THE COLOR PURPLE Review

I wrestled with whether or not I should finally see Steven Spielberg's 1985 adaptation of The Color Purple, the 1982 novel written by Pulitzer Prize winner Alice Walker in the form of letters between Celie - a poor African-American girl in the early 1900s - and God, as it has remained one of the bigger holes in my attempts at completing Spielberg's filmography. Given Blitz Bazawule's new film was based on the 2005 theatrical production that turned Walker's work into a full-fledged musical though, I decided I'd write about this new film from that perspective, which is to say, one's first encounter with the material in any form. To this extent, Bazawule's film is both what I expected it to be given the context clues around the story while also being rather surprising in who its targets are and where its objectives lie. I will be interested to see how this latest adaptation differs from Spielberg's not only due to the fact it is sprinkled with musical numbers and is generally of a lighter tone than is maybe suitable for the material, but largely (mostly) for the perspective from which it is presented and told. There has of course been much discussion over the last few years as to whether Spielberg, a Jewish white male, was the right person to best depict the lives of African American women in rural Georgia during this time period to which the answer is obviously no, but with the introduction of Bazawule's vision into the fold the ways in which these iterations compare and contrast will certainly make for an interesting case study.

TRANSFORMERS: RISE OF THE BEASTS Review

Sixteen years removed from Michael Bay’s original foray into live-action robots in disguise and if one were to only watch that initial film and the latest from Steven Caple Jr. (Creed II) they would be accurate in feeling like we haven’t come nearly as far as the journey has felt. There would be more to it than meets the eye if you will. As the interim between these two films has offered four sequels and a spin-off though, Transformers: Rise of the Beasts doesn’t feel so much redundant as it does refreshing; the franchise growing from the humble reset that was Bumblebee while never allowing itself the arrogance of believing it takes anything near two hours and forty-five minutes (yes, that’s the actual runtime of 2014’s Age of Extinction) to tell what would easily be a three episode arc in the cartoon. 

Rise of the Beasts is, for all intents and purposes, another Transformers film where the thing a bad guy needs to complete/destroy/take over has somehow made its way to earth and the stranded autobots must help a couple of humans who’ve become tangled in the intergalactic mess defeat the antagonist and save the world. The film adheres to these familiar archetypes while executing them in clear and endearing ways. This is especially true when it comes to the action sequences as well as the human characters. Both Anthony Ramos and Dominique Fishback are so appealing with Ramos lending his effortlessly cool aura to the tone of the film while Fishback infuses things with a certain amount of gravity that feels more authentic than put upon. The New York-based nineties setting doesn’t hurt either as Caple and his set designers go all in on the pop culture references, specific car models, and of course - the soundtrack. Wu-Tang, Tribe Called Quest, Biggie, and LL Cool J tracks all drop at opportune times, enhancing the procedural nature of the plot points and invigorating the vibe again and again.

MA RAINEY'S BLACK BOTTOM Review

August Wilson's 1982 play, Ma Rainey's Black Bottom , was one of ten-plays in the writer's "Pittsburgh Cycle" (Rainey being the only one of the ten not set in Pittsburgh) that chronicled the twentieth century African-American experience. Like most if not all of Wilson's writing Ma Rainey was meant to "raise consciousness through theater". Wilson's writing of the Black experience was something I first encountered my senior year of high school via Fences. As a Caucasian who attended a school with a student body that was more or less split right down the middle when it came to racial ratios the African American experience was something that was present without being particularly regarded as drastically different. Maybe it was simply my naïveté, but in my fifteen to eighteen year-old mind it was as simple as the fact that slavery, racism, and Martin Luther King had happened, what they had to deal with was wrong and terrible, but the actions they took had been worth it and upended those injustices for future generations. We as a society had grown past the ignorance of such things and while that statement in and of itself may now ring of more ignorance than ever I genuinely believe if one were to ask any of the Black kids I attended high school with that many would agree they felt the same way. Obviously, this isn't a diatribe against the need to highlight the many injustices that have been inflicted upon African Americans throughout the twentieth century and into present day, but rather a slice of insight into just how powerful, eye-opening, and - most importantly - how necessary literature documenting the Black experience is. This is all to say that director George C. Wolfe's interpretation of Wilson's material focuses largely on the theme of the burden Black people feel to do something with their time in order to ensure prosperity for future generations. The idea many of these individuals aren't allowed to lead a life where such issues don't impact their day to day drives certain characters present in Ma Rainey to purpose while pushing others to the edge. Wilson's exploration of contradiction in this American life through faith versus vindication or expectation versus the truth of the matter transforms the heated racial tension of 1920's Chicago into a pertinent commentary on how a system designed on the promise of possibility grants equal opportunities for repression; all of which is conveyed through the mood of the blues.    

First Trailer for Barry Jenkins' IF BEALE STREET COULD TALK

The first look at writer/director Barry Jenkins' follow-up to his Best Picture winner (and first feature film), Moonlight, has appeared online today in honor of author James Baldwin who would have celebrated his ninety-fourth birthday today. How this is relevant is the fact Baldwin is the author of the source material for Jenkins' latest feature, If Beale Street Could Talk. The 1974 novel, which took its title from the 1916 W.C. Handy blues song "Beale Street Blues", is a love story set in Harlem in the early 1970's and follows Fonny (Stephan James of SELMA and who played Jesse Owens in Race) and Tish (KiKi Layne who will also star in the upcoming Rupert Wyatt thriller, Captive State, alongside John Goodman and Vera Farmiga). Fonny and Tish are in love with this beauty providing some layer of protection from the harsh reality of their family lives as well as the outside world. That is, until Fonny is falsely accused of rape. Of course, one wouldn't really get any of these story elements from this first trailer as Jenkins and Annapurna Pictures have decided to go more the route of a Terrence Malick-like pitch that features the stunning imagery of the film as captured by cinematographer James Laxton. This is largely effective as it is clear Jenkins is going for the emotional gut-punch to reel you in as he has his characters look directly into the camera, the expressions on their faces conveying a multitude of thoughts and feelings while their lips quiver as if on the edge of letting it all come out, but Jenkins cuts to black before they have a chance to do so. We're both mystified and hooked because we long to know what these beautifully rendered images have to say. I missed the 2016 documentary, I am Not Your Negro, which chronicled Baldwin as he told the story of race in modern America with his unfinished novel, "Remember This House". The film is available to stream for free with an Amazon Prime subscription at the moment though, so I'll be sure to catch up with it soon as my anticipation for this new work from Jenkins is obviously through the roof.  It's also notable that this is the first time any Baldwin work has been adapted into an English-language film; something that Jenkins has acknowledged was difficult. Though, judging by this first trailer it certainly seems the filmmaker figured out a way to do it justice. If Beale Street Could Talk also stars Colman Domingo, Teyonah Parris, Michael Beach, Dave Franco, Diego Luna, Pedro Pascal, Ed Skrein, Brian Tyree Henry, Regina King, and opens November 30th, 2018.

THE BIRTH OF A NATION Review

Nate Parker's The Birth of a Nation plays with the title of D.W. Griffith's 1915 silent film to reappropriate its phrase of a title to no longer be used in a deprecating manner towards black people. Griffith's film (which is a requirement in any film school due to it being widely accepted as the first feature length motion picture) used blackface to portray African American characters while, given the time in which it was made, is also wildly racist in many regards. For Parker to be willing to challenge a term and the cultural baggage that goes along with it that has now been established for over a century is bold. This boldness ultimately works in his favor though as his film certainly stands to make a statement. Coming off a whirlwind debut at the Sundance Film Festival at the beginning of this year the film scored a record for the most expensive acquisition deal in the festivals history with Fox Searchlight snatching up Parker's slave drama for an astonishing $17.5 million. Of course, in the months since that acquisition stories have re-surfaced about the seventeen year-old case in which The Birth of a Nation's director, writer, producer, and star Nate Parker was accused and acquitted of sexual assault and that four years ago the woman who accused him committed suicide. Such allegations can of course not be taken lightly and it doesn't exactly bode well for Parker that he depicts or suggests two savage and humiliating rape scenes in his film as performed by malicious and one-dimensional Caucasian villains, but to let those allegations influence the judgement of this piece of art he has created feels unnecessary. Sure, this is solely a product of Parker's doing as he had a hand in every stage and facet of this production and thus his particular view of the world undoubtedly made its way into the DNA of the film, but to allow such outside influences such as actions from nearly two decades ago to come into account for a piece of art made by an individual who has no doubt grown, matured, and maybe even changed in that time period isn't wholly fair. And I understand-neither was what he was accused of doing. It wasn't fair that the repercussions of his actions might have contributed to the accuser's death, but taken on its own terms-only as a piece of filmmaking depicting an ugly time in history that simultaneously attempts to re-write multiple generations worth of certain interpretations of history- The Birth of a Nation is a powerful and unapologetic film that uses that aforementioned boldness and an appealing saga of revenge to craft something memorable if not exactly transcendent.

First Trailer for Sundance Favorite THE BIRTH OF A NATION

Back in January the big talk of the Sundance Film Festival was actor/director/writer Nate Parker's The Birth of a Nation, not only because it received several standing ovations, but largely due to the fact it ended up selling to Fox Searchlight for a record-setting $17.5 million. Searchlight beat out competing bids from The Weinstein Co., Netflix, Paramount and many others with the likes of streaming services such as Netflix and Amazon being cited as game changers as far as the typical market at film festivals go. Having written, directed, and starred in the film this could be a potentially huge year for Parker as Searchlight has set the film up with an awards-friendly October release date and no doubt plan on rolling out an awards worthy campaign for the multi-hyphenate. In the film Parker plays Nat Turner, a former slave in America, who leads a liberation movement in 1831 to free African-Americans in Virginia. While it is easy to peg such a film for awards season glory I'm sure this was not the pure motivation for Parker to sink so much of his time, talent, and heart into the film. Rather, he undoubtedly felt it was time for Turner's story to be told and felt not only a responsibility to do so, but at a certain point that he could do the material justice. With an astounding supporting cast and this first trailer that features some haunting and hauntingly beautiful images set to Nina Simone's "Strange Fruit," it seems as if Parker has certainly captured a certain tone and hopefully hit something of an emotional core that, should this become the awards favorite it seems destined to be, won't feel redundant of Steve McQueen's masterpiece from three years ago. The Birth of a Nation also stars Armie Hammer, Aja Naomi King, Penelope Ann Miller, Aunjane Ellis, Jackie Earle Haley, Mark Boone Jr, Colman Domingo, Dwight Henry, Esther Scott, Roger Guenveur Smith, Gabrielle Union, and opens on October 7th, 2016.

SELMA Review

First things first: if you get your history from movies you get the history you deserve. Amid the controversy of historical inaccuracies that feel more like a play to dismantle Selma's award chances than anything else it must be remembered that director Ava DuVernay's is an interpretation of many historical narratives boiled down into a comprehensive two hours. Things must be compacted and slightly compromised, but never does it feel like any one character is given the shaft more than the others. The flurry of controversy here is dealing with the portrayal of the thirty-sixth President, Lyndon B. Johnson, who is historically regarded as completely behind not only Dr. King, but the civil rights movement in general and the passing of the voting-rights act in 1965. The movie doesn't portray a President resistant to the passing of this legislation, but more a man who has a set of priorities not in line with our protagonists. The extent to which this is true or not certainly matters, but more to the point of the films major goals is that this is not a movie about the relationship between Johnson and King (which a very interesting movie could be made from), but rather larger issues at hand to the point I'd say Selma isn't about Dr. King either. More, it is about a movement, a moment in time that is compelling and inspiring enough to make for a good story and serve as a nice reminder and a bit of perspective especially considering the relevancy of the message it's preaching. Despite all of this controversy swirling around it, the actual content of the film is what matters and that is where the dispute between telling history as accurately as possible and telling a good story comes into play. There is no one clearly defined version of history despite what we are taught to believe in grade school and so it is completely open and fair for DuVernay (working from a script by first-time screenwriter Paul Webb) to tell this story from her own perspective, influenced by her own ideologies. It may be slightly unfortunate that her interpretation isn't completely fair to Johnson, but I doubt this will tarnish his legacy in the grand scheme of things. The film itself and what is actually the subject of this review is a rousing, expertly paced film that truly has the ability to inspire despite its structural conventions. The film itself is a solid four-star historical drama that is elevated to perfection by David Oyelowo's exceptional performance.

First Trailer for SELMA

Is it me or does this awards season seem more packed than usual? It is late to the game releases such as Selma and American Sniper that make me wonder just how far some of these films will wait to really start their engines. It seems December is more ripe than usual with the likes of Wild, Inherent Vice, Into the Woods, Unbroken and Big Eyes all releasing within a few weeks of one another and all seeming to want to put in their bids for certain categories. Selma and the aforementioned Clint Eastwood film though will stagger there releases over the Christmas/New Year season in hopes of capitalizing on the January drag by escaping the overcrowded Christmas day schedule and boosting their box office by drawing on those unable to see some of the more prestigious pictures until after the new year.  I imagine director Ava DuVernay's prime focus will settle on that of the lead performance by David Oyelowo as Martin Luther King Jr., but there is a lot of potential here and if it turns out well first-time screenwriter Paul Webb is looking at good odds and the supporting cast is almost as massive as last years The Butler, which this immediately conjures up comparisons to. What feels better about Selma though is that it inherently seems to have the importance, rage and vitality to it that Lee Daniels film thrust upon itself. I am extremely intrigued by the film and really hope it delivers on what this great teaser promises. Selma also stars Carmen Ejogo, Tom Wilkinson, Andre Holland, Omar J. Dorsey, Tessa Thompson, Tim Roth, Common, Wendell Pierce, Giovanni Ribisi, Cuba Gooding Jr., Colman Domingo, Oprah Winfrey and opens in limited release on Christmas Day before expanding on January 9, 2015.