"You were one of my favorites" - GET OUT

Having previously decided that I would absolutely NOT go see this film (didn't want to go out of my way to feel more ill-at-ease then I generally do already), I read the Wikipedia summary so I could know what I was missing out on. Figured I'd catch it whenever it became available on cable. But then, within a week after the film opened, two of my favorite podcasts released episodes discussing about the film (see here and here). And after listening to both of those episodes over again, last week I had a last-minute change of heart and went to two different cinemas to find a showing that wasn't sold out. Jordan Peele has said on numerous occasions that this movie is meant to be enjoyed as part of a theatre audience, and now I totally get it.


Seen Friday, March 3rd: Get Out

Chris, a black man, goes with his white girlfriend Rose to meet her parents for the first time. Rose's parents and their friends practically trip over themselves to exhibit that they're "the good ones" so to speak: totally cultured, trustworthy, and definitely not racist. Little does Chris know, he's being set up for something more sinister and true to American life than he could've ever imagined.

"Just because you're invited, doesn't mean you're welcome."

 

What I really like about this film: That scene where Chris is at Rose's parents' annual party, and as he goes upstairs, all the guests immediately silence their chatter and stare at the ceiling, tracing his movement with their eyes. Gave me chills! Chris was almost never not under surveillance.

And Georgina! Betty Gabriel smashed that role to pieces with such control that you almost forget to be disappointed that she's one of only two black female characters who appear in the film! In that "No... No. Nononononono" scene she manages to play desperately composed and heartbreakingly unhinged at the exact same time, and I'm still trying to figure it out.

Listen, I went in knowing how it was going to end. None of the twists surprised me. And as a self-acknowledged cheapskate, I don't go to the movies often. But this one's seriously got me considering going to see it a second time just so I can see what other clues, hints, and references I missed!

What I don't like about this film: Absolutely nothing. I mentioned the black woman issue because I noticed it after viewing Get Out and thinking about it a bit. But to be honest, I'd listened to, read, and watched so much about Peele's process and what he was aiming to accomplish with this film that it doesn't bother me as much as it probably should.

Would I recommend it?: Is water wet? As with Zootopia (I'm serious! This is not a joke here!), Get Out needs to be required viewing for any sort of cultural literacy or "how to consider others and be a decent human being" training.

"I Learned to Tell the Sh*t from the Alfalfa" - Fences

I meant to write this two weeks ago, couldn't tell you why it's taken me so long. I've heard a lot of people say that this film is boring, too slow, has too much dialogue. But I suspect that at the root of their disappointment is their own missed opportunity to sufficiently prepare themselves. If you go into Fences with the mindset that you're about to witness a play on screen rather than a "movie" made solely as a titilating piece of entertainment, then you're already set up to have more reasonable expectations. I have another theory as to why viewers felt restless during the film, but I'll get to that in a second.

Seen Friday, December 30th, 2016: Fences

Go see the play, read the play, read my review of the play, or just look it up. Please take advantage of the myriad of resources that are already at your disposal to tell you what this film and its source material are about. 

What I really like about this film: Set design and props! In the play, all action visible to the audience takes place in the Maxsons' backyard where the titular fence is being built, whereas the film takes us not only to the back yard, but inside the house and around all sides of it, as well as to the Maxson's neighborhood, Troy's workplace, and a handful of other places. Rebecca Brown and the set department basically had to tell stories through many locations and objects that are basically figments of imagination in the play, and for some reason I can't get over the home that they crafted inside the Maxson house. The 1950s-era photos, furniture, foodstuffs, and various trinkets in that Pittsburgh house took me back to my elders' abodes: Jessie's house and Roger's basement in Louisville, Bertha's (now Gladys') hallway and living room in Henderson, Odessa's home in Rochester. The Maxson house was clearly lived-in, and it almost felt like home by proxy.

Of course nearly everyone's been raving about Viola Davis and Denzel Washington's performances, but that's kind of a given. Really, there are no poor acting performances in this film. But Mykelti Williamson is the one who truly blew me away. Perhaps best know for playing Bubba Blue in Forrest Gump, Williamson showed up as Troy's mentally handicapped veteran brother Gabriel and he. showed. out!  I don't know if it's an indicator of my ignorance or how seldomly represented they usually are in major films, but for someone reason I'm always deeply affected when an actor plays a disabled character with the heart and dignity they deserve. And Williamson as Gabriel is simply magnificent.

What I don't like about this film: Now back to what I was saying about restlessness. In addition to not sufficiently preparing themselves, I think the second major explanation for people being underwhelmed by this film has to do with attention span. But I wouldn't say this is completely their fault! I listened to a podcast episode recently in which an actor/comedian argued that Hollywood habitually substitutes plot for character development, and I think that's obviously affected the way many of us view film. We as average moviegoers are used to having dialogue broken up by action. When we sit down to watch a film, and everything about a scene or scenes is designed for us to focus on the character in front of us and what they're saying, with no convenient distraction for our eyes or ears, it will likely make us fidgety. We're not accustomed to being expected to listen to what characters say for more than a couple minutes at a time. Any longer than that and we wonder what to do with ourselves, zone out, lose track of what's going on. Perhaps that's what happened with a lot of audience members in this instance. Having read the play I was actively listening for lines that I remembered or being reminded of lines that I'd forgotten. But if I'd been attracted to Fences by, say, the lead actors rather than the source material, I can imagine how confused and dissatisfied I might be.

Would I recommend it?: Without a doubt. Fences is certainly a feast for literature and theatre buffs or students, but I'd like to hope that everyone can glean something from the bare bones of the story, which are a middle-aged black man in a precarious situation, and the family he drags along with him.

"The Ocean Chose You!" - Moana

Moana is for Pacific Islanders. Indigenous people. Melanated populations and their ancestors. Protectors of the earth. Healers. Mamas, Mama's mamas, and Mama's Mama's mamas. Seekers. Adventurers. Girls on fire. People who know there's something more inside them and that they have to see it through, even if they don't know why or how.  Do your spirit a favor and go see this movie!

Seen Thursday, December 1st: Moana

When vegetation starts dying and fish become scarce for the island of Motunui, the villagers begin to fear for their survival. The chief's daughter Moana is then inspired by her grandmother to sail the ocean and make the demi-god Maui restore balance to nature by returning the power of creation that he'd stolen to its rightful keeper. That is, to Te Fiti, mother goddess of the earth. With the ocean's help, Maui's supernatural abilities, and her ancestors' guidance, Moana must save her island before it's too late. 

"The ocean is calling."

 

What I really like about this film: Reverence for ancestors! Reverence for elders! Do you need guidance? Do you need a reminder of where you come from and what your purpose is? Then consult those who came before you, and listen to them!

Reverence for maternal figures and spirits! Especially Moana's grandmother Tala, the ocean (yes, the ocean is its own character in this movie!), and mother goddess Te Fiti. I've never had a grandmother but I was deeply moved by what Moana and Tala share, which is something that's unspeakably precious, honest, and authentic in a mischievous way. Do you need encouragement? Do you need someone to see and affirm in you what no one else does? Do you need someone to love you back to life?  Then seek out that mama, that grandmama, that auntie, that sister, that motherly figure in your life, and listen to them!

And my Lord, there are such beautiful people all up and through this movie! Such unambiguously brown skin, such full lips, such broad noses, such glorious dark curls and waves. Variations of phrases including "We know who we are", "my/our people", "this/our island" are prevalent in the film's dialogue, and this is neither coincidental nor redundant. Moana is not only an adventure story led by a headstrong young girl. It is also a bold statement about a culture honoring its origins, cherishing its natural resources, and protecting its beloved home so that this home can continue to love it back.

Also, I don't think I've ever witnessed a feat of animation as awe-inducing as the scene where Te Fiti comes back to life in her true form. The goddess is manifested as a gigantic and lushly green woman-shaped island made of trees, plants, vines, and flowers. She is royal and superior to all, and at the same time is tender and graceful, communicating with her facial expressions and the movement of her body. She may very well be the most magnificent being that I have ever seen appear on screen.


What I don't like about this film: I didn't really care for Moana's main song ("How Far I'll Go"), but I LOVED "We Know the Way" and Maui's song, "You're Welcome" (especially the soundtrack version with Jordan Fisher and Lin Manuel Miranda). I had no idea that Dwayne "The Rock" Johnson could carry a tune, and the lyrics, delivery, and cheekily arrogant attitude of the song are classic Lin Manuel. Oh and I almost forgot! "Shiny", a trippy song sung by an evil crab named Tamatoa (Flight of the Conchord's Jemaine Clement) is oddly pleasing to the ear given its murderous intentions.


Would I recommend it?: YES! YES YES YES! This film is such a victory for brown peoples everywhere, but especially Pacific Islanders because I don't think we've ever had a film of this scale that centers them the way Moana does. Island characters, island mythology, islanders and other people of color voicing most of the leads and singing most of the music. Disney has produced many masterpieces but this is one of the most unique, humbling, and inspiring ones.

Moonlight.

Admittedly I'm out of my depth with this one. I know nothing about Miami, and though I know more about the LGBTQ community than I did even a year ago, I still know nothing personally of the lived experience of being gay. One of my favorite podcasters Xavier D'Leau (from Jade & XD) briefly reviewed the film but wasn't impressed by it, quipping that (and I paraphrase), "This is a gay movie made for straight people", which I can somewhat understand. He also said you'd have to be really smart to get what the film's angle is, and perhaps this is one of those moments where I'm not so smart, since I feel like something significant went over my head. Which is to say, I'm not sure that I took away from it all that I was supposed to. But here goes.

Seen Monday, November 21st: Moonlight

A journey through the childhood ("Little"), adolescence ("Chiron") and early 20s ("Black") of a young black man named Chiron coming of age in Miami. Growing up poor and practically having to raise himself as his single mom sinks into a crack addiction, Chiron manages to find tenderness in unexpected people and places. While his circumstances and cruel peers bully him into being hypermasculine, those moments of tenderness and refuge allow him to explore his sexual identity along the way.

What I really like about this film:  Mahershala Ali getting shine as a featured character. No matter what I see him in, even if he's playing an intimidating or no-nonsense person (see his role in the final two Hunger Games movies), his face is so full of warmth, wisdom, and kindness. It's completely possible that he's wretched on the inside and is just that adept of an actor, but for me he's one of those actors whom you want to believe is a good person in real life. His dual ability to play hard and soft at the same time is reflected in his role as Juan in Moonlight. He's a drug dealer who doesn't play about his business, but as Chiron's father figure, can only bow his head and shed a tear in shame when confronted by this child whose mother is addicted to Juan's product. Also, the scene where Juan teaches Chiron how to swim in the ocean is divine. The scene appeared to be a baptism in the film's trailer, and in the film itself there is still something tender and holy about that moment.

The lighting. The colors. The contrast. A fantastical world sprouting from the hood. I wish I had enough film studies vocabulary to explain what I mean, but I can't. Watch the film and you'll see what I mean.

What I Don't Like About This Film: This is actually part of the genius of the film rather than something I dislike, but I feel like we never truly learn who Chiron is as a person. We know all of his nicknames, we know the people who make and break his world. We know he's got a tenderhearted soul on the inside, but who is he? One could argue that it's not even clear what his sexual orientation is. Obviously he's had same-sex feelings and encounters, but would Chiron necessarily identify himself as a gay man? From early on, numerous people remind him that he's gay or somehow not masculine enough and that he should expect to be mistreated for it, but this is long before he has the chance to examine himself or even know what a "f*gg*t" supposedly is. He is drawn to his classmate Kevin, but is this because he's attracted to him specifically or because Kevin's the only person his age that's kind to him? Upon their reunion as adults, is the intimacy they share in the final scene a lovers' embrace, or a pair of long-lost friends holding each other up? Perhaps I'm too straight and inexperienced in matters of the heart to properly appreciate the subtleties. But my impression is that at the end of Moonlight, Chiron is just on the threshhold of being able to express himself as an unencumbered adult.

Would I recommend it?:  Most definitely. We don't have many black boyhood movies, and we certainly don't have many black boyhood films that contemplate masculinity and sexuality with the care that Moonlight does. This film is beautiful and valuable and necessary, so if you have the chance to see it then please do!

"The small one can become the big one" - Queen of Katwe

While it is tempting to be unnerved by an actress of Lupita Nyong'o's multi-faceted artistic stature playing yet another long-suffering black woman in a major film, she is such a phenom, transfiguring characters on paper into flesh and blood before our eyes, that I can't even be mad. This is not a proper introduction but it's the first thought that came to mind when sitting down to write about this film.

Seen Saturday, September 24th: Queen of Katwe

In Katwe, within the city of Kampala, Uganda, Phiona Mutesi is a pre-teen girl who spends her days selling maize in order to help support her family, which includes her widowed mother and three siblings. When her brother Brian starts skipping out on selling to slip away, Phiona follows him to the one-room school house where a gaggle of intelligent, competitive, wise-cracking kids are taught to play chess by "Coach" Robert Katende, the activities coordinator at a local church ministry. Phiona joins and eventually becomes the winningest player in the club, which Robert affectionately calls "The Pioneers". As her talent takes her to national and international tournaments, Phiona begins to envision a broader future for herself, but is wisely cautioned from bearing disdain for the impoverished place and people who have shaped who she is.

What I really like about this film: Though it is a sports drama film, it's not another one of those cheap "let's save the blacks through sports" movies that Western audiences seem to be so enamored with, in which championships are won and brown-skinned people must transcend themselves in order to be somebody. The cast is abundantly African, most of the characters are abundantly poor, and though the kids learn to play chess competitively, it's not all about winning or earning a certain status. Robert challenges the kids in order for them to gain self confidence, develop critical thinking and problem solving skills, learn about themselves, and bow before no one, no matter where their competitors come from or what social status they may have. There is no glory in it from him. Phiona, like the other Pioneers, is given the space and encouragement to explore, make mistakes, and go as far as her skills and curiosity will take her, but she is never pressured to do anything that will ultimately serve the adults around her more than her. She puts her all into become a masterful chess player simply because it makes her feel smart and powerful, and the hometown hero status is just a bonus.

I also appreciate that Queen of Katwe keeps it real in terms of the limited options that women and young girls like Phiona, her mother (Lupita Nyong'o), and her older sister face. Young, poor, and without a man in the house, they must either sell goods to survive or try their luck at getting a man to provide for them. For some like Phiona's sister Night, the costs of dependence, isolation, exploitation, and ultimately abandonment are too high, but they have to learn this the hard way. For others, like Phiona's family's landlord, being "kept" is a fact of life that any woman should be prepared to do at least once. And some women, like Phiona's mother, are too proud to yield to such advances. Regardless of the choices that each of these characters make, the film doesn't shy away from the fact that women and girls of a certain age in circumstances like these face unwanted attention and the pressure to yield to men on a daily basis, and accepting it in order to survive is sometimes less than a choice.

Lastly, the end credits of the film left me feeling all warm and fuzzy inside. As each character is presented, the real-life person is shown standing alone, and then the actor who plays them walks in and stands beside them. Both stare into the camera seemingly oblivious of each other, and then they drop the act, turn, and embrace each other like old friends greeting. Some of the pairs are even dressed alike and color coordinated! It is such a sweet series of moments. Normally with "based on a true story" films like these you might get a few photos and a couple blurbs during the ending credits letting you know what happened to the real-life person. But to see every single one of the major characters alive, to witness African people taking part in a film that was made about their stories, and being seen by masses of filmgoers? With the actors honoring them, face to face? Lord have mercy, I almost cried.

What I don't like about this film: Nothing. I find chess to be over my head and extremely boring, and I was still fascinated by this film. Go see it and be inspired. That is all.

"You Are My Quest" - Kubo and the Two Strings

This is the film that I'd mentioned seeing with my friend Irene last week. The last movie we went to see together was Big Hero 6, another animated film that boasts obvious Japanese influences and a teen or pre-teen Asian boy as the lead character. Unfortunately Kubo (produced by Laika, the innovative smaller-scale production company that gave us Coraline) hasn't received the same hype as BH6 did, but it is no less worthy of favorable buzz. If not a blockbuster turnout, this film at least deserves a sizable viewership of people who will take it to heart.

Seen Sunday, August 21st: Kubo and The Two Strings

Kubo is a young but intuitive boy who makes origami figures come to life with the power of his mind and his shamisen-playing skills. He's the primary caretaker of his mom, who suffered a brain injury while braving storms and high seas fleeing from her father and sisters who want to destroy her son. It is revealed that Kubo's mom is actually the daughter of the otherworldly Moon King, and she broke rank when she decided to marry and have a child with a human, a samurai. Their familial past catches up with them and Kubo ends up parentless, but he's then accompanied by a stern talking snow monkey and a scatterbrained beetle man on a quest to find the magic sword, breastplate, and helmet that will help him defeat his family's cruel intentions for good.

What I really like about this film: Everything. I know I tend to say this about every film that I happen to thoroughly enjoy, but there's literally nothing I don't appreciate about this film. Simpler but intricate lighting, painting, stop motion and puppet animation methods were used to create a stunningly folkloric aesthetic with modern appeal. The Edo era Japanese-ness of the fantasy setting was clear without the film having to spell out that, "This is supposed to be Japan!". The shamisen being played in the score was prevalent and poppin'. And what the title of the movie represents in relation to the plot is so satisfyingly clever! I won't ruin anything, but basically Kubo is a lot less alone than what he's led to believe. Prepare to at least tear up a time or two.

Always looking for a reflective moral or lesson, I find it both inspiring and humbling to see the tremendous respect that the film places on memories, stories, spirits, and humanity. Memories give us strength and power and keep us safe. Stories shape our character and help us live on in the hearts of others.The question of "Why be mortal when you could be immortal?" or, "What's so good about human beings, anyway?" is raised a couple times, and eventually the conclusion is reached that the various oddities and shortcomings of the people who create said stories and memories, as well as the bonds formed between people living and no-longer-living, are what make humanity valuable.

What I don't like about this film: This is just a little thing that I was unclear about, as I understand neither the full implications of traumatic brain injury nor the intentions of the filmmakers. Kubo's mom sits up in a comatose state from sun up to sundown, has a few lucid hours at nightfall, and then slips away again just before bedtime. I wondered why this was. Irene and I supposed that since she is the Moon King's daughter, perhaps her consciousness and powers are only awakened at night? I honestly still have no clue. But other than that, the inconsistencies in this film are few and far between.

Would I recommend it?: YES! Yesyesyesyesyes! Go for the fantasy and adventure, stay for the emotional hardship and healing. At least that's what I did, and you see what my reaction's been!

"What Would Dory Do?" - Finding Dory

Going to see this movie was my first time viewing a film before its official release date. Friday is the official release day for most films, but oftentimes a few showings will be available the Thursday evening before. And as early as 6pm, not just at midnight. Such was the case for Finding Dory, and since I'd been waiting 13 years for this sequel, I figured why wait an extra day if I don't have to? Luckily fmost of the people in the cinema with me were ages 13-50, so even with it being a kids' film there were no rambunctious little ones to distract from the fun!

Seen Thursday, June 16th: Finding Dory

One year after the end of Finding Nemo, the regal blue tang named Dory begins to remember the parents whom she got separated from as a guppie. Even given her short-term memory loss, she is able to recall enough details to go searching for them─which takes her and her clownfish friends Marlon and Nemo far from their home in the Great Barrier Reef all the way to a marine wildlife center in California. The trio gets split up, but thanks to a few new friends, they might be able to not only reunite with each other but also find Dory's family.

"An unforgettable journey she probably won't remember"

What I really like about this film: The characters at the marine wildlife center are the best! I'm a sucker for character development and Disney/Pixar really did their work with this one. A grouchy rogue octopus who's determined to get transferred to an aquarium in Cleveland? A hypochondriac beluga whale? A nearsighted whale shark? A pair of Australian sea lions (Idris Elba!) who refuse to share space on their resting rock with their mentally challenged fellow? AND a ragamuffin seabird named Becky? They're all just too good! I laughed until my head hurt and I could barely breathe.

Dory's memory problems are perceived as a weakness, but it turns out that she is able to survive, go on amazing journeys, and positively influence the animals around her precisely because of who she is, not in spite of who she is. I'd like to hope that this sends an encouraging message to special needs children and their parents especially, since her parents are often shown in flashback scenes painstakingly coaching her so that she won't wander too far and get lost. And even though this happens anyway, Dory is able to adapt beyond anyone's expectations, even her own.

What I don't like about this film: Absolutely nothing! I wouldn't say it's better than the first film, but it's definitely a sequel that's worthy of its predecessor.

Would I recommend it?: Of course! If you are a '90s baby in particular, you owe it to your inner child to go see this film. No one can appreciate the significance of this sequel like we can. Laugh, cry, reminisce, I don't care. Just go see it!

Zootopia - Try Everything and Stop Racial Profiling.

Let me set confess something to you. I'm a child of the '90s, the renaissance age of American animation. Disney Renaissance films especially informed how I saw the world as a young girl, and how I valued music and expression and worlds displayed in color. The Lion King has been my favorite movie since preschool. Watching the TV cartoon 'Madeline' in kindergarten is what inspired me to study French and go to France. Discovering anime on Cartoon Network's Adult Swim in high school inspired me to study Japanese and go to Japan. The work of animators has tremendously blessed the trajectory of my life, and so I will always have a profound respect for animated works of art. Which is why I feel no qualms about taking my single, childless, 20-something, college graduate self to see family films meant for kids. Big Hero 6? Inside Out? The Book of Life? I was there for all of them, and Zootopia was no different.

I must admit that it's somewhat pitiful that in 2016 Disney still has to use anthropomorphized animals acting out society and urban life in order to get folks to want to practice an idea that's so simple: treat people with the respect and consideration they're due simply for the fact that they're PEOPLE. But I've been hearing and reading so many wonderful things said abut this film, and if this is what it takes for some folks to finally take a hint and pass it on to their kids, then I'm all for it.

Seen Friday, March 18th: Zootopia

In a world where predators and prey have evolved to no longer bear enmity toward each other, the metropolis of Zootopia is celebrated as the bastion of inter-species harmony. A hopeful and idealistic bunny named Judy Hopps leaves her rural hometown to pursue her dream of being a cop in the big city, but no one takes her seriously because of her small stature. In the face of discouragement coming from without and within, Judy strives to prove that police work is not just for large mammals, while at the same time confronting her own prejudice when a hustling fox named Nick Wilde becomes her unlikely partner in solving a missing animals case. 

What I really like about this film: It approaches so many currently relevant issues, with enough cues for conscientious adults to recognize what's really being talked about, and enough grace to make it enjoyable and comprehensible for children. The list of worthy lessons and messages that the film offers likely varies by who you ask. But if you ask me, here are the points that I picked up on:

Growing up and starting your first "real" job. Leaving your hometown to chase your dreams in a big city. Believing in yourself and thriving despite having been constantly told that you can't do something simply because of who you are, what you are, and/or where you've come from. Overcoming past conflict and trauma to not use negative interactions as an excuse to judge and mistreat people who happen to be part of the same group as your aggressors. Workplace discrimination. Racial profiling. Government authorities planting drugs, targeting a specific minority population in order to simultaneously demonize and destroy them, whilst bolstering their own political power. Giving a REAL and sincere apology when you do/say something stupid or inconsiderate to offend your fellows, regardless of how good you thought your intentions were. Confronting your own privilege and prejudice. And accessibility for all bodies! From elephants to mice, every single animal in this movie had entrances/exits, transportation, buildings, neighborhoods, clothing, and services formatted in some way to accommodate their size, speed, stature, and overall way of life. A utopia indeed. 

My most favorite scene is the scene where Judy and Nick go to run a license plate at the DMV, which is operated entirely by sloths. Literal. sloths. I laughed until I cried watching this trailer, and I reacted the exact same way watching the scene over again in the movie theater. The sloths were so good-natured and unbothered by the need for expediency that it made my sides hurt.




What I don't like about this film: Nothing. Absolutely nothing. However, I'm just now realizing that Zootopia was overwhelmingly a mammal's world, as I don't recall seeing any birds, insects, or lizards/reptiles. Not sure why that is, but to me that's more curious than complaint-worthy.

Would I recommend it?: Without a doubt. While I don't condone parents letting TV, phone, and computer screens raise their children, if someone were to put together a "How to Raise Your Kids to Be Good People, Believe in Themselves, Fight Injustice and Willfull Ignorance, and Actively Appreciate Other People's Differences" starter pack, Zootopia would be one of the first materials that I'd throw in. Heck, look at how people in America have been showing their behinds, especially in this election year. Adults and adolescents need a refresher course too! Much like Inside Out, this is a film that all can learn something from.

"You're white, Larry! You don't have to!" - RACE

Was going to write a proper review of this film, but I feel some type of way about writing about yet another sports film (three in a row! who am I?), it's Black History Month, and I'm tired.

Long story short: The fastest man in the world is a black man from Ohio. White folks stay mad and play too many games. Jesse Owens takes the pressure to perform up to his potential as an athlete, the pressure to represent his people well, the pressure to prove his worth to his country, and the hateful racist BS being thrown at him from both sides of the Atlantic, and turns all that into 4 gold medals. He is the GOAT even when most of the powers that be ain't want him to be great. And this is in 1936. Segregation, Nazi Germany, sports and politics merging even more than usual, and a black man showing up and showing out. 

 

Go see this film, though! It's very comprehensive in its aim to contextualize Jesse's Olympic accomplishments. The double meaning of the film title is not incidental. 'RACE' makes many salient points about lived experiences of racism and other forms of discrimination while giving Mr. Owens his shine.

"Tell the Truth!" - Concussion

Like in Bridge of Spies, in this film a man is hired to uphold an oath and do his job, and people ridicule him and call him un-American for doing. his. fricken. job. Said man chooses to adhere to professional standard and human decency rather than to mob mentality, and the consequences are more than he bargains for.


Seen Monday, December 28th, 2015: Concussion

Nigerian-born Dr. Bennet Omalu's life changes when he's assigned to do an autopsy on the body of Mike Webster, a former Pittsburgh Steeler's star and the city's hometown hero. Dr. Omalu finds that repeated head trauma contributed to Webster's mental demise and death, which leads him and his colleagues to put a name to a new degenerative disorder that other football players might also be in danger of developing, chronic traumatic encephalopathy (CTE). When his findings are published, the NFL endeavors fiercely to shut Dr. Omalu up and keep the truth buried.

"Even Legends Need a Hero / Nothing Hits Harder Than the Truth"

What I really like about this film: The very first scene with Dr. Omalu (Will Smith), where he's testifying in court for a murder case and the judge skeptically asks him, "Do you have a medical degree?". In response, Dr. Omalu calmly recites all the receipts from his studies, doctorate, multiple masters degrees, and specializations acquired from prestigious institutions on at least three continents, just so everyone in the room knows 1) not to try him like that again, and 2) that they could never even aspire to his level of excellence.

Gugu Mbatha-Raw as Prema, Dr. Omalu's wife. She impressed me in Beyond the Lights and she impresses me still.

I must mention that I greatly appreciated the way in which Omalu and his wife's faith was emphasized. It wasn't done in a corny or dogmatic way, but in a way that speaks to belief in oneself and one's purpose. I know God, and knowing God means trusting His vision. And knowing God means that when I have truth, I must tell it, even if people tell me not to. I think that's a message that can resonate with many people.

I'm also glad the film clarifies that even though Dr. Omalu  initially doesn't get what the big deal is about American football, he isn't out to take down the sport with his findings. He just wants people, and athletes especially, to be made sufficiently aware of potential risks involved with playing the sport.

What I don't like about the film: Prema is kind of just there. She has a past and desires, she has endured trauma, but these things are only mentioned in passing. As a character and the female lead, she exists only to be Dr. Omalu's companion and cheerleader, which is a waste in my opinion.

When Dr. Omalu gets invited to Capitol Hill and is offered the position of chief medical examiner for Washington, D.C., and the recruiter tells him that he represents every bit of what it means to be American because of what he's done, and that he's reached a new level in his profession now, and that they welcome him aboard.... As if he's reached the Promised Land or the Pearly Gates or something, and all of his life's work and hardships are only fully validated by a white man in a suit telling him, "Well done". I appreciate the sentiment that he is finally being recognized for his integrity and brilliance after fans, the NFL, and the Feds did him dirty for so long. And the scene doesn't even go beyond five minutes. But the way this moment of triumph is set up just rubs me the wrong way.

Lastly, this isn't a criticism of the film itself, but a reaction to a note made at the end of the film. Apparently, back in 2013 the NFL settled a lawsuit filed by 5,000 former players, on the condition that the organization would never have to reveal how much and when they know about the harmful effects of football-related head trauma. Which means the NFL knows A LOT more than anyone about something that could be killing athletes. And they. will never. tell. Ever.

Would I recommend it?: Sure. Like Creed, this is a sports film that isn't just about sports, so it has enough in it to keep it interesting for non-enthusiasts such as myself.

Fighting stronger - CREED.

Listen. I watched the trailer and learned that it would be Michael B. Jordan, Tessa Thompson, and Phylicia Rashad together in one film... and that's all I needed to know.

Seen Thursday, December 3rd: Creed 

Adonis Creed, son of famed boxer Apollo Creed and his mistress, is adopted by Apollo's widow and brought up with love and comfort. But boxing is in his blood, and when he decides to quit his job and move to Philadelphia to pursue his passion, he looks to Rocky Balboa to train him and help him come to terms with who he is as the son of a legend. 

 "Your legacy is more than a name"

 

What I really like about this film: Oh, let me count the ways.

The realness of Michael B. Jordan (Adonis) and Tessa Thompson (Bianca)'s relationship. As an athlete and an artist respectively, they're passionate, focused, and keep each other on their toes. Neither lets the other fall back on BS, but then when they get silly with each other it's also super cute! "Why didn't you tell me you had hands like that tho?" "But I'm a square tho, right? I'm a square."

Tessa Thompson's twists. Hair was never not on point.

The fact that you can understand the story, with all its references to events and characters from past films, even without ever having seen a single Rocky film. (Noobs like me appreciate this!)

The ways the film seemed rep Philly, as well as the Rocky franchise, so hard. That scene where Adonis is running, with the hood kids following behind on their motorbikes, going to visit the legendary old man Rocky's house, all set to that updated version of whichever Rocky song that was playing in the background? So hype it almost moved me to tears.

Too many inspirational quotes to count. And I paraphrase, "You are only fighting against yourself; you are your biggest competitor. That other fighter in the ring, that person's just in your way. Get them out of the way so you can get back to yourself."

Also, Sylvester Stallone as Michael B.'s adoptive, widely respected, crazy old uncle or "Unc".

What I don't like about this film:  Would've loved to see more of everyone's auntie, Phylicia Rashad. I got the impression from the trailer that she'd  have more screen time than she did, so that was a bit of a bummer. Still, it's always lovely to see her on screen!

Would I recommend it?:  Whet? Are you kidd-? gir-? ajfasjdf;lasjkf- YES! I've got nothing deep or sufficiently critical to say. There's nothing to not love about 'Creed' if you ask me, so do yourself a favor and go see it!

'Cuz Commies. 'Cuz 'Murica. - Bridge of Spies

So I know I made a commitment some time ago, in the interest of maintaining my sanity and preserving my sense of self, to only go to the cinema to watch movies starring people of color or featuring stories of color. But this one sounded interesting, my vocal instructor recommended it, and Tom Hanks is the GOAT, so this evening I made an exception. Ma and I's selection for this evening was a film about the Cold War, one of many wars of dubious necessity injected with American-made  fear and fantasy in order to justify violence and make Americans feel good about themselves. A war which has also spawned many a film such as this one. And the story goes...

Seen Friday, October 23: Bridge of Spies

"In the shadow of war, one man showed the world what we stand for."

First America's like, "Ayo Donovan! We caught this dude with an inexplicable Irish?Scottish? accent who we're sure is a Russian spy, and we need you to defend him in court. Can't have our justice system looking like it throws people into the trash heap even though that's exactly what it does. So help us give him a semblance of due process to make us look good." Then America's like, "Look, we know as a lawyer you have a duty to abide by the law and the Constitution and human decency and all that stuff, but we didn't really want you to do the job we appointed you to do. Naw man, you exemplified honesty and American values too well, and that's just un-American 'cuz we really just wanted to fry that Commie! Why couldn't you have just played along?!" And then America's like, "Alright man, we know we just finished dogging you out and the CIA tried to intimidate you and your house just got shot up, but since the Commie was found guilty like we wanted him to be, and now the Russians have one of our pilots in custody in the USSR, we'll give you one more chance to prove how much you love this country. Go to East Berlin and negotiate a swap to get that pilot back in exchange for the Commie you just defended. We can't get our hands too dirty, so this is totally under wraps and we can't officially acknowledge you. As such we can offer you no help, so if you mess this up or something goes down, we will not protect you. Oh and there's some other American doctoral student wrongfully imprisoned in East Berlin, but we don't care so much about him, so just focus on the pilot." And then America's like, "Oh! You managed to trade one for two and get both the American guys back. You're a true American hero! Right on!" 'Cuz Commies. 'Cuz 'Murica. And so on and so forth.

And I'm rolling my eyes all the way home.

Not about the film itself, mind you. The film is great! Tom Hanks is a legend! And this is an intensely engaging story that I'm glad Steven Spielberg chose to highlight. In my humble opinion, he treated the story with dignity, as he is wont to do. What I roll my eyes at is what the film reveals about American society that most audience members won't  realize is actually sickeningly typical. Because they'll probably be too drowsy from having their appetite for testaments to our so-called "exceptionalism" satiated. Bridge of Spies lays two grand jokes out on the table for us to chew on: that of the justice system (due process as a fraud, a facade, a spectacle, going through the motions, little more than an aspiration) and that of American heroism (oftentimes America will only celebrate you as a hero or a patriot if you demonstrate American values the selective way people want you to, not if you actually play by the rules, do the right thing, genuinely stand by what you claim to believe in and do so not only as it conveniences you, etc.) But these are two jokes that I'm pretty sure few people will get. I imagine there'll be a lot of talk like, "Man, what a crazy scenario. Sucks for that guy. But hey, those were the times. What do you expect? Besides, it worked out for him in the end." Instead of,  "Man, that's wrong and messed up. Why were those folks put in such a situation anyhow? And how much have we really evolved from that particular moment in time?"

On the whole I say, Bravo! This is most definitely a film worth watching, and deserving of whatever merits it might be considered for. (Come on now. Tom Hanks? Spielberg? War film? With award season in just a few months? In this country that's a no-brainer.) My only qualm is that the film has a lot to teach us that will go over many heads, because if we look beyond the surface it shows us too much of what we'd prefer not to see.

#WheresRusty

But why'd you have to steal a sista's cat, tho? Like "If I can't have you no one will, AND I'mma steal Rusty!" That's how you wanna be? And then we didn't even find out what happened to that orange tabby in the end! Man... y'all, ‪#‎ThePerfectGuy‬ is on some other ish. ‪#‎WheresRusty‬

That's about all I have to say about the film; not even going to write a full review. I support all the leads as almost legendary black actors who still got it (support black artists!), it was a pleasant surprise to see Kathryn Morris from Cold Case on screen again, and of course I always enjoy a good movie date with Ma. But honestly I could've waited for this to come out on TV, or just not seen it at all. Not a bad film, but also not a very good one either.

Everybody Comes from Somewhere - Straight Outta Compton.

As I did when I saw Twinsters, I gave myself a week to process the film before writing about my thoughts on it. Hoping that I won't say too much of what's already been said, although perhaps that's unavoidable. Over the past few years I've become more selective about which films I bother paying to see, but even with the great feats of cinematic storytelling that I've seen this year, I don't remember loving them at first viewing as much as I loved this one.

Seen Friday, August 14th: Straight Outta Compton

A biopic about N.W.A ("Niggaz wit' Attitudes") a rap group composed of five rapper and musician friends out of Compton, California. From a town considered to be "nowhere", these nobodies were  among the pioneers of gangsta rap and "reality rap" emerging in the late '80s and early '90s, using their art to express the cruelties of their everyday reality. While many (including white parents and the Feds) lambasted N.W.A. for glorifying violence, many more loved them and their music for keeping it real. N.W.A. made history, prized their integrity as artists, and their impact helped to inspire and launch the careers of many monumental hip-hop artists who followed after them. 

"The World's Most Dangerous Group" 

What I really like about this film: I love how the film depicts hood life without taking any dignity away from hood people. I love how Ice Cube's legacy is honored by his son's portrayal of him, nearly 30 years after starting on this journey, the outcome and impact of which neither he nor his fellow group members could have anticipated. Most of all, I love how the film celebrates black brotherhood. A group of  black men, brothas (literally, figuratively, and colloquially) being there for each other, igniting each other's artistry, backing each other up not only when it came to fights or police harrassment, but also supporting each other during their most devastating moments. Not afraid to cry for each other. Not too macho to tell each other "I love you" when it matters most. That's not something you see too often in Hollywood films, especially not in blockbuster ones ($55 million earned in its opening weekend, $27 million in its second!), and especially not in ones that are already poised to have their characters perceived as thugs and no-gooders. Oh! And of course, how could I forget! I love the film's message that people should be proud of where they're from. Not only has "Straight Outta Somewhere" been a wildly successful promotional campaign on social media, but as it concerns the film I also think it's a vital reminder that the members of N.W.A. weren't ashamed of their beginnings. They took the place that made them, repped it proudly, and used their work to change the world. Everybody comes from somewhere....

What I don't like about this film: Already there has been much criticism that Straight Outta Compton too conveniently portrays these men as good ol' boys, sweeping over the more unsavory details of their behavior and never questioning the way women are used (both around them and by them directly). To that I give the same answer I gave to a friend who questioned me about this: Those arguments are more than valid. But personally, I watched the film first and foremost to learn more about N.W.A. as people/artists with vision and integrity who made an impact, and in that vein I still think the movie is exemplary. With that said, the only complaint I have about the film is that I wish the audience would've been given more of an opportunity to become acquainted with MC Ren and DJ Yella. As someone who'd been vaguely familiar with N.W.A. beforehand, I hadn't even remembered there being members other than Eazy-E, Dr. Dre, and Ice Cube. Ren and Yella were plenty visible, but still somehow faded into the background, which perhaps also happened when the group was in its prime. I don't know. Regardless, I would've liked to know more about them.

Would I recommend it?: Absolutely! Not only that, I wholeheartedly believe that this film should be required music history viewing. Straight Outta Compton is a cinematic masterpiece and a phenomenal piece of history. Y'all know what to do. That is all.

"POP!" - Twinsters

The last time I went to the movies, I saw the poster for Twinsters and immediately recognized these twin sisters from a different documentary by DANakaDAN, who had also been adopted out of Korea as in infant and returned to Seoul in 2013 to meet other adoptees and find his biological family. I'd seen his documentary last year and remembered the twins for being really cute together, and for one of them being French. However, I hadn't known that the twins were also shooting their own documentary at the same time as his! Usually the good indie films don't show anywhere near where I live, but I was in luck this time, and Ma and I went on an evening date to the cinema!

Seen Monday, August 3rd: Twinsters

After seeing a YouTube video featuring an actress who looks exactly like her, fashion student Anaïs Bordier (raised in France) uses Facebook to get in contact with the actress, who turns out to be Samantha Futerman (raised in California). Now aware of each other's existence and resemblence, the two women search for answers together to ascertain if they're related or not. They discover that they're identical twin sisters who were separated at birth. A miraculous story of twins finding each other after 25 years apart.

"Two lives. Changed forever. With just one click."

What I really like about this film: I love how the film uses social media (texts, Facebook messages, Skype conversations) as documentary evidence to restructure the progression of their relationship for the audience. Of course it's only fitting, given how they found each other. It's amazing how they take to each other so quickly and form such a fierce bond even before meeting each other, When they finally meet in London, they love on each other as if they're kindred spirits reuniting after a short absence, not two young women from opposite sides of the world meeting each other for the first time. Also I love how French Anaïs is! I mean duh, she is French, raised in Paris and all but─just watch the film and you'll see what I mean.

I also appreciate that while the film showcases how similar the two sisters turn out to be─from physical appearance, to likes and dislikes, to that annoyingly cute "pop!" sound they like to make with their mouths─it also recognizes how the girls have experienced adoption differently. Unlike Sam, Anaïs was an only child and had a hard time coming to terms with having been adopted. She often felt like she had been abandoned and was unloved, and as a result she had trouble managing her anger and seeing her adoption as an overwhelmingly good thing. That part of the film is essential in acknowledging that though they're identical twins, they're not the same person, and adoptees don't all deal with being adopted in the same way. Plus it makes the story even more compelling when Anaïs realizes that she had been loved all along, even before she was adopted.

What I don't like about this film: Nothing. I've been trying to come up with something to critique in the week since I've seen the film, and I got nothing. At first I complained internally that we see and hear more from Sam than Anaïs. Of course this was just my francophone/francophile bias kicking in, and I realized that since Sam is the filmmaker of the duo and took the initiative on this project (director and writer, this is literally her film), so naturally we would end up getting slightly more perspective from her than her sister. So yeah, basically my point is that I have nothing substantial to complain about.

Would I recommend it?: Without a doubt! Absolutely! Go see it with a loved one and have your hearts warmed, shed a tear or two.

Amy + Inside Out

Monday was my day off, so I decided to go to the movies by myself, watch two films back-to-back, and have myself a good cry. Luckily for me I picked two great films to cry through.

Seen Monday July 13th: Amy

Unseen footage, unheard songs, over 100 interviews, and other material were used to produce this documentary detailing the life, rise to stardom, and untimely death of Amy Winehouse. The English soul/R&B/jazz singer-songwriter had a distinctive voice, showcased an edgy and honest writing style, and amassed her share of love from fans and ridicule from media during her career. She released two albums before falling victim to addiction on July 23, 2011 at age 27. This film attempts to tell her story "in her own words".

 

What I really like about this film: Though people have already voiced their issues with the story that this documentary tells, I lovelovelove the way this story is told. The emphasis is almost completely on documentary materials: photos, video footage and audio recordings, magazine and newspaper clippings, scans of pages from Amy's song/poetry/lyric books in her own handwriting. Commentary from various people who were part of Amy's life serves as narration, but we don't see them as they're being interviewed; we only hear their voices. Really the only footage specially shot for the film are aerial and panning shots that were done using drones. Rather than on all the people who have so much to say about this woman, the focus is on Amy and the story that's being portrayed about her. And I just found that to be magnificent. I haven't seen many documentaries in my life so I'm no expert, but this one is definitely high on my list of favorites.

Aside from her problems with addiction, what I got most out of the story is that Amy Winehouse was an artist's artist; and despite how famous she got, fame was never the goal. She just wanted to make music that was real and meant something to her, and the stuff of her life made up most of her material. "Some Unholy War", "You Know I'm No Good", "Love is a Losing Game", "Rehab", "Tears Dry on Their Own", etc. We get the play-by-play on the events that inspired all of those songs and more. And that affected me deeply. When they went into the background behind "Back to Black", showed her recording the song, and then played the actual mixed and mastered record that I've heard time and time again, I cried like a baby. And then at the end when they showed EMS carrying her body out of her apartment and loading her into the back of a truck, and then cut to a bunch of shots and clips from the beginning of the film that show young bright-eyed Amy all hopeful and hardworking and drug free, I wept. I couldn't not weep. As a casual fan I'd known that Amy Winehouse was different, but this film made me realize just how special and vulnerable of a person she was. We lost someone truly, incredibly, devastatingly special, and that's quite a beautiful and heartbreaking thing to have to acknowledge.

What I don't like about this film: As much as the documentary talks about Amy as an artist, I wished it would've focused even more on her artistry and impact than it did. Like how unique her voice and jazz inclinations were at a time where almost no young chart-topping woman was singing jazz or anything akin to it. Or how she was one of the artists who opened the door for British soul and R&B singers in the American and world markets during the 2000s. Before Adele, before Daley, before Sam Smith, before Emeli Sande, before Lianne La Havas, before Jessie J, before any of them hit it big, there was Amy Winehouse. And that's a huge deal. Like, she accomplished so much, and left such a huge mark, in so little time. And she only released two albums! I understand that the documentary is creating a narrative about someone who has passed away, which means it would make sense to acknowledge this person's death and what led to it. After all, she didn't just disappear into thin air; her choices and the choices of some people closest to her had consequences. I get that, so I appreciate the ins and outs that we learn about her addiction problems. I'm just saying that for as wonderful as the film is, I fear that it sells her short.

Would I recommend it?: Yes. If you care about real music or real artists at all, watch this film. You shan't regret it.



Seen Monday July 13th: Inside Out

After having lived in Minnesota all her life, 11-year-old Riley has an extremely difficult time adjusting when her family moves to San Francisco. But she is not alone! A team of emotions (Joy, Anger, Sadness, Fear, and Disgust) live in her brain and work around the clock to manage her feelings and memories and keep her stable. But when Joy and Sadness get separated from headquarters and Riley continues to feel cut off from all that she knows, will it prove to be too much for her?

"Meet the little voices inside your head."

What I really like about this film: I can't not give props to Pixar for creating a work of art with such an original concept, but what really sold me one this film was the message. For the most part people always try to be happy because they want to or they feel like they have to be, and in the process they try to ignore their sadness. But sadness is necessary too! Because if you don't recognize and express the sadness you're feeling, then even the people closest too you won't be perceptive of it, and then they won't be able to help you because they don't know what's going on. In other words, sadness, when not bottled up or hidden away, can bring you some of the happiest moments in life because expressing it allows people to comfort you, encourage you, and help you to move forward. Amen, Inside Out. Amen.

What I don't like about this film: This is pretty heavy for a children's film. Riley is not only moving to an unfamiliar place and leaving her old life behind, but she's also a pre-teen, meaning all around there are transitions and new emotions she has to learn how to process as she enters young adulthood. Obviously this is a story worth telling that is relatable to so many young (and young at heart) people. But it has quite a few moments where it gets deep. And dark. And just... heavy. Plus with all the neurological and psychological vocabulary, at times I felt the film would be more appropriate for a middle school, high school, or even first-year undergrad psychology course than for young children. I'm 22, and some of it even went over my head.

I was also confused about the structure and rules of the world within Riley's brain. If Joy is responsible for keeping Riley happy, but then Joy has a moment when she gets upset and cries, is Joy still Joy? And if Sadness is able to sit next to another figment of Riley's brain and comfort him without making him feel worse about the situation, is she still Sadness? Speaking of Sadness, I wasn't sure what to make of her character at first. From the beginning she's the bumbling, moapy, often unmotivated member of the team who's always forgetting (or choosing not to follow) instructions, but she gets in the way so often and makes so many mistakes during the first half of the film that it makes one wonder if she's trying to sabotage the team or not. Luckily she ends up being an invaluable part of the mission to get Riley re-stabilized, but I don't like how ambiguous her character seems to be at first. And lastly, speaking of good guys, there's no villain in this story. Not one. All the characters are, ostensibly, good. A children's film, a Disney/Pixar movie at that, with no "bad guy"? How can this be?? Of course this is noteworthy because it's something different. But it's also... odd. Perhaps the villain in the film is all the stress and negativity that's causing Riley to shut down and not act like herself. She goes through so much crap emotionally that maybe pinpointing a villain would've just been excessive.

Would I recommend it?: Absolutely! This film is a wonderful reminder that everyone needs help from time to time.You just have to be willing to express how you feel.

Big Eyes

I went to see this movie over three weeks ago and forgot to write about it. Not because it wasn't worth writing about, mind you; I just got caught up and it slipped my mind. On the contrary, given the overall unappealing cinematic options that the holiday season had to offer, I'm actually glad that I kicked off my 2015 filmgoing with this one.

Seen Saturday January 10th: Big Eyes

In the 1950s and 60s, Margaret Keane is at first elated when her second husband Walter Keane recognizes her talent and gets her paintings noticed, promoting and selling them under the name "KEANE". But as the big-eyed waifs cause a stir in the art world and became a hot commodity nationwide, Walter takes all the credit, locking Margaret in a room to continually produce paintings whilst getting no recognition. When she finally decides to leave the relationship and stand up for her work, she has to battle it out in court to prove to the world that she is the real artist. Based on a true story. Directed by Tim Burton.

"She created it. He sold it. And everyone bought it."

What I really like about this film: This is quite the peculiar story! I'd read an article in People that implied that Margaret didn't know what Walter was doing with her paintings, nor that her work was famous and the "hot thing" in art at the time. But in the film it makes clear that Margaret did know, but  wasn't originally aware of her husband's maniacal, money-hungry, and attention-starved intentions. For years she hadn't spoken up to claim her work because she didn't believe people would support a woman artist. She naively trusted in her husband's business acumen, and was blinded by mid-20th century dogma that told her to obey her husband and let him take care of everything. So the question of complicity made for some confusion on my part at first, but other than that this film's storyline is straightforward.

Another aspect I enjoyed about this film was its style. Of course, being a film about art, this film prioritizes the story in question and stylistic detail and accuracy (this includes color and tone, sets, wardrobe styling and even casting that reflects ethnic demographics). The events take place largely in the San Francisco art scene during the 50s and 60s, which was a particularly tumultuous yet remarkable time in our country's history, but there were no references to major historical events going on at the time. Why? Because the visual aesthetic and the story matter most. Usually I'd have a problem with historical context being missing in such a way, but it actually works well for the film because it shows you what era you're in rather than telling you about it.

Lastly, I have to give kudos to Amy Adams! Her performance was so vulnerable and compelling. She's one of the few actresses I care about, and though I'm not cognizant of all her work I notice that she often takes roles that pay homage to women who do remarkable things (à la Julie and Julia). Much respect to her.

What I don't like about this film: I can't pinpoint anything in particular. One thing I would've liked to know is what inspired Margaret Keane to make portraits of sad-looking, big-eyed children. What led her to take on that subject and how did her particular style develop? That was a question raised in the film, but it was played off by Margaret's  repeated assertion that art is personal. And so we never find out the "why" behind her pieces. But as an artist I can respect her not wanting to give it all away, so to speak. Some things are sacred and personal, so while I am left wondering, I can definitely accept not being privy to that information.

Would I recommend it?: Absolutely!

What's Your Top Five?

As I did with the last movie I watched, I'm starting with what I don't like about this one so that I can emphasize some of its better qualities rather than its shortcomings.

Seen Friday October 12th: Top Five

Chris Rock plays Andre Allen, a washed-up comedian and recovering alcoholic. He wants to take his career in a new direction but no one takes him seriously. On the opening day of his newest film, a beautiful, sharp, yet enigmatic journalist/critic named Chelsea (Rosario Dawson) follows him around for a day. Their interaction forces both of them to reflect on themselves and their pasts with "rigorous honesty".

What I don't like about this film: It's not that funny. At least not funny in the way I thought it would be. It's marketed as being a side-splitter and gutt-buster, and with Chris Rock and the army of comedians he's got with him, you have no reason to expect otherwise. Sure Top Five offers some chuckles, but it isn't hilarious. And that was disappointing. But I think it was only disappointing because I walked in thinking it was going to be a certain kind of film, when it was never that to begin with. Top Five is about comedy, the industry, and the art of being a comedian. But it's not really a comedic film, or a "comedy". What I mean is that it's not a film meant strictly for laughs. It's also meant to make you think. And that can be a let down if you come into it only expecting to sit down and laugh.


What I really like about this film: This film is so smart! It might not be the funniest thing ever, but yet and still the writing is clever and Chris Rock made a lot of smart decisions in it. All that black and comedic excellence in one film? Gold. That scene where the old man from the hood busting Andre's (Chris Rock's) balls about gettin' all "Hollywood" and forgetting the little people turns out to be his father? Gold. That group of black comedians sitting around clowning Andre and talking about their top five rappers? Gold.  Chris Rock, Whoopi Goldberg, Adam Sandler, and Jerry Seinfeld sitting around a table in a strip club talking about marriage? Four of the greatest flippin' comics of all time in one scene together? Gold. DMX growling and singing Nat King Cole's "Smile" in a jail cell? Gold. I was dying. so. hard! Who else can accomplish all that in one film? No one but Chris Rock. Few people have the genius, body of work, connections, and respect amongst his fellows in the industry like he does, and Top Five is proof.

Plus, the film's message is powerful once you catch onto it. Andre is struggling with the reality that people love the character he's played more than the man himself. They like him better when he's broken (drunk and lost). He has more to offer, but is almost ready to give up on himself because he's afraid he might not be funny anymore sober. And of course, in true Hollywood movie fashion, Andre and Chelsea (Rosario Dawson) fall for each other. But he tells her he loves her in an unconventional way ("Hey, what's your Top Five?"). And the film leaves the story open-ended. Does he go back to get the girl? Does he go through with the sham wedding to his reality star fiancee? Does he stay in character and continue to play the Hollywood game? Does he go back to doing standup comedy? Who knows.


Lastly, Top Five reminds us that even after three years, "Ni**as in Paris" by Jay-Z and Kanye West still bangs. Since the film was co-produced by the two rapper moguls, I'm sure that this isn't a coincidence.

Would I recommend it?: Yeah, sure. I wouldn't pay to see it again, but it's worth seeing at least once.

"I See You" - Beyond the Lights

This rounds out the group of four films that I was looking forward to this fall season. Usually I start with what I like about a film before going on to what I don't like, but this time I'm switching it up in order to better discuss how this film works. Here goes:

Seen Saturday November 15th: Beyond the Lights

London-born Noni is a superstar on a rise, with her charisma and sex appeal creating huge buzz in the States ahead of the release of her first album. After what should be one of her proudest moments, she attempts suicide because she can't take being unseen, unheard, and pretending she's someone she's not anymore. Police officer and up-and-coming politician Kaz stops her and tries to convince her that life is worth living. What follows is not only a romantic relationship between the two, but also their respective personal journeys of self-discovery.

"Open Your Heart. Find Your Voice."

What I don't like about this movie: The first half of it is incredibly dull and predictable. Noni as the superstar and damsel in distress behaves exactly as we would expect her to: spoiled, hypersexual, does as she's told and has no problem playing the game until Kaz shows up and makes her feel safe enough to reveal her depth. And Kaz as the hero and love interest behaves exactly as we would expect him to: says all the right things, has integrity but can't help falling for Noni, and always swoops in to save her. Plus, with the exception of the four main actors (Gugu Mbatha-Raw, Nate Parker, Minnie Driver, and Danny Glover), the acting is less than stellar. Machine Gun Kelly? Big Sean? I understand the need for starpower, but really? This from Gina Prince-Bythewood, the director of the masterpiece that is Love and Basketball? Seriously? I was starting to get really disappointed. But then...

What I really like about this movie: After a huge scandal erupts, Kaz whisks Noni off to Mexico, and from then on it's like you're watching a completely different film. The entire Mexico segment is exquisite. Very minimal dialogue, soft lighting, the beach, and two people expressing their love and seeking recovery and refuge in each other. More than any other part of the film, I believe Mbatha-Raw and Nate Parker really show their stuff as actors here. When Noni takes out her tracks to reveal her natural curly hair, we then see Noni Jean the person and singer/songwriter, not Noni the product. And then when she shows her hair to Kaz and he kisses her curls?! Swoon! But they can't stay in paradise for ever, and after they return to the States then you see how the arc of the story really does mirror Love and Basketball. Two people unexpectedly fall in love, form this soul-entwining bond, and have an extremely passionate relationship. But then they have to separate to figure out who they are and what they want in life, meanwhile also dealing with tensions and unresolved issues that they have with their parents. And just when it seems like what they had is over for good, they realize they can't be without each other and reunite to share in each other's most important life moments. Straight out of Love and Basketball's book, and I loved that. Bravo for #blacklove! 

Perhaps I'm giving director Prince-Bythewood too much credit, but I've been thinking that she made the first half of the film so shallow, dull, and predictable on purpose to mirror Noni's transformation. At first Noni's world is superficial, miserable, unforgiving, and forced, but then when she decides to find the good in herself and unapologetically be who she really is, then she becomes open, genuine, confident, and better able to love and express herself to others. Maybe this is a stretch, but I'd like to give Prince-Bythewood the benefit of the doubt in this aspect. Overall this is a beautifully engaging and inspiring film about dignity, integrity, the dark side of the music/entertainment industry, and the power in knowing, loving, being, and expressing yourself.

On another note, ever since Belle came out last year I'd been hearing buzz about Gugu Mbatha-Raw and was really looking forward to seeing her peformance for the first time. I was not disappointed! She's absolutely masterful as an actress and has really committed to becoming Noni. I hear she even does her own singing! She gives off some really strong vibes reminiscent of stars like Rihanna, and you can tell that she's done her research and preparation. You almost forget that she's not really a singer or musical entertainer. Speaking of research I'll also give credit to the film for trying to make its entertainment world seem as realistic as possible. The BET Awards part was filmed at the real BET awards. The festival scene at the end of the film includes footage from an actual music festival. Bravo for being thorough!

Lastly, (sorry I know this is getting long) the soundtrack is perfection! My personal favorites are "Lights and Camera" by Yuna, "Fly Before You Fall" by Cynthia Erivo, "Worthy" by Jacob Banks,  and "I Am Light" by India.Arie, which isn't officially on the soundtrack but should have been.

Would I recommend it?: Most definitely!