Interview: Pooch Hall On TV One's 'Media' & Playing A Certain Type Of Villain

In the upcoming TV One film, “Media,” Pooch Hall stars as Clay Jones, the eldest son, and CEO of Jones Universal Media Properties (JUMP). Hot-headed and determined to succeed at any cost, Clay attempts to keep a tight reign on his family’s empire in the midst of his mother’s; founder Jackie Jones (Penny Johnson Jerald) interventions as well as his siblings’ various indiscretions that lead to revenge, betrayal and a devastating tragedy. Brian White, Chrystee Pharris, Blue Kimble, Gary Dourdan, Stephen Bishop and Finesse Mitchell also star.

Produced my media mogul and Radio One founder Cathy Hughes, “Media” provides an inside look into just how ruthless family-owned business can be. I recently spoke with Pooch Hall about the upcoming TV One film which is also serving as a backdoor pilot for a potential series. We spoke about the film’s parallels to “The Godfather” trilogy, playing a particular type of villain and what he has coming up next.

Aramide Tinubu: Hi Pooch, how are you?

Pooch Hall: I’m pretty good sweetheart, and yourself?

AT: I’m great, thank you. I really appreciate you taking the time to speak with me today about “Media.”

PH: Oh sure, of course.

AT: Clay Jones is a very different character than Derwin from “The Game” or even Daryll from “Ray Donovan.” He’s quite unlike anyone you’ve ever played before; he’s very brutal and manipulative. How did you prepare for this role?

PH: It was really getting familiar with the material for one. And, I recognized the family dynamic because it felt so similar to “The Godfather.” I watched “The Godfather,” studied Sonny, and I recognized some of those elements in my character. I just really looked at that film and saw Sonny’s confidence and lack of fear as the eldest son, and I just tried to do my character justice as far making him believable and entertaining and having layers. Anyone can play a bad guy or a tough guy, but if it’s not believable, then no one is going to buy it. I’m also extremely family oriented, and I have brothers and sisters, so I just took from that.

AT: Certainly! Why did you decide to join the cast of “Media?” What was it about this project aside from those references to “The Godfather” that made you want to be a part of it?

PH: I’m a big fan of Mrs. Cathy Hughes and her story of starting from the bottom and working her way up; just seeing a strong Black woman in our community. When I first heard about this project I just thought, “Wow, this is so interesting.” I knew all of the work she’d put in because of her reputation so; I got the script, I read it and liked it. The role was something very different for me. That’s what really attracted me to the project.

Continue reading at Shadow and Act.

MONTREAL INTERNATIONAL BLACK FILM FESTIVAL REVIEW: DR. ANGELOU BARES HER SOUL IN ‘MAYA ANGELOU: AND STILL I RISE’

Martin Luther King Jr. was shot dead on Dr. Maya Angelou’s 40th birthday. It was her friend Jimmy, or James Baldwin as we know and revere him, that pulled the late writer out of her devastated stupor, dragging her to a party and encouraging to tell her personal truth through the written word. Those words became her critically acclaimed autobiography, “I Know Why The Caged Bird Sings.” It was a book that would forever change the landscape of American literature, redefining what was acceptable for Black women to talk about publically. Two and a half decades later, Dr. Angelou extended that simple act of kindness when she comforted a young artist on a film set. This young man was in turmoil, nearly suffocating to death under a rage that he could not contain; we knew him as the great Tupac Shakur.

I was born during the final three decades of Dr. Angelou’s life. As such, she has always been familiar to me, her poems and books readily available; her words at once recognizable and irreproachable. She was this regal figure in many ways; a heroine for a girl born at the tail end of the 20th century. Dr. Angelou was, as director John Singleton called her, “a redwood tree, with deep roots in American culture.” Like her friend James Baldwin, she had a deep and innate understanding of Blackness and what it meant to be Black, not just in America but across the globe. And yet, it was not just her understanding of Black life that made her so prolific; she also understood Black womanhood in a way that spoke and continually speaks to the Black female soul.

Directors Rita Coburn Whack and Bob Hercules’ expansive documentary, “Maya Angelou: And Still I Rise” guides audiences from Dr. Angelou’s very humble beginnings to the final days of her astounding life. The film doesn’t just tell her story, but it shows in great detail how history, cultural events and particular moments significantly affected Dr. Angelou’s world view while galvanizing the activist within her.

Continue reading at Shadow and Act.

Urbanworld First Look: ‘Shots Fired’ Is a Gripping Commentary About the State of Our Nation

 

Every other week it seems, I awake to news that another unarmed Black person has been slaughtered by law enforcement. Whether it’s a teenager turning his back, a young mother clutching her small child, or a man waiting with his stalled vehicle, the narrative has become a horrific cycle of death, videos and no repercussions for the police. This death and violence are a part of America’s framework, and it’s always been here, it’s simply more visible in the age of advanced technology and social media.

Visionary storytellers Reggie Rock Bythewood and Gina Prince-Bythewood have decided to combine the art of storytelling and activism in order to say something about the state of our very broken country. In a ten-hour miniseries event that for the couple was inspired by their sons, Fox’s “Shots Fired” goes well beyond a hashtag. The gripping story which stars Sanaa Lathan (“Love & Basketball”), Tristan Wilds (“The Wire”), and Stephan James (“Selma”), flips the usual narrative on its head. Wilds stars as Deputy Joshua Beck, a Black police officer who kills an unarmed white college student, and is now being deeply scrutinized in the national media and in his North Carolina small town. Further exacerbating the situation is the fact the Beck is the sole Black officer on the police force.

Continue reading at Shadow and Act.

Review: ‘Suicide Squad’ Is Vibrantly Dull

When I first began seeing promo materials for “Suicide Squad,” whether on subway platforms or splashed across my TV screen, I was struck by the vibrant, in-your-face nature of the trailers and posters. It was riveting in a way that films rarely are. Warner Bros. seemed to be ripping this story straight from the pages of their beloved DC comic books, bringing the infamous Task Force X to life through stunning pop-up art and vibrant letters. A highly-anticipated film, with a diverse and star-studded cast, the villain riddled “Suicide Squad” got me all the way into the theater, only to abruptly leave me hanging a mere twenty minutes into the film.

Written and directed by “Training Day” scribe David Ayer, the story opens shortly after the events of “Batman v. Superman: Dawn of Justice” (which I called aggressively overblown, but fun to watch). Government Agent Amanda Waller, (who is played ferociously by Viola Davis) has managed to round up some of the worst criminals in society. Holding them hostage at a Black Ops site, Waller hopes to manipulate them into becoming a team of super villains. It is her hope that this team will help serve her in taking other meta-humans and evildoers down.

So who are these mega villains? There is a motley crew, which is where I think the film began to trip over itself. Along with Davis’ Waller, the main cast consists of Will Smith as the assassin Deadshot, Margot Robbie and Jared Leto as Harley Quinn and The Joker respectively, Joel Kinnaman and Cara Delevingne star as Rick Flag and Enchantress, and rounding out the supporting cast is Australian actor Jai Courtney as Boomerang, Jay Hernandez as El Diablo, British-Nigerian actor Adewale Akinnuoye-Agbaj as Killer Croc, Adam Beach as Slipnot and Karen Fukuhara in her first ever film appearance as Katana. With a cast bursting at the seams, there was little room left for poignant storylines and a well thought out trajectory. Furthermore, the gaps in acting ability were glaringly obvious. When juxtaposed with heavyweights like Davis, Smith, Leto and even Margot Robbie’s topsy-turvy Harley Quinn, Delevingne and Kinnaman’s performances as star crossed lovers felt false, and fell flat.

Continue reading at Shadow and Act.

Image: Warner Bros.

Review: ‘Central Intelligence’ Is Quintessentially Kevin Hart

Everyone remembers high school. Whether you had the time of your life, or you were counting down the days until graduation, those four years made some sort of impact on your journey into adulthood. Personally, I look back and thank God for contact lenses, Shea butter, and a bit more wisdom. Still, for me, high school wasn’t all that bad. But, no matter what your experience, “Central Intelligence” reminds us just how horrific or glorious those high school days might have been.

From “Get Hard” with Will Ferrell to “Ride Along” and “Ride Along 2” with Ice Cube, Kevin Hart has mastered the buddy comedy genre as of late. In “Central Intelligence”, he stars as the complacent accountant, Calvin Joyner, who misses his glorious high school days. Calvin finds himself reluctantly pulled into a CIA plot when he reconnects with the most humiliated nerd from high school, Bob Stone. Playing the once overweight nerd turned Hercules, Dwayne “The Rock” Johnson stars as Hart’s hunkier counterpart who gets him swept away in an adventure of a lifetime. After being unwittingly roped into Bob’s world of espionage and shootouts, Calvin is shocked out of his near comatose existence.

There’s nothing new in “Central Intelligence”. We’ve all seen this movie before. You can almost time Hart’s comedic beats at this point, and the plot of the film runs pretty much in the same vein as any other buddy action comedy. A duo with opposing personalities hook up in order to solve a crime. Along the way, they find that they must learn to work together, or get defeated by the enemy. “Central Intelligence” in no way brilliantly transforms or breaks the mold for the genre. In fact, the shootout scenes in the film were unsettling for me considering the horrific tragedy that occurred in Orlando not even a week ago.

Still, despite the generic formula, a few things stood out. The Rock’s transformation into nerdy highschooler Robbie Weirdicht is CGI gold.  Unfortunately, much of that spectacular opening sequence has been revealed in the film’s trailers. And while I appreciated the narrative allowing the adult Bob to cling to his love for fanny packs, unicorns, and John Hughes films, this character simply isn’t all that convincing on a towering figure like The Rock.

Speaking of towering figures, the physicality in the film is striking to watch. While the stunts are amusing, The Rock’s huge physique dwarfing Kevin Hart’s more compact frame makes the action sequences even more hilarious. The stark contrast got me wondering about how the cameramen maneuvered around the twelve-inch height difference between the actors.

Continue reading at Shadow and Act.

Image: Warner Bros.

Tribeca Review: ‘Kicks’ Is a Gripping 21st century Tale About Inner City Masculinity, Violence & the Lust for Shiny Things

When you're fifteen years old, the desire to fit in can be overwhelming. For some of us, if we're lucky, that carnal need to seek out the opinions of others fades slowly as we move further and further into adulthood. However, in adolescence, that thirst for approval is often tied to brand name material objects. For 15-year-old Brandon in Justin Tipping’s debut film "Kicks" that material object is a pair of black and red Jordan sneakers; the originals.

Told with sweeping and surrealist cinematography that paints the picture of a practically glittering Bay Area, “Kicks” follows the idealistic but scrawny Brandon, who believes that acquiring these retro J’s will enable him to fit in with his friends and peers. Instead, he rocks some shredded (once white) Air Force Ones from his middle school days. (When I was growing up, we called shoes likes these biscuits.) Painfully shy, Brandon exists almost on the outskirts of his friend group. He’s content to sit on the sidelines while his homeboys flirt with girls and run up and down the sun draped basketball court. Fed up with being the underdog and with his lack of shoe game, Brandon scrapes together some money for the once unattainable J's, which he purchases from the back of Crazy Daryl's van. The new kicks are life changing. Brandon suddenly becomes wrapped in a feeling of euphoria, where nothing feels out of reach for him. Unfortunately, his joy is short-lived as he’s soon jumped by a gangster named Flocko and his crew; the fresh sneaks ripped cruelly from his feet.

The duration of the film follows Brandon's desperate quest to recapture not only his sneakers, but also his perceived masculinity. Dragging along his best friends - ladies man Rico and self-proclaimed R&B singer Albert - Brandon travels from the Bay to Oakland dragging his cousins and his fresh-out-of-prison Uncle Marlon (Mahershala Ali) along on his dangerous adventure. As Brandon barrels forward blindly on his journey to be reunited with his Js, he’s confronted with the fact that all actions have consequences; a concept that often seems like an afterthought during our teenage years. Furthermore, the audience learns that Flocko has his own complex motivations for his volatile behavior.

Continue reading at Shadow and Act.

Image: Kicks

Review: 'Triple 9' Would Be a Typical Heist Film, But It’s Stand-Out Performances & Tantalizing Twists Give It Much More Depth

Walking home once, I stopped in my tracks and watched dozens of cop cars and emergency vehicles come racing down the streets; sirens ablaze. In New York City, and certainly in my neighborhood, siren sounds aren’t a rarity. However, what stopped me that day was the sheer number of cars zooming to their destination. The experience was so jarring, that it shocked me into a standstill.

Evidently, in many counties when a cop is shot, the code ‘999’ is called in; the results are what I witnessed on that fateful day.  Fellow cops were racing to help their distressed comrade. John Hillcoat’s fast-paced heist film ‘Triple 9” gave me that exact feeling. It is a film that not only encompasses the anticipation of looking at something exciting, but also (at times) captures that paralyzing state of being left in the dust. Helmed by a powerhouse ensemble which includes, Chiwetel Ejiofor, Anthony Mackie, Casey Affleck, Aaron Paul, Norman Reedus, Woody Harrelson, and Kate Winslet, “Triple 9” is one of those rare thrillers that actually keeps you guessing until its gory end.

Set in Atlanta, Georgia, Hillcoat turned away from the city’s typically seen charms, and instead forces the audience to swallow its most gritty and prickly backdrops. ‘Triple 9’ follows a rag-tag group of criminals, led by Ejiofor’s Michael Atwood.  Atwood plays a weary former ops solider, who finds himself under the beck and call of the Russian-Israeli mob, which is led by Winslet’s conniving and ruthless Irina Vaslov. Michael’s group includes two dirty cops, Marcus Belmont (played by Anthony Mackie), Jorge Rodriguez (played by a masterful Clifton Collins Jr.), as well as the Welch brothers, Gabe (Aaron Paul) and Russell (Norman Reedus), who is also Michael’s best friend.

With such a robust cast, and a complex but often-muddled narrative, it took some time for me to get my bearings with what was actually occurring onscreen. At times, I felt as if I were watching two different films. As Michael and his partners try to pull off one last heist for Irina, we also get to know Detective Belmont’s (Mackie) new partner, Chris Allen (Casey Affleck), who's a little too “green” for his own good.  We also learn about his uncle/mentor Jeffrey Allen, a true crimes investigator and drunk, played to perfection by Woody Harrelson. Obviously, these two worlds don’t stay separate for long, especially when the heist crew decides they need to pull a ‘999’ in order to complete their final task and walk away from Irina and the Russian mob for good.

Continue reading at Shadow and Act.

Image: Triple 9/Open Road Films

‘Race’ Falls Just Short of a Gold Medal

Hollywood seems to pride itself on biopics of historical Black figures. Over the past several years, Jackie Robinson, James Brown and Bessie Smith’s stories have all gotten the film treatment. This year, it’s Olympic Gold medalist and track star Jesse Owens’ turn in the film “Race”.

During the Great Depression and the height of Hitler’s Nazi regime in Germany, Owens defied all odds. He was not only the fastest man in the world, but he also became the face of America at the Berlin Olympic Games in 1936. “Race”, which stars “Selma” actor Stephan James, is about Owens' incredible rise and unprecedented success.

Film studios often get biopics wrong because they present a glossy version of a person’s life. The settings are perfect, and though the story hits all of the major plot points in the figure’s life, they often lack authenticity. Even with a stunning performance by the film’s lead, as was the case with Chadwick Bosemen’s portrayal of James Brown in “Get On Up”, something typically lacking. The audience is left feeling as though they are viewing this person and their trials and tribulations behind a two-way mirror. Their life becomes spectacle, on display for 21st century moviegoers. Rarely does the audience feel as if they are moving through the journey with the character. One of the most recent exceptions was Jamie Foxx’s 2004 performance in “Ray”.

“Race”, while beautifully shot and helmed with some stellar performances, has that filmy layer of fabrication cast over it.  The sets are perfectly polished, even the ones set in Great Depression Ohio. Likewise, the acting (while fantastic) does not aid in grounding the audience in the time period.

Continue reading at Shadow and Act.

Image: Race/Focus Features

Review: Talented Actors Are Wasted in the Disappointing Thriller, 'The Perfect Guy'

As a young woman, I've always been hyper-aware of my surroundings and my personal space. Growing up on the South Side of Chicago, lessons in the importance of safety were constantly relayed to me. I was told to carry an extra $20 around with me at all times, walk with keys in hand, and to walk in middle of the street if it was dark and no one was around. Those lessons (passed down to me from my parents) have stuck with me into adulthood and I assume the same is true for most women who live in large cities. "The Perfect Guy" tells the story of Leah, who manages to forget all of the basic rules because she becomes single-mindedly fixated on the dream of a husband, kids, and a happily ever after.  Naturally because of this, disaster ensues.

The talented and stunning Sanaa Lathan plays Leah who breaks up with her boyfriend Dave (Morris Chestnut) when he is unwillingly to agree to the timeline she sets for marriage. Leah quickly falls into a steamy affair with a new guy Carter, played impeccably by Michael Ealy, who appears to be the total package even sharing Leah’s desire for marriage and a family. Not so surprisingly, Carter isn't quite the Prince Charming Leah thought he was. After displaying unfounded rage, which seemingly comes out of nowhere, Leah puts an end to their short affair. Of course, Carter doesn’t take too kindly to this, and he begins to rip her life apart piece by piece.

Though there are some good components in "The Perfect Guy," mainly due to the fact that Lathan portrays a successful, independent, Black woman who is apologetically in control of her body and sexuality, and Ealy who successfully captures the maniacal and psychopathic character of Carter, the film unfortunately falls flat. It seems too far-fetched that such a powerful woman would let down her guard entirely, and allow a total stranger complete access to her and her loved ones. Perhaps it would have been more realistic if Lathan’s character was desperate, but she didn’t come across that way at all.

Continue Reading at Shadow and Act.

Image: Screen Gems/ Sony Pictures

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.

Continue reading at Shadow and Act.

Image: "Straight Outta Compton" Film Poster

Review: 'Sneakerheadz' is a Love Letter to Sneaker Fanatics (In Theaters Friday, August 7)

Though I have never personally owned a pair of Air Jordan shoes, I once scoured all of the MAC Cosmetic stores in New York City for a limited edition Rihanna lipstick; so I understand the obsession with wanting a special product. Everyone has their vices and though sneakers aren’t mine, I appreciate the motivation that drives sneaker enthusiasts and collectors. “Sneakerheadz” is a film about desire, consumption, style and nostalgia. The documentary is a sneaker novice’s introduction into the world of sneaker culture that simultaneously pays homage to the sneakerheads of the world.

The film opens with the history of sneakers, which coincided with the growth of hip-hop, as well as a fascination with popular athletes. From RUN-DMC’s historic Adidas contract, to the debut of the first Air Jordans in 1984, sneakers have been a significant component of popular culture for quite some time. In order to give the audience a chronological timeline, “Sneaekerheadz” makes use of old commercials starring huge sports figures like Magic Johnson, as well as childhood photographs from street cultural figures, like Mike Epps and Frank the Butcher. The set up was reminiscent of Rick Famuyiwa’s opening sequence from 2002’s “Brown Sugar”, where hip-hop artists recounted how they fell in love with hip-hop.

Despite the numerous historical facts in the film, “Sneakerheadz” doesn’t get bogged down in the past; it stretches and expands (literally) across the globe. From California to Tokyo, the film gives its audience a glimpse into how urban street wear and sneaker culture has influenced many facets of the world. The film boats snippets of vast personal collections that number into the thousands, a glossary breakdown of words like “colorway” and “deadstock”, and it carefully immerses its viewers into an environment that can feel very perplexing to those of us who don’t have the same passion for sneakers.

Continue Reading at Shadow and Act.

Image: Sneakerheadz Film Poster

Review - Spike TV's Sword-and-Sandals Miniseries Entry 'Tut' Is 'Game of Thrones' Lite

I find it confounding and disheartening that Hollywood continues to refuse to use actors of African descent to portray citizens of Ancient Egypt. Spike TV’s new miniseries “Tut”, which follows the saga of King Tutankhamun (played by Canadian actor of British-Indian descent, Avan Jogia) during his rise to power, does not break the mold as I would have hoped. Though the casting was nowhere as abysmal as was the case in Ridley Scott’s “Exodus: Gods and Kings”, the use of actors of English, Indian and Mexican descent in prominent roles, did not sit well with me. As Spike TV’s first return to scripted programming, this three-night six-hour miniseries is a coming-of-age story about a boy who is remembered in history as one of the greatest Pharaohs the world has ever seen. King Tut came to power in 1332 BC at nine years old, and was forced to marry his sister in order to ensure a pure bloodline. As history tells us, boy-kings rarely have any true power, as is the case with Tut. For a decade, he is shielded from real politics and decision-making by his advisor Ay (Ben Kingsley), military leader General Horemheb (Nonso Anozie), and the High Priest Amun (Alexander Sidding).

Desperate to become a leader who refuses to hide in the shadows, King Tut comes into his own just as Egypt is on the verge of collapse. While his closest advisors have been plotting against him, a rival tribe - the Mitanni (who are portrayed by dark-skinned Black actors) - has conspired against Egypt, and a deadly plague is quickly approaching Thebes. Tut realizes that he must take control of his kingdom, even if that means turning against his advisors.

While I felt that the series' creators did themselves a disservice by neglecting to use more actors of African descent, especially in key roles, I wouldn't entirely dismiss the work.

If you’re a fan of HBO’s “Game of Thrones”, you’ll appreciate the power struggle between King Tut and the men (and women) who surrounded him, it’s very much in the same vein as the high council at King’s Landing. Like “GoT”, Spike TV’s “Tut” has epic battle scenes, sultry romances, and even an incestuous story line between Tut and his Sister/Queen Ankhe. As Tut begins to open his eyes (and ears) to the world around him, he becomes aware of the conspiracies against him, as well as his own inadequacies as a leader.

Continue reading at Shadow and Act.

Image: Tut/SpikeTV

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.

Continue reading at Shadow and Act.

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

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

ABFF 2015 Review: 'In My Father’s House' Is a Powerful Work on Family, Abuse and Fatherhood

Statistics say that 75% of Black children are born in single-family households, a number that has increased exponentially since the 1960s. Directors Annie Sundberg and Ricki Stern’s surprisingly bold documentary "In My Father’s House" follows Che ‘Rhymefest’ Smith as he embarks on a journey to find his absentee father, a man that he never knew. After buying the house that his father grew up in, Che is suddenly desperate to learn about the man who is responsible for his existence.

At first glance, the subject seems rather tiresome and cliché. Another Black man without a father, Che defied the odds and left behind his rough Chicago neighborhood and found major success in music. (He co-wrote “Jesus Walks” with Kanye West and “Glory” with Common and John Legend.) However, when Che finally does reconnect with his father, he finds him living on the street a few blocks from his home. Brian Tillman is a destitute man; he’s an alcoholic who has been living on the streets of Chicago for the past twenty years. And yet, despite his circumstances, Brian brings light humor and warmth to an otherwise devastating subject matter. He’s charismatic and extremely intelligent, but also somehow broken, either by the cycle of Black oppression or something equally as sinister.

A Chicago native, it was thrilling to see the real Chi-town on screen. The film showed neighborhoods and places that were familiar to me, it didn’t focus on the glitz and glam of downtown. The documentary felt authentic because it didn't smooth over the grit and ugliness of the city. Like "Hoop Dreams" (1994) and "Cooley High" (1975) the city wasn’t simply a backdrop in the story. The harsh winters, segregation and violence all honestly played a part in the story. Brian lived and thrived on the streets and the camera was right there with him.

Continue Reading at Shadow and Act.

Image: 'In My Father's House' Film

Review: Rick Famuyiwa's 'Dope' Is Like a John Hughes Film Flipped on Its Head

If you aren't careful, the world will try to tell you who you are, and you might be dumb enough to believe it.

Rick Famuyiwa's "Dope" follows high school senior Malcolm (Shameik Moore), and his two best friends Jib (Tony Revolori) and Diggy (Kiersey Clemons), as they struggle to fit into their Inglewood, California neighborhood that's affectionately coined The Bottoms. Obsessed with 90's hip-hop culture, the trio hide behind the stylish and musical nuisances of a past time, instead of facing their 21st century environment. A film that initially felt like it could be another "Boyz N the Hood" or "Menace II Society," I thought I had seen some version if this story before. It turns out, I was dead wrong.

Instead of a typical coming-of-age tale, "Dope" is like a modern day Black "Ferris Bueller's Day Off" (1986), or almost any other John Hughes film. Average American teen nerd who, in an ambitious act of self-exoneration, becomes cool, and/or has a sexual encounter with a girl seemingly out of his league. "Dope" is somewhat like that. Also, Malcolm breaks the fourth wall, speaking to the audience, and his constant self-analysis is much like Ferris’.

Though he’s known for his “grown up” films like "The Wood" (1999) and "Brown Sugar" (2002), director Famuyiwa really captures the essence of coming-of-age in Obama’s America.  He encapsulates John Hughes nostalgia, and flips it on its head to incorporate the vitality of John Singleton’s films. In doing so, Famuyiwa gives a voice to today’s young black male, while removing the "hood-homeboy" element that we’ve often seen in the past.

Continue Reading at Shadow and Act.

Image: 'Dope' Film/Rachel Morrison

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.

Continue reading at Shadow and Act.

Image: Universal Studios

French Director Robin Campillo Talks ‘Eastern Boys,’ Family and the Immigration Climate in France

How do we define family? Traditionally, we gravitate toward people who are related to us by blood. And yet, as we branch out into the world, we may find kindred spirits in others that we encounter on our life’s journey. The ties that bind us together are often strongest when we have to work to maintain them. As we grow and change as individuals, our relationships with other people regularly take on different forms, influencing who we were, who we are, and who we’ve yet to become.

Moroccan-born director Robin Campillo’s latest film, Eastern Boys, explores the meaning of family while commenting on the plight of immigration in modern day France. Despite a language barrier and a gap in socioeconomic status, older Frenchman Daniel (Olivier Rabourdin) and his younger Chechen lover, Marek (Kirill Emelyanov), form a friendship born out of loneliness, fear and excitement. Though it might be considered an unorthodox relationship by some, the duo combats their own issues along with outside forces that try to tear them apart. Eastern Boys is a stunning film about love, acceptance and the people we choose to be a part of our family circle.

Continue reading at GALO Magazine.

Image: Kirill Emelyanov and Olivier Rabourdin star in “Eastern Boys.” Photo Credit: First Run Features.

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.

Continue reading at Shadow and Act.

Image: HBO

Film Review|| Fifty Shades of Grey: A Lesson in Communication and Consent

I'll be the first to admit that I read the Fifty Shade of Grey trilogy in a 48-hour time span. (I will also admit that I've read all three at least three times. I'd just finished undergrad and I had nothing to do.)Anyway when I found out that Focus Featureshad acquired the rights to the books for film, I was presently surprised. In my opinion Focus consistently turns quality films, and when Charlie Hunnam was initially cast I was ready to purchase my ticket immediately!

To what could have been le sigh

Sadly, as you all know the beautious man dropped out and was swiftly replaced by Jamie Dornan. I was less than impressed. No tea, no shade but the last thing that butters my roll is a smedium sized white man.Nonetheless like millions of red blooded women globally I was still intrigued and I found myself at a late showing yesterday evening to see what the film was talkin bout.

First and foremost, the writing was surprisingly witty. Instead of making Anastasia Steele the annoying whinny lip-biting twit that she was in the books, screenwriter Kelly Marcel made her a bit naive but still enjoyable. Anna is a woman with characteristics that I recognize in myself and I'm sure many others can relate to.

Sam Taylor-Johnson as director was also a fantastic choice from the studio. We see mostly all of Dakota Johnson’s (Anna Steele) nude body. (Women's bodies are normally overexposed in films). However, from a woman’s gaze it wasn't callous or garish. Taylor-Johnson made it sensual; giving a squeamish American audience the opportunity to get comfortable with the nudity right along with Anastasia. (We also got to see a bit more man parts then normal. Not the whole peen thankfully because GROSS,  just a peek.)Dakota Johnson is actually a pretty good actress. I think it was important for the film that Johnson wasn't well known. She's able to embody Anastasia without any of the misconceptions that the audience may have placed on her has she been more famous. Likewise Jamie Dorman, though not my first choice does a damn good Christian Grey. He's stoic, emotionally withholding, detached and damn sexy. Its odd that the duo works so well onscreen together, because its clear that they are painfully awkward around one another in real life

Still, the film like the books has its "chile please" moments. Anna does get a tad melodramatic at times, but it's forgiven because we've all been there. Love and youth don't always bring out the best in you. Also I don't care what type of situationship you're in, D/s or otherwise, if someone shows up out the blue on in a new state, run to the nearest police precinct and file a restraining order. Some stuff only makes sense in films. (Also: The casting of Christian’s siblings, um no ma'am Rita)

Despite all of this, the film got a lot right. Along with the newly improved witty Anna, the kinky sex scenes get two thumbs up from me!! Unlike Addicted (which I finally watched last weekend) these were not watered down snooze worthy encounters. No ma'am Christian Grey doesn't play  ;)

I also applaud those involved in the film for making communication and consent focal points throughout the narrative. Though uncomfortable at times, the characters are not afraid to speak their minds and to share their thoughts and feelings. A lesson many of us could use. Likewise consent is HUGE in the film. In one particular scene Anna and Christian go over a contract concerning their sexual relationship.. As formal as that sounds, I thought it was important to voice. As my friend who attended the film with me so eloquently pointed out, “This is the fantasy of one particular woman, not of ALL women.” Everyone is different the point of communication and consent is to discover what your partners likes and dislikes are.

Overall despite my initially reservations Fifty Shades of Grey really floated my boat. It's lady porn at it's best. (Listen I even got into Jamie Doman as Christian and he ain't nowhere near my type.) I say go see it. Take your girls or your boo, or hell take yourself if is Valentine's Weekend after all. #treatyoself  Who knows, you may even discover some things about yourself, or your partner that you didn't know. Either way bring a moist toilette to cool yourself off.

Listen Linda! Why is the man not bearded in the film?!! Literally the beard changes the GAME

50 Shades of Grey is out in theaters this Valentine's Day *hide ya kids*

xoxoxo Chocolate Girl in the City xoxoxoxo

PS: I really never got the uproar surrounding the books and the film. Are they the best things that happened to literature and cinema? Of course not!   But some of y'all need to calm down and let grown people do and enjoy what they want. As a Black feminist my pet peeve is when other women (let's not even get into men) try to tell me what I should and should not be into to. Boo, get yo life.

Film Review || Beyond the Lights

"It's not my business what you had with her, and now I see that you're not free of her. And it was foolish to compete with her, but my fractured heart cries 'Choose Me'". ~ Noni JeanIn this media obsessed society we are constantly bombarded with images of celebrities. We have become constant voyeurs, looking from the outside in. We form our opinions about celeb lives from tabloids and photographs, never truly knowing what it is that we are judging or praising.  Gina Prince- Bythewood’s Beyond the Lights gives us a rare and intricate look at the life of a fast-rising star, from the inside out.

Prince-Bythewood’s third feature film follows, Noni Jean (Gugu Mbatha- Raw) a young entertainer who is on a fast track to major fame, but who is suffocating internally. Mega-sexualized, overworked and bitterly unhappy, Noni has become a puppet, controlled by her label and her mother/manager, Macy (Minnie Driver).  Nauseated by the stage-show that has become her life, Noni decides to jump from the balcony of her hotel room.

Kaz (Nate Parker) is the police officer assigned to Noni the evening she attempts suicide. Though he’s able to talk her out of leaping to her death, Naz is disgusted by the circus and lies that follow the incident. (He's a true boy scout at heart.) Unwilling to be sucked into Noni's circus, Kaz attempts to walk away. Despite his efforts, their connection crackles and ignites.

Noni  is drawn to Kaz's quiet, damn near broody nature.(Parker is perfect in the role. He’s constantly watching, quietly observing, taking her all in.) Likewise, Kaz is intrigued by Noni's spirit. She's hidden somewhere behind the image that she presents to the world.

The film is breathtaking because of the exquisite  performances. So often romantic dramas fall into the realm of corny.(And this is from a sappy girl who appreciates a bit of corniness.)  Few films, those like Love Jones (1997) and The Notebook (2004) speak universally to audiences about love.  The honesty in those films is what connects us. Mbatha-Raw and Parker's performances are so electric that they remain believable throughout the entire film. Their characters become more of themselves as their connection deepens. Prince-Bythewood made the decision to strip Noni bare both mentally and physically. As the film progresses the layers of makeup, hair and costuming are peeled away until Mbatha-Raw's bare face is left staring wide-eyed at us.

Kaz becomes more himself as well, perhaps in ways that he least expected to. Often it's the paths that we so rigidly insist on following that are holding us back from our densities. (I really could wax poetic about how delicious Nate Parker looked in this film, but that’s neither here nor there...)

The man doesn't even have any facial hair and I'm STILL here for it! (Y'all know my disgust for lack of facial hair.)

Another standout performance in the film is Minnie Driver as Noni's mother, Macy Jean. A shrewd woman, she seems to value Noni’s image over her well-being. The beauty in the role is that Prince-Bythewood refrains from making Macy completely villainous. She has layers and complexities just like anyone else.

The film is extremely contemporary, it's very much a romance of this moment. It does not shy away from issues of mental health, race, class, celebrity culture and sex. I also really enjoyed the equality dynamic amongst the pair in terms of their careers and ambitions. (Don't nobody want a lazy ass partner.)

Beyond the Lights is lovely. Arguably better than Prince-Bythewood's first feature Love & Basketball (2001). (I'm sure there will be a thousand debates about this.) The performances are outstanding, the music is entertaining and the chemistry is extremely sexy. (Did I mention Nate Parker?!! Gugu is also stunning and you should check her out in Belle if you have not seen it.)  I know one thing, I shall never view plane takeoffs the same (surfbort). I’d even go out on a limb and say that men will enjoy the film as much as women.

Go head on Ms. Prince-Bythewood, continue to make them tell your stories! I'm so here for Black women directing mainstream films. (Ava DuVernay's Selma is up next.)

Beyond the Lights is in theaters November 14. (Take your boo, your mama and them. Or just take yourself, you're worth the date.)

xoxoxo Chocolate Girl in the City xoxoxoxox

PS. Nate Parker