territory of making socially relevant films. Singleton overly relies on the visceral impact of profanity-laden dialogue and animalistic, confrontational sex. He’s onto something, having tackled an important issue, but he reduces his movie to a series of blunt, angry scenes. Maybe, he doesn’t know the power and danger of the subject with which he plays. He certainly doesn’t realize the dramatic potential of his subject. He wastes Snoop Dogg’s Rodney character, not to speak of under utilized Ving Rhames.

Boyz in the Hood had a good story that was universal in both its appeals and its themes. Singleton hasn’t been able to duplicate that quality of story since then. He has an idea of how to make really good films, but it’s a shame we have to keep waiting for his arrival as a really good filmmaker. He’ll become one when he takes a social issue and makes a film with a good story that clearly conveys its message to the audience.

Powerful and forceful, Baby boy is a diamond in the rough despite it structural shortcomings. There is enough good there that makes it worthy of considerable critical analysis. It’s a bold, brazen, adventurous movie. While stopping short of being great, it has more substance than most films today, so Baby Boy is worth your time.

6 of 10
B

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