A Sit Down With ‘Miles Ahead’s' Emayatzy Corinealdi on the Film, Working w/ Don Cheadle & Embodying Frances Taylor Davis

In a project that is eight years in the making, Don Cheadle stars in his directorial debut as the legendary musician Miles Davis. “Miles Ahead” is a film that pays reverence not only to the musician, but also to Davis’ first wife, Frances Taylor Davis, the woman who inspired his critically acclaimed seventh album, “One Day My Prince Will Come.” The gracious and stunning Emayatzy Corinealdi stars as Ms. Taylor Davis in “Miles Ahead”. I had the opportunity to sit down and chat with her about the role, working with Don Cheadle and connecting with the real Frances Taylor Davis.

Aramide Tinubu: How did you come on to “Miles Ahead”? What excited you about the project?

Emayatzy Corinealdi: Well I came on through the normal audition process. I went on tape, and then Don saw the tape and I was cast from there. What excited me about the film was Miles Davis himself. He’s someone that I didn’t know all that much about at that time. But, my dad was an avid record collector and had all of his albums. However, he was always just kind of mysterious to me, I just didn’t know that much about him, so that was interesting. And then there was the relationship that he and Frances had, which I knew nothing about. So, when I was reading the script, it was just so enthralling as a woman to read this woman’s life story. She existed in a time where it was tough for Black people in general to do anything, and she still was able to achieve all that she had achieved in her career. She was one of the original members of “West Side Story”. She was in “Mr. Wonderful” opposite Sammy Davis Jr., and she was this prima ballerina. She was cultured. So, to have all of that and to be in this relationship with Miles Davis and he tells you he wants you to quit your career…

AT: And you do it.

EC: Yes, and you do it. That for me as I was reading it, I thought this is fascinating because in this day in age that’s not something that would really happen, and even more so just for me, I asked myself ‘Would you do that?!!” Whenever scripts make you ask those questions to yourself you know there’s something there. So for me, that’s what made me excited. And on top of all of that, it’s Don Cheadle and he’s just one of those actors that if you can get the opportunity to work opposite, than you better do it. All of that is what brought me to “Miles Ahead.”

AT: Speaking about Don Cheadle, he’s this thespian, but this is his directorial debut. Despite his immeasurable talent as an actor, were you nervous at all about the fact that he was stepping behind the camera?

EC: No actually, that’s not something I was nervous about at all. I was just nervous in general about working opposite Don Cheadle (laughing). But that was really it. I didn’t really think about the directing portion, because though this is his first film outside of directing episodes of “House of Lies”, I just see Don as one of those consummate actors who just knows how to do everything already. If you’ve been doing something for so long, and for so many years, you pick up things so that’s not something that I was concerned with going into it. I was just excited to work with him as an actor. And then, to work with him as a director on his directorial debut was also exciting to me.

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Just interviewed the gracious and gorgeous Emayatzy Corinealdi about her new film, "Miles Ahead" directed by Don Cheadle. Interview coming soon via #shadowandact #MilesAhead 👸🏿 She also told me my twist out looked bomb so I was thrilled.

A photo posted by Chocolate Girl In The City (@midnightrami) on Mar 22, 2016 at 3:18pm PDT

Image: Miles Ahead

Review: While Often Aggressively Overblown, ‘Batman v Superman: Dawn of Justice’ Is Still A Lot Of Fun To Watch

In preparation for “Batman v Superman: Dawn of Justice,” I attempted to re-watch 2013's “Man of Steel,” which I hadn't seen since it first premiered. It seems that I failed to remember how dull the film is. Honestly, other than Henry Cavill's strong jaw and even harder build, I found director Zack Snyder's Superman origin story rather lacking. As a result, I had no idea what to expect from “Batman v Superman,” much less understand all the hype and questions surrounding it.

With Cavill reprising his role as the Kryptonian come to earth, I was most interested to see how Ben Affleck would gel as the Caped Crusader, especially since Christian Bale’s performance as Batman is the one I’ve grown most accustomed to.

“Batman v Superman” opens with Affleck's voiceover as Bruce Wayne; there's a short retelling of his parents murders, and then Synder thrusts us forward in time. Through Wayne’s eyes we watch Superman and Zod come to blows as they did in “Man Of Steel,” but this time, the perspective shifts to the massacre left in the wake of the attack. For Bruce Wayne, this moment solidifies his opinions about Superman, and as he watches the chaos around him, it further hardens an already war-weary man.

A great deal happens in this 2 hour and 30 minute homage to two of the world’s most iconic superheroes. Clark Kent and Bruce Wayne's stories move and shift around one another before colliding epically at the very end. And yet, as someone who admittedly only has surface knowledge of the DC Comic world, I often felt exhausted trying to keep up. The various dream sequences especially, felt overdone. Likewise, Clark Kent's relationship with journalist Lois Lane relied way too much on the  "damsel in distress" narrative in this film. I've long since appreciated Synder’s casting of seasoned actress Amy Adams in the role of Lane. Nearly a decade older than Cavill, she's so much more than a pretty face, but in this film Lane does litte more than wait for her unbreakable beau to come and save her.

Still, for any fan of superhero films, there was plenty to enjoy.

Perhaps it was the extra $25 million Synder had to play with this go-round, or maybe technology has advanced significantly since “Man of Steel” was shot, but either way, everything in this film—fight sequences included—was more lush and fun to look at. As for Affleck, what he brought to the character of Batman was surprisingly one of my favorite parts of the film (though his beefed up Batsuit and voice were comical at best). Massive, despite his humanity at 6'4," Affleck's Bruce Wayne is broody and somber. This is Batman in his 40s, with hair streaked silver and weary lines around his eyes. Bruce Wayne has seen and done just about everything at this point, and it shows. Caring deeply about others has cost him a great deal and he does not apologize for his apathy. The only time his eyes truly come alive is when he's interacting with his trusty confidant Alfred (played to perfection by thespian Jeremy Irons) or when he's trying to flirt with Diana Prince aka Wonder Woman (Gal Gadot), who will be getting her own film next year.

More than anything, Affleck's portrayal of Bruce Wayne is fixated on the legacy he'll leave behind.

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Image: Warner Bros.

Sundance Review: 'How to Tell You’re a Douchebag' Is a Black Rom-Com for the 21st Century

It was films like “Nothing But A Man,”  “Love Jones” and “Love & Basketball” that made me fall in love with cinema. As a millennial, in the ‘90s there was “Love Jones”, a narrative of passion set against Chicago’s urban backdrop. Hopeless romantics and cynics alike watched as Nina Mosely and Darius Lovehall, desperately tried to figure out that thing called love. In the past decade (except for Gina Prince-Bythewood‘s “Beyond the Lights”) Black romance in film has fallen by the wayside in favor of buddy comedies or ensemble features. First time feature director Tahir Jetter’s “How to Tell You’re A Douchebag” has the potential to help reinvigorate the genre for the 21st century.

What does it mean to be a heterosexual Black 20-something looking for love while living in a major city? The media would like us to believe that our options are sparse. As Black women continue to outpace Black men in terms of education and job advancement, we’re told that our only options are "fuckboys" or "dopeboys." However, that hasn’t been my experience; nor has it been the experience of my girlfriends. “How to Tell You’re a Douchebag” follows Ray Livingston (played by relative newcomer Charles Brice), a 20-something Brooklynite anxious to find his footing as a writer while advancing his blog, “Occasionally Dating Black Women." Getting over a rough breakup, Ray finds himself unable to cope with his emotions, which leads him down a rather rocky path. At rock bottom, Ray makes the grave mistake of insulting up-and-coming journalist, Rochelle Marseille (played by DeWanda Wise). At the top of her game professionally, Rochelle is a stunning beauty who doesn’t take shit from anyone; especially not self-proclaimed “nice guys” like Ray.

A quintessential 21st century Black romantic comedy, Jetter’s film explores topics that Darius and Nina would have found unfathomable when “Love Jones” debuted in ’97. After all, millennials are meeting people and dating in ways that are wildly different than any generation that has come before us. Along with the usual trials and tribulations, including rampant misogyny, we are also dealing with social media and its various influences on the process.

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Image: How To Tell You're A Douchebag

Interview: Tyler Perry Talks 'Love Thy Neighbor,' 'The Haves and the Have Nots' & His Process From Page to Screen

I’ve personally never felt that characters of African decent should be inherently good, educated, or of a particular caliber in order to be presented in film and on television. In my opinion, that is an argument of past centuries, when the narrative of Black Americans on screen may have needed a particular sort of trajectory. I also feel that everyone has a right to tell their stories, but I don’t feel that these stories should be mediocre or inherently stereotypical, which is why I often find the work of Tyler Perry extremely problematic. Still, despite my criticisms and the criticisms of others, Perry has carved out a prolific path for himself in the entertainment industry.  From his stage plays to his body of films, and now with four shows on Oprah Winfrey’s OWN Network, including, “Love Thy Neighbor” and “The Haves and the Have Nots”, which premièred last week to over 3 million viewers, it’s clear that his audience is always eager to tune in.

At a recent press event for “The Haves and the Have Nots” and “Love Thy Neighbor”, Tyler Perry, as well as some of the casts from both series, including John Schneider, Angela Robinson, Patrice Lovely, and Palmer Williams sat down to talk about the success of the shows, Perry’s writing process, and being a part of OWN Network. Shadow and Act was there to take it all in. Here are some of the highlights.

On the Evolution of Both “The Haves and the Have Nots” and “Love Thy Neighbor”

Tyler Perry: What’s amazing about this, is that we are about to cross one hundred episodes for both of these shows. What’s so great about it is, that you start one way, but the characters dictate where they want to go, and how they want to go. If you look at a show when it first starts, you go, ‘hum…how is going to go?’ but by the tenth episode, you see the characters start to gel, and you really start to believe them. That’s what has happened with both of these shows. By episode fifteen we had settled in. I think at this point in both the shows, the characters have evolved and the show has a evolved. With Veronica (Angela Robinson ‘HAHN’) having one or two lines in the first show, I didn’t know she was going to turn out to be this character, but I love the madness of it. I love the insanity of it.

On the Writing Process

TP: I’ve said this before, I don’t have a writer’s room, I write all of the shows myself. Ninety-one episodes a season, I’m sitting at the computer writing, writing and writing. I want the voice to be authentic, so the audience is hearing from me and not other writers.  There are a lot of other shows on the air that are fantastic shows, but they have writer’s rooms. The people that we love the most only write one or two episodes a season. What’s great about it when your writing for actors like this, who are tremendously talented, you can throw anything at them. I sit in a room and as I’m sitting at the computer, and I can hear these characters talking. The only thing that is difficult for me is to force one show out of my head so that Eddie doesn’t sound like Joe, or that Mama Hattie doesn’t sound like Angela which in a way they kind of do.  If you look at the characters themselves, and the shows themselves they are very different and don’t think people really give credit to how different each show is. The pleasure that I take is being at work for the actual characters themselves. So, the minute that they stop talking we have a problem.

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Image: Tyler Perry

Review: 'The Martian' Delivers + Watch Exclusive Footage with Co-Star Chiwetel Ejiofor Discussing the Film

Humans have long since been fascinated with space. There is a deep desire to discover what has previously been unknown, and a deep longing to connect with what has previously been untouched. Though brave men and women have ventured out into our vast universe, we still know very little. Instead, we are left to speculate about what we believe might be true. Ridley Scott's “The Martian” marks the third major “space film” to come out of Hollywood in the past three years, following 2013’s “Gravity” and 2014’s “Interstellar” which were both extremely successful. However with its expansive cast and focus not just on human survival, but on guilt and fear, “The Martian” is by far the best of the three.

In the midst of aborting a mission due to a horrendous storm on Mars, astronaut and botanist Mark Watney (Matt Damon) is separated from his crew. Though his crew leader Melissa Lewis (Jessica Chastain) tries desperately to find him despite harrowing winds and obscured vision, her quest proves unsuccessful. Working under the assumption that he’s dead, his fellow crewmembers abandon Mars and begin their 10-month quest back to Earth. Only Watney isn't dead.

Prior to “The Martian”, I would have never been convinced that Matt Damon could carry a film in which he was alone for large chunks of it. However, set against director Ridley Scott’s stunning red deserts depicting Mars’ atmosphere, Damon forces the audience to empathize with Watney. As the lone being on a planet, he's astonished to be alive, and completely haunted by the idea of his impending death. Time certainly isn’t on his side. It will take 4 years for a new crew to get to Mars to retrieve him, and he only has enough food to last him a year.

Though Matt Damon gives a great performance, it's the ensemble characters that set “The Martian” apart from the other recent films that were set beyond our planet. Michael Peña, whom I’ve always felt was severely underused in films, stars as Astronaut Rick Martinez. As usual, he’s wit and comedic brilliance brings light and warmth to the confined space ship of Watney’s team members.

Donald Glover also has some fantastic moments. As the talented but off-kilter Rich Purnell, Glover gets the nuances and neurosis of a brilliant scientist who doesn’t quite grasp the skill of everyday conversation. Despite his “quirks” Rich Purnell’s role in the film is imperative.

Back at headquarters, the always-stellar Chiwetel Ejiofor stars as Mars missions director Vincent Kapoor. When NASA discovers that Watney is alive, Kapoor finds himself between a rock and hard place. The space crew doesn't know that Watney has survived and NASA director Teddy Sanders (Jeff Daniels) doesn’t seem too keen on telling them.

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Image: The Martian/20th Century Fox

Review: 'Straight Outta Compton' Is a Film That Speaks for Our Time

F. Gary Gray's “Straight Outta Compton” quite literally opens with a bang and it only gets more explosive as the story continues. The film follows the polarizing hip-hop group N.WA's almost unimaginable rise to success as well as their many setbacks.As the film opens, Gray is unapologetic about dropping his audience into Compton in the late 1980's, which honestly is not somewhere anyone wants to be. This is not at all the color-saturated, upbeat world from his debut film “Friday” (1995). The drug epidemic, along with Reagan’s war on drugs, completely decimated the community, enabling very few to become successful. Honestly, the bleary muted tones along with the grit and grime of “Compton” makes John Singleton's “Boyz n the Hood” look almost warm and inviting. Yet despite the many odds against them, the men of N.W.A were able to thrive, with Ice Cube as the group’s lyricist, Dr. Dre on the beats, and Easy-E backing the group financially, as their records began rising to the top.

With biopics, I've always found that there are two different types of films: Films that are made just because the subject is of interest to the general public; and those that are made when the subjects of said film - or their families, or some source close to them - back the project. Unlike Lifetime’s “Aaliyah: The Princess of R&B” debacle, “Straight Outta Compton” has N.W.A’s blessing stamped all over it.  Also Gray has a history of working with Ice Cube, first on his music video for “Today Was a Good Day” and then on “Friday”. However, chronicling the group from 1986 to Easy-E’s death in 1995, Gray was careful not to smooth over any of the group members’ most sobering moments. From a family death, money troubles, and Easy-E's HIV diagnosis, the group’s trials and tribulations are laid bare for the world to see.

The film is remarkable because of how deeply it will resonate with today's audience; not just because of the music and the talent that paved the way for icons like Tupac, Snoop Dogg, Eminem, and Kendrick Lamar, but because of the prevalent theme of police brutality that runs throughout the film’s plot. The group is motivated to make their megahit “Fuck Tha Police” after experiencing some severe police harassment. Likewise, the Rodney King assault and trials are a constant, which ground the film soundly in the early 90s. However, when you consider the LA Riots and Ferguson, it becomes haunting and painful to see that we are still dealing with the same issues nearly 25 years later.

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Image: "Straight Outta Compton" Film Poster

Review: 'Ant-Man' Pleasantly Surprised This Marvel Non-Enthusiast

Marvel’s "Ant-Man" is a superhero film for the underdog. The film follows ex-con man Scott Lang, who finds himself down on his luck after being released from San Quentin prison. Comedian Paul Rudd plays Scott flawlessly, who after being fired from Baskin-Robbins gets himself roped into one last big score in an effort to get back into his young daughter’s life. Instead of finding money or jewels, Scott and his rag tag group of friends; Luis (Michael Peña), Dave (TI) and Kurt (David Dastmalchian) come across a peculiar looking leather suit. Things quickly spiral out of control when the gang inadvertently finds themselves involved in a power struggle and corporate espionage between major conglomerates, PYM Industries and Cross Technologies.Admittedly I’m not a huge Marvel enthusiast, so when I first heard about Ant-Man, I thought it sounded like a retelling of "A Bug's Life" for adults. Nonetheless, the film really surprised me. First and foremost, Rudd and Peña are comedic gold. Peña's genius is consistently overlooked and underrated, so it was a ton of fun to watch him in his element.  Throughout the film, Rudd and Peña ebbed and flowed with the same witty, dark, humor that director Peyton Reed has captured perfectly in some of his prior films. Coming from the same team that produced last year's "Guardians of the Galaxy," "Ant-Man" had a familiar feeling to it because there was no Asgard, nor any other mythical place to serve as a distraction.

"Ant-Man’s" special effects are jaw dropping. I'm certainly not a gal who loves insects, but even in the film’s most absurd moments, the ants feel real and look extremely life-like. The most visually arresting component of the film is the way it captures Scott's point of view when he’s shrunken in size. There is one bathroom scene in particular that was simply, visually delicious.

Michael Douglas is fine as Dr. Hank Pym (the man who Scott steals from) but the real talent on camera is Corey Stoll as Dr. Darren Cross. Stoll is able to really embody the crazed, maniacal, instability of his villainous character. As I watched him, I found myself wishing that DC Comics had chosen him to play Lex Luther in "Batman vs. Superman: Dawn of Justice."

The one thing that disappointed me a great deal about "Ant-Man" was the thin romance between Scott and Dr. Pym's daughter, Hope van Dyne (Evangeline Lilly). Their relationship felt forced and jumbled.  I was annoyed that Marvel reduced Lily’s character to simply Scott’s love interest. It was wholly unnecessary, trite and frankly quite dull. Speaking of women, why does Judy Greer (who plays Scott’s ex-wife) play the same role in every film? I just saw her in "Jurassic World" and frankly her character was a bit one-dimensional for my taste.

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Image: Marvel/Ant-Man

Interview: Chatting with Boris Kodjoe and Nicole Ari Parker About their New Fox Talk Show & More

We all watched Boris Kodjoe and Nicole Ari Parker fall in love on Showtime’s "Soul Food" fifteen years ago. The duo had electric chemistry then, and all these years later they are still going strong, having just celebrated ten years of marriage. With numerous projects under their belt, including Parker’s 2012 Broadway debut in "A Street Car Named Desire" and her role on TNT’s "Murder in the First," as well as Kodjoe’s recent roles on Fox’s "The Last Man on Earth" and BET’s "Real Husband’s of Hollywood," it appears that this couple is just getting started.

Today, July 6th, their new talk show "The Boris & Nicole Show," debuts on Fox (check your local listings for exact times).

Kodjoe and Parker recently chatted with Shadow and Act about their new endeavor, their home life, and what they would be doing if they weren’t actors.

Aramide Tinubu: First of all I’d like to commend you both on your extraordinary careers. It’s been a pleasure to watch you on the big and small screens, even when I was too young to be watching you on 'Soul Food.' Also, congratulations on your ten year wedding anniversary, that’s an amazing accomplishment.

Boris Kodjoe: Thank you.

Aramide Tinubu:  The Boris & Nicole Show is really groundbreaking. There has never been a national talk show hosted by a couple; especially not a Black couple. How important is it for our society to see this very particular perspective?

Boris Kodjoe: I think we’ve never really talked about it in that sense, because when you’re part of something like this, the true nature or the potential of what it means doesn’t become apparent until years later.  Just like with Soul Food, so we can’t really worry about it at this point. We’re really enjoying the process; we’re super excited about doing it. The idea has been floating around for five years, and we’ve finally decided to bring it to Fox and they were really excited about it. So, we’re really enjoying the journey. We’re really having a great time together and we can’t wait to connect with people.

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Image: FOX

Review: 'What Happened, Miss Simone' Leaves Us Wondering What Happens When What You Love Most, Haunts You

Iconic cultural figures are often placed on pedestals. They remain mysterious to us and we are left to speculate about their lives and experiences. It is rare for someone who has been so revered and idolized globally to have the opportunity to share their own story. Using Nina Simone’s own words, interviews with her family and friends, as well as footage from her life, Academy Award nominated director Liz Garbus paints a portrait of a woman who was both a master, and a victim of her time. Nina Simone’s life was one of both unimaginable success and gut wrenching suffering.

Reflecting back on life is no easy feat, it’s often a painful task to undertake, leaving the subject vulnerable and exposed; their flawless image forever riddled with unpleasant truths. And yet, when these truths are brought to light, it is the humanity of that subject that shines through.

"What Happened, Miss Simone?" acts as an introduction for new fans of Nina Simone, while providing a deeper understanding of the songstress for long time supporters. The film chronicles Nina Simone from her humble beginnings to her modest end.

Garbus’ documentary works so well because of its structure. Simone was a woman who desired more than the world was willing to give. Garbus eschews typical documentary style filmmaking, allowing Simone’s own perspective on her own work and life to shine through. Though her voice was glorious, her real forte was her ability to embody revolution through her music. Despite push-back, Nina Simone’s musical contributions to society during the Civil Right’s movement, gave her drive and purpose.

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[embed]https://www.youtube.com/watch?v=moOQXZxriKY[/embed]

Image: "What Happened, Miss Simone?"/Netflix

Review: Despite Its Cheesiness, 'Jurassic World' Is a Visual Thrill

To be completely transparent, I will go ahead and say that I've never seen the films from the original "Jurassic Park" saga. I was a toddler when the first film was released, and I never had any real desire to go back and watch them. With that being said, I completely understand the hoopla surrounding this latest installment of the Jurassic narrative. Originally the forth film was slated for release in 2005, but the project was pushed back for a decade. The delay may have been a good thing, because "Jurassic World" really soars with Chris Pratt and Bryce Dallas Howard helming it.

Set in the lush tropics of the fictional Isla Nubla, off the coast of Costa Rica, "Jurassic World" boasts both thrilling attractions and safe family fun. The theme park’s directors have learned from Jurassic Park’s disaster, and this time around they are prepared if anything goes awry. Still, the theme park’s CEO is dissatisfied, as he realizes that twenty-first century citizens are not easily entertained. Just as quickly as technology is introduced, it becomes obsolete. Dinosaurs themselves are no longer the jaw-dropping attractions that they’d been in the past. In an attempt to boost sales and attendance, the CEO and park sponsors begin seeking bigger and better thrills.

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Image: Universal Studios

Review: David Oyelowo is Breathtakingly Brilliant in HBO’s 'Nightingale'

It takes a great deal of courage to embark on a solo performance; a one-man cast with a singular location. It’s such a vulnerable experience for the actor, giving himself over the character and that character’s experiences entirely.  Often it doesn’t work; the audience is unable to remain enamored with the story. However, when it does work, when the actor becomes infused in the character and with the story, the results are breathtaking.  In HBO’s "Nightingale," David Oyelowo gives the best performance of his career as Peter Snowden, a man quickly and violently descending into madness.

Director Elliott Lester requires his audience to do the work of piecing Peter’s story together for themselves. Through Peter’s manic though at times humorous monologues, we began to get a fuller picture of his life, and the circumstances that have led him to this particular moment in time.  Set in modern-day Minneapolis, Peter is desperately trying to step into the 21st century though his surroundings have stalled him. He lives with his elderly mother and everything from the drapery on the windows, to the clothing in the closets are relics from the 1960’s.  In one of the most striking scenes of the film, Peter enters the house and begins un-boxing a new iPhone.  He kneels before it, worshiping its sleek design as if praying at the feet of God himself.  It’s obvious that he’s been waiting a long time for this moment, the new device is so unlike the house phone that the audience had grown accustom to seeing him with. Though Peter is in many ways stuck in a past time, his story is one for this century.  He documents his days through a series of vlogs, which he posts on the Internet. When he’s not on the phone, he speaks to his viewers, his mother, to God or to himself.

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Image: HBO

Review: Nzingha Stewart Guides Lifetime's 'With This Ring' (Premieres Saturday, January 24th)

For several years now, Black women have had to contend with the media fueled stereotype of being perpetually single and unwed. (Apparently new statistics show that 50% of Black women will never get married.) Lifetime’s "With This Ring" tells the story of a group of girlfriends who make a pack to defy this label, and vow to get married (or engaged) in one year’s time.  Not unlike David E. Talbert’s "Baggage Claim" (2013), "With This Ring" centers around three thirty-plus girlfriends who want their happily-ever-after at any cost. However, they soon discover that what they thought they wanted may not actually be worth having after all.

Trista (Regina Hall) is an up-and-coming talent agent who cannot seem to get past the ex-boyfriend who never truly committed to her.  Upon discovering that she’s wasted yet another night entertaining his foolishness, Trista sets out on an unwavering quest to get a ring on her finger. Trista’s best friend Vivian (Jill Scott) is still in love with the father of her child. She pines after him, unable to move forward in her love life because of her feelings for him. Instead of telling him how she feels, Viv chooses to live in fantasyland and continues playing house with a man who sees her solely as the mother of his child.  Amaya (Eve) is a struggling actress who is frantically trying to convince her married boyfriend to leave his wife for her. Convinced that her boyfriend’s wife is having her own affair, Amaya spends hours trying to catch her in the act.  After attending their friend Elise’s (Brooklyn Sandou) New Year’s Eve wedding, the trio decides that they’ve had enough, and they take their romantic lives in their own hands. Unsurprisingly, their plans do not go accordingly.

Admittedly, a great deal of the film is comprised of Lifetime's trademark cheesy clichés (poor choices made by these women, the usual rom-com high jinks, etc), which you're either already with (especially if you're a regular Lifetime viewer), or are not. There are dream sequences, for example, that simply don't work, and the movie would've been better off without.

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Interview: Director Nzingha Stewart on How 'With This Ring' Is Different + Much More

Nzingha Stewart is a writer director based in Los Angeles, California. Her latest work "With This Ring," is about three single friends who vow to get married within a year.

Stewart recently spoke with Shadow and Act about the film as well as an exciting upcoming project.

Aramide Tinubu: How did you come across Deneane Millner’s book “The Vow”? Were you looking specifically for a story about single Black women looking for love?

Nzingha Stewart: None of the above. Gabrielle Union and I were introduced by Brian White who is actually in the movie, and we hit it off famously and became really good friends. She had the rights to the book and knew the author really well.  And because I’m a writer and director, she was like take a look at this and see if you can come up with something.  We really haven’t had a kind of Waiting to Exhale, with really fun Black women who are beautiful and their world is great to look at. They’re not like pulling out weaves. It’s just a fun, great, sisterhood movie. And I was like; I would love to do that. I would love to do something with beautiful Black women who love each other and have each other’s backs and their drama is in other places.

Aramide Tinubu: Recent films like "Jumping the Broom" (2011) "Think Like A Man" (2012) and "Baggage Claim" (2013) deal with similar romantic issues for Black Women. How is "With This Ring" different?

Nzingha Stewart: I think it actually starts with the intention. At the very beginning of the movie, I think that our intention wasn’t let’s just make a movie with Black women; they’ll show up. It wasn’t that at all.  I think people think this is a movie with a “you’ve got to get married theme”, and it’s actually the opposite. For me, I felt like there were so many times I would invite friends on a trip, like let’s go to Paris or let’s go to Budapest. And they would be like yeah, that’s a really romantic city I’m going to wait until I can go with my husband. And it’s like well; you don’t even have a boyfriend. Aramide Tinubu: You’ll be waiting forever. Nzingha Stewart: Right, you’re going to be waiting for a minute. And just the idea that so many people, I do it myself sometimes with my career, [think], I’m not going to be super happy until I’m here.  I have to catch myself and think well, what if that takes ten years? Am I just going to blow off this gift that the universe has given me of the next ten years and not be happy, and not feel fulfilled. Or, when I‘m doing something that’s fun, I’m occupied mentally with how do I get to this place?  I really was like we’ve got to stop that. We’ve got to stop waiting on the relationship to fulfill us or the career achievement, or the house or the money, or when something else in the future happens. We’ve really got to realize, this is our life and we’re blowing it. We are missing it. And so, the intention was so pure that I really want to get this across to Black women and I think it’s different in that way. I don’t know what the intentions of the other movies were, or what the thought process was. But I can tell you between Gabrielle and me, it was not let’s just get a movie made or, we bet Black women will like this. It was like let’s create something for people that we love, which are other Black women. Let’s kind of support them in remembering, happiness is a choice and don’t wait. Don’t do that to yourself.

Aramide Tinubu: What do you think about the statistic that 49% of Black women will never get married? Do you think that the media has exacerbated the statistic and put more stress on Black women?

Nzingha Stewart: I think the media definitely does it but I think more than the media, we do it to ourselves.  I cannot go home for Christmas dinner and someone not say, “Why aren’t you married yet?” Or, “When are you going to get married?” That’s not CNN in my house, that’s my aunties.  And sometimes I just screw with them and I’m like, “Well obviously there is something wrong with me, maybe if I didn’t have hoven feet somebody might like me.”  It’s because it’s so ridiculous to say that.  I do think obviously it’s a number game and those aren’t insane misperceptions. Maybe it’s a little bit better like forty percent won’t get married. But there is some truth to the fact that statistically its just not happening. So in knowing that, what if it never happens? Are you just not going to be happy with your life? And I ask myself that everyday about something. Whether it’s some projects I’m waiting to hear about, or some project that I want to see happen. I sort of just sit with the reality of, so what if this doesn’t happen? What if this is it? What if this is my life forever? Am I just not going to be happy? And then I’ll say of course not, I gotta live.  And I realize when I decide that if everything stays just exactly the way that it is, I can be happy like this. The universe will be like, let me give you everything else you ask for too. Then it’s a weird cycle, when you are in a good place, doors start opening and that has always been the truth.

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Review: Lifetime's Angela Bassett-Directed 'Whitney' is Surprisingly Fresh

Admittedly, I was skeptical when I heard that Angela Bassett would be directing a film about Whitney Houston’s life for Lifetime. Ms. Bassett knew Whitney personally, having worked with her in "Waiting to Exhale" (1995), and her husband Courtney B. Vance, also worked with Whitney on the film "The Preacher’s Wife" (1996).  Perhaps it was because of this friendship and reverence for the star that allowed Ms. Bassett to make the, surprisingly, honest, passionate, and well-done "Whitney."

Instead of a biography of Ms. Houston’s entire career and life, Ms. Bassett chose to focus on her passionate, obsessive and often tumultuous relationship with her then husband Bobby Brown.  The film follows the duo from their initial meeting at the 1989 Soul Train Awards, through the end of her "The Bodyguard" tour.

Yaya DaCosta as Whitney Houston paints a portrait of a loving and beautiful woman struggling to remain present as her status as an icon swiftly overwhelms her.  Whitney was clearly a woman who struggled, as many of us do, with the duality of the desires of her head and her heart. Relative newcomer Arlen Escarpeta, while in no way favoring Bobby Brown, portrays a man in love, but still very much a product of his environment, which is evidenced by his wild ways. Only twenty years old when they initially meet, Bobby wrestles with his own demons, as he faces a career stalemate, and Whitney’s continues to soar expeditiously.

As the film tells us, at the height of their fame when they are first introduced to one another, Whitney and Bobby quickly embark on a romantic and erotic relationship. The film was especially sexy, highlighting the fact that, despite their trials and tribulations, the pair was always consumed with one another. Outside pregnancies, a miscarriage, the pressures of work, as well as drug and alcohol abuse, heighten the tension between the pair, until it seemed they could no longer function together or apart. As time wore on, their love became toxic.

After shooting "The Bodyguard" (1992) and giving birth to her daughter Bobbi Kristina, Houston desperately wanted to set her public life aside for a moment, to be a wife and mother. Houston was exceedingly aware of her public perception. She was concerned all along that her involvement with Brown would bring a lot of scrutiny to her image and life choices.

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Chris Rock & Cast of 'Top Five' on Influences, Writer-Director-Actor Experience, Improv, Industry Fears + More

At a recent press junket, Shadow and Act was present as the cast of "Top Five" spoke about the film, and their experiences with Chris Rock as the writer-director and star of the film.

Here are some of the highlights:

Chris Rock (Writer/Director/ Andre Allen), Rosario Dawson (Chelsea Brown), Ben Vereen (Carl Allen), J.B. Smoove (Silk), Gabrielle Union (Erica Long), Sherri Shepherd (Vanessa).

"Top Five" vs. Chris Rock’s Stand-Up

Chris Rock: I made this movie just like my stand-up. I use to have a movie process and a stand-up process. I use to say, these are the jokes for the movie and then I’d have a whole other file for stand-up. Not this one. I feel like I put it all together. I work-shopped it a long time; like I do with my stand-up. I treated it just like my stand-up. That was kind of the goal, to get a movie that felt just like my stand-up. [A movie] that kind of went all over the place…and could be all about relationships and have a political component to it also.

On the editing process

Chris Rock: That’s one of the big differences between this movie and other movies I’ve done. I treated the editing like it was writing again. It was, ok, yes we have all of this footage but it doesn’t matter. Let’s make music, let’s do something different.

Films that influenced "Top Five"

Chris Rock: You know Woody (Allen) has been known to jump around. (Quentin) Tarantino has been known to stop a movie in the middle, and cut back to that scene an hour later or whatever.

On working with Chris Rock and having a role in "Top Five"

Sherri Shepherd: You know this was like being at the Pancake House to order my food.

J.B. Smoove: There is no Chris approached me about the project because whatever Chris the hell does, he better put my ass in it. When Chris calls you about doing a project you say, what is it? He’ll tell you what it is, he’ll tell you what he wants from you. Typically when someone calls J.B. they want the over the top J.B. But this shows this man’s growth and what he wants from a particular project. I didn’t have to play the over-the-top crazy J.B. I got to be in his character’s corner because I had his back. You can’t have two over the top people they cancel each other out. So I’m happy that I had a chance to play a role that this guy wanted me to play, and he helped me because now my range has just increased. It was amazing to have the opportunity to work with the man.

Sherri Shepherd: Can I say one thing though, because I got my pancake order? In my scene where it was a bunch of comics, it’s very hard to corral a bunch of comics. I had to give it to Chris because he was able to let everybody have a certain amount of freedom and then corral everybody back, and that’s a hard thing to do. He’s very intensely focused on the directing aspect of it, so that was a surprise; because you know when you work with Chris doing stand-up…he’s very focused and he knows what he wants. It was an awesome experience.

Ben Vereen’s involvement in "Top Five"

Ben Vereen: I’ve known of Chris a long time and I’ve always wanted to work with him, and I don’t think he knew that. I found out that he was doing this film and I read for it.

Chris Rock: You met for it

Ben Vereen: Ok, we met for it and we read for the part. And for me, playing his father, I had to go to a certain place because this guy was really dysfunctional. And I remember the first day I came on the set, in my mind, he was a little bit too dressed up. And so Chris and I began to break him down, and we broke him down, and broke him down and he became this guy. And what’s so wonderful about Chris is that he allows the artist to find the character within there and with boundaries. It’s like almost being a Michelangelo.

An atypical “Chris Rock Film” with a relationship at its core.

Chris Rock: I knew the relationship would be the heart of the movie. As far as edgy, I knew that I wanted to do what I do and not have it so filtered down. And I thought I had a decent idea. That’s why I went to Scott (Rudin). I’ve been writing movies for years and I’ve never had the balls to go to [Scott] with anything else. So I thought I kind of had something and was in a good headspace to pull it off.

Freedom and improv in the film

Gabrielle Union: In the moment he said we have it; we have what I wrote, let’s just play. Let’s see where the scene takes us; where the moment takes us. He gave us his script, he gave us his baby, and he wasn’t like my baby is perfect, I’ve got the most genius baby. He wasn’t saying I’ve got the next Schindler’s List. He’s saying I want to get there, please give me real feedback… I didn’t assemble a bunch of people just to kiss my ass. It was amazing; it was let’s all work together, and please give me real notes so that I can create magic. And he started that way and he continued the whole process that way.

Sherri Shepherd: I know I found with Rosario and myself, [Chris] did what was on the script and then [he] kept going and you kept going. And you’re like is he going to say cut at any point? And he let you go and go and go. And that’s where you found that magic.

Rosario Dawson: Especially that one scene where you see me when we first walk in, and you give me that look.

Sherri Shepherd: Oh because, I didn’t know who you were, I was planning on getting with Chris.

Rosario Dawson: I remember we were working on it and I go, did you see that look she gave me? And I’m like that’s the look; we feel that look. I kept calling [Chris] a conductor. He had all of these different people, and it can be noise or it can be music. You can put it together and have all of these incredible people together, but it might not work. Just because you have that much talent doesn’t mean it’s going to be watchable. I thought that was something that was really remarkable. He did that, but he was different with everyone. Every single person that came on set every single day; there was something slightly different he would give them. It was amazing. He just knew what everybody’s sweet spot was, which is something that I really appreciate. Tarantino…I think he’s done that so brilliantly in his career. He would get people we hadn’t seen in a really long time and he would get them to do the exact thing that he wanted them to do. You saw them onscreen and you’d say this is amazing, and it’s still felt fresh and new and original. It wasn’t manipulative. It was just creating the perfect space for people to fill, and I thought that was something that was really remarkable. Being there throughout so much of that movie because my character is sort of that fly on the wall. It was so interesting watching how that went and it really felt like he was a conductor. It was really beautiful.

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'Scandal' Winter Finale Recap: "Where the Sun Don’t Shine"

Jake and Fitz are still at each other’s throats and Papa Pope is in the wind. Fitz has sent all of his man power after Rowan, but to no avail. Instead of finding Big Pappa, they find Olivia’s Mama who Rowan had said he killed. (We all know that he didn't kill her, apparently he's obsessed with her, visiting her every day.)

Mama Pope seems crazed and deranged as usual. Either she’s lost her mind from living in that death hole for so long, or she actually doesn't think that Liv is on to her and her conniving ways. But oh, Olivia is most certainly on. She orders her boys to charge her mother with murder, terrorism and treason, and then she tells them to hunt down her father and kill him.  Clearly someone is not trying to play nicely with her makers.

Liv isn’t the only one whose world is crumbling. Huck and Quinn go after Javi after he witnesses them kill Dan Kubiak. The boy is obviously traumatized, and Huck’s ex-wife is enraged that Huck has been in contact with the boy after she explicitly told him to leave them alone. It's not looking like Huck is ever going to have a relationship with his child; perhaps he should have listened to Liv when she tried to reason with him. (Shonda just let Huck be great.)

Back at 1600 Pennsylvania Fitz is trying to figure out what to do about Angola. He wants retaliate for the attack because doesn’t want to seem weak. However, Fitz really doesn't have the heart for a war.
After cleaning up the mess, Quinn tells Liv about the twisted triangle of Kubiak, Lizzie Bear and VP Andrew Nichols (I really miss Sally Langston, she was a terrifying delight). Liv has barely hung up the phone when Lizzie marches her self-righteous self into OPA to tell Liv she knows was Cyrus Beene bugging her phone, and not the virus that Liv told her it was. Ms. Girl is not happy that she's been lied to, and she basically lets a Liv know that she will destroying Cyrus.

Liv rushes off to the White House to tell Cyrus that ish is gonna hit the fan, but it's already much too late. Liv can barely finish her sentence when Abby rushes in saying The Times has been asking her about sexy pictures with Cyrus in them.

On the defensive, Liv briefs the President's inner circle about Cyrus and Male Escort Michael. She also lets it be known that VP Andrew is screwing Lizzie; tragically poor Mellie is caught surprise. (She really thought her and Blandrew had a sweet thing…smh.)

The press is having a field day, a Republic Chief of Staff is having a tawdry affair with a hooker “Chief of Staffs” one headline reads.   At first the White House tries to stall, but then David Rosen gets wind of what's happening which means congressional hearing and resignations.  (Why must David always be the white hat wearing tattle tell? He has got to start wearing more black.)

Basically all of this is unacceptable. We all know we can’t have Fitz in the White House without Cyrus, and I suppose Fitz realizes this as well because he tells Liv to fight for Cyrus. Liv’s big plan… “Pretty Woman: 2014 edition", she wants Michael and Cyrus to get married. (Basically Cyrus would “own” Michael as opposed to “renting” him. There are all types of gag orders, prenups and contracts at play.) Michael says yes (obviously he's set for life, the man gets something like a million a year for 3 years.) Cyrus however is not here for it.  He calls it “cruel and unfair.” (I'm not sure why he's pissed at Michael, he knew he was for sale so what did he expect.)

Jake has finally been let out of his cage and he's in the streets trying to track down Rowan. He can't seem to figure out how their failed capture of commanded went wrong.  But, Jake isn’t the only one on the hunt, someone is after him as well.

Jake figures out that Rowan is trying to tie up loose ends, which means that he’s killing everyone that was every involved in B613. Quinn, Huck and Charlie are all at risk. Quinn tries to be nice and warn Charlie, which results in a hot and heavy tumble in the sheets. (I really don’t see it for Charlie and Quinn is so disturbing.)

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xoxoxox Chocolate Girl in the City xoxoxoxo

Film Review|| The Hunger Games: Mockingjay, Part 1

The third film of the wildly popular franchise, "The Hunger Games: Mockingjay, Part 1" has a dark and ferocious tone, making it increasingly explosive. As the franchise has matured, so has its subject matter. The narrative is no longer about a girl who stood up for her little sister, but instead about a young woman who stood against a tyrannical government and its leader.

Rescued from the horrors of the Quarter Quell, the film opens, with Katniss Everdeen (Jennifer Lawrence) in District 13, a world she'd previously thought destroyed by President Snow (Donald Sutherland) and the Capitol. And yet, despite being forced into hiding, District 13 and its citizens have not only survived, but thrived. It’s a well-ordered society; led brilliantly and meticulously by President Alma Coin (Julianne Moore). Without excess or frivolity, District 13 contrasts sharply with the over-saturated colors and superfluous settings of the Capitol.

So unlike the lush greenery and vast wildlife that we've grown accustomed to seeing in the previous films, District 13 is gray and muted. The rigid order of living underground, along with the confining walls and tunnels of District 13 provide the perfect prison-like backdrop for Katniss’ uncertainty and uneasiness.

As Katniss battles with her ongoing depression, she finds herself unable to connect with those around her. She is constantly at the very edge of her sanity, unsure about her decisions and those of the people surrounding her; especially without Peeta (Josh Hutcherson) who has been a constant presence in her life since the beginning of The Games. Katniss’ sister, Primrose (Willow Shields) is the only one that seems to be able to breakthrough to her. Realizing that Katniss is in the position to make requests, since District 13 is counting on her to become the Mockingjay, Primrose convinces her to demand that Peeta be rescued from the Capitol.

This film is not at all the action-packed thriller that we’ve become accustomed to in this franchise. Instead, it’s a slow progression; a psychological analysis of Katniss as she struggles to become the symbol of a revolution. Continually mistrusting of those around her, terrorized by President Snow, and manipulated by President Coin, Katniss is obviously a pawn in a much larger game; one she is not sure that she’s willing to play any longer. The residents of District 13 are unsure of what to make of her. President Coin’s right hand man, Boggs (Mahershala Ali) is skeptical of Katniss immediately, and remains uncertain that she is the right person to lead the revolution. Torn between her conscience and the people of Panem, Katniss also finds herself stuck between her best friend Gale (Liam Hemsworth) and the boy she’s grown to love, Peeta.

Director Francis Lawrence, beautifully constructs a war film around a major facet of war and revolution: propaganda. After all, how are leaders of revolution born, if not for the way in which they captivate and mobilize their followers?

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Interview|| Mahershala Ali Talks 'Hunger Games,' 'House of Cards,' Dream Role, Race in the Industry

In "The Hunger Games: Mockingjay, Part 1," Mahershala Ali plays Boggs. He is introduced to us as President Coin’s (Julianne Moore) right hand man. After Katniss (Jennifer Lawrence) assumes the role of the Mockingjay, Boggs becomes her personal bodyguard.
At a recent junket for the film, we spoke with Ali about working on the project, "House of Cards," his dream role, and race in the film and television industry.

Aramide Tinubu: First, I’d like to say congratulations on all of your success.  I’ve been watching "House of Cards" and I’m obsessed with "The Hunger Games," like the majority of America.  I’d like to start off by asking how you prepared to become Boggs. At the 2013 Emmy’s, you spoke about working to truly understand the characters that you portray. Boggs has always lived underground. How did you prepare to become him?

Mahershala Ali: One of the first things I wanted to do was change how I felt in my body. I couldn’t change my look because I was finishing up "House of Cards," so I couldn’t grow out a beard, or grow hair or anything like that; which I would have ideally loved to do. It felt appropriate for the character at the time. So, the best thing I could do was begin to lift weights a little. I had worked on slimming down in the last couple of years just to be able to look like a businessman in a suit for "House of Cards." So now, I wanted to feel a little bit more present and just different in my body, so I picked up like five to seven pounds, so I was working out quite a bit. And then, going to work, I kind of just changed the environment for myself, sonically. There were a couple of albums I would listen to in my trailer to put me in the headspace of District 13.  So I was listening to this Method Man album "Tical," which came out in like ’94 or ’95.  It just sounded appropriate for the piece it sounded like "District 13" to me; in that time, and in this building rebellion.  So then I just build. The work that I do with all of my characters is have some sense of where they come from.  I kind of create my own story for myself. What’s going on with my parents, are they alive?  Or family, do I have children?  Do you see those things or not? All the mental work that I have to do to be present and give off a sense of truth that can connect with the audience.

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Scandal Season 4, Episode 8: Thou Shall Not Forsake Thy Father

I would like to start of by saying that by the end of this episode my stomach was bubbling in fear. I was NOT prepared for went down!!!

The episode picks up right where last week’s dropped off. Now that Tom has admitted that Rowan was the one who ordered him to kill Gerry; Olivia, Fitz and Jake are in a bunker somewhere in the depths of DC discussing strategy.

Unfortunately, because Jake and Fitz refuse to be adults we must contend with this long drawn out pissing contest.  Jake is not happy. He tells Fitzy to call him Captain Ballard and he lets him know he won’t soon forget the poor treatment he received at his hand, especially since Fitz knew he had nothing to do with Gerry’s death. Jake is desperate to kill Rowan and he wants Liv to allow him to do it. Instead, Fitz and Liv are pushing to prosecute Rowan in a secret investigation and trial, which we all know isn’t going to work. Realizing that his freedom is tentative, especially because he’s stuck in a bunker, Jake finally let’s them know about the B613 files that he’s been holding on to.

Back above ground, Lizzie Bear has sought out Olivia and the Gladiators because she thinks her phone is being bugged. Though Liv doesn’t particularly care for Elizabeth, she respects her and agrees to take her on as a client. Huck tries to figure out whose been hacking Lizzie’s phone, while poor Quinn is bored to tears staking out Dan Kubiak.

Meanwhile, Vice President Andrew is nearly blown to bits upon leaving a speech condemning the West Angola liberation front.  Though he isn’t hurt badly in the attack, Cyrus is distraught knowing that his relationship with Male Escort Michael may have led to the compromise in national safety. He looked like he was barely keeping it together.

Despite their last terrifying encounter, Papa Pope is still trying to force Olivia to have a relationship with him. He tells her, “I will always be there waiting for you.” (Quite honestly, I don’t know why she picked up the phone in the first place, especially since he began referring to her vagina as a “spoil” YUCK.)

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xoxox Chocolate Girl in the City xoxoxo

'Scandal' Season 4, Episode 7 Recap: Yahtzee!

Ever since Liv told him that there was “hope”, Fitz has been trying to get back into her good favor. He’s taken to calling her again in the late hours of the night, serving her with his best dirty talk. Olivia isn’t having it AT ALL, she doesn’t want to speak with Fitz about anything other than Jake’s well-being. Until, Fitz can give her further information, there will be no hope at all. (Of course, Fitz is sloppy and about as discreet as a neon sign, so Mellie catches him on the phone with Liv.)
After discovering, that someone has been following Liv,  Quinn goes to confront, Jeremy Winslow, the husband of her friend Catherine who is currently in jail after being framed for her daughter’s murder. Quinn doesn’t get much out of him, he simply warns her that no one can stop what’s coming. He subsequently shoots himself in the head.

It’s a new day, which means there is a new scandal in Washington. It seems that Virginia senator Lewis McDonald enjoys engaging in paraphilic infantilism; diaper included.  He promptly resigns his seat, which leaves Fitz to endorse another candidate. Because she’s still outside of the president’s circle, Abby is blind sighted when she’s told at the press conference that the candidate is Charles “Chip” Putney. Chip is Abby’s ex-husband who liked to use her face as his own personal punching bag during their marriage. (I felt so terrible for Abby. I thought that with the information she gave Cyrus last week, he would have at least thrown her a bone every now and then.) The White House’s new “fixer, our favorite Leo Burgen, is backing Chip’s candidacy.

Meanwhile at OPA, Huck is still playing video games with his son. The boy invites him to an arcade to play in person.  Olivia seems to be spiraling out of control, determined to get into super max prison, she’s frantically calling David Rosen who refuses to answer her phone calls.

At 1600 Pennsylvania, Abby enters the Oval Office to speak with Fitz only to see Chip standing there. She’s cool, calm and collected. Abby smiles at Chip and tells everyone that they used to be married. On the way back to her office she vomits on herself and calls Olivia to bring her another dress.  Abby tries to convince Liv that it’s ok and that she can handle his presence once again in her life. Liv isn’t having it. She tells Abby it’s “NOT” ok and she’s determined that Chip will not win his seat on the senate.

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xoxoxo Chocolate Girl in the City xoxoxoxo