EXCLUSIVE: Naomi Ackie Gets Candid About Her Mysterious Character In ‘Star Wars: The Rise of Skywalker’

Four years after it was first introduced — Stars Wars’ Skywalker Saga is coming to an end. Helmed by J.J. Abrams — Star Wars: The Rise of Skywalker will chronicle the year after the events of The Last Jedi. The remaining members of The Resistance — Rey (Daisy Ridley), Finn (John Boyega), Rose (Kelly Marie Tran), and Poe (Oscar Issac) team up once again for a final battle against the First Order. The conflict between the Jedi and the Sith is also set to explode in this epic conclusion.

The Skywalker Saga won’t be going out quietly. As things come to a head, new members of the Resistance are introduced, including an old friend of Poe’s —Zorii Bliss (Keri Russell) and a mysterious new character, Jannah, played by relative newcomer Naomi Ackie who plays a pivotal role in the fight to the end.

Ahead of The Rise of Skywalker’s premiere, blackfilm.com talked to Ackie about stepping into the Star Wars franchise, embodying Jannah, and why she’s not concerned about any potential backlash.

“It’s something that doesn’t even click in now,” Ackie said wistfully of becoming a part of the epic space opera. “It’s weird. You take it day by day, and sometimes forget on purpose that you’re in it because otherwise your mind gets a bit blown. When I think about the scale of this film — how far-reaching it is, how many people it touches; it sometimes messes with my head. But, I really do try my best to celebrate it. Thankfully you’re part of an ensemble cast. They’re all bearing the brunt of it together.”

Continue reading at BlackFilm.com

Image: Instagram.

EXCLUSIVE: Billy Dee Williams Talks Returning To Lando Calrissian 40 Years Later & What He Really Thought Of Donald Glover’s Performance

Legendary actor Billy Dee Williams‘ history in the Star Wars franchise is unlike any other actor’s journey in the epic space opera. When Williams slide on Lando Calrissian‘s cape in 1980’s The Empire Strikes Back — he became the embodiment of charisma and cool — proving that style and swag could also be otherworldly.

More than just defining the surface level attributes of his character — Williams also kicked open the door for Black actors in Stars Wars. With his turn as Lando, he became the first Black actor with a major role in the franchise. It’s something we did not see again until Sameul L. Jackson’s Mace Windu in the ‘90s and again in 2015’s The Force Awakens when John Boyega put on Finn’s Stormtrooper armor. 

Now, nearly 40 years after he first brought Lando Calrissian to life — The Lady Sings the Blues actor has returned to the Star Wars franchise. His return marks one of the most prolonged intervals between portrayals of a character by the same actor in American cinema history.

Closing out the nine-part Skywalker Saga — Williams has the chance to bring his own brand of suave and wit to Star Wars: The Rise of Skywalker. Ahead of the film’s premiere — blackfilm.com got an opportunity to sit down and chat with the Mahogany actor about reprising his role after all of these years and what he really thought of Donald Glover’s take on Lando.

“I didn’t watch any of the old stuff to get back to Lando,” Williams revealed when asked about doing a character refresh with The Empire Strikes Back or 1983’s Return of the Jedi. “I just jumped right in.”

For the Batman actor, it was getting the opportunity to work with director/writer/producer J.J. Abrams again that convinced him to return to space. “I just have a lot of admiration for the young man,” he explained. “When I worked with George [Lucas], there was an opportunity to work with somebody extraordinary, and here again, I have the chance to work with somebody who is remarkable. We worked together on Lost — I played myself playing a killer — which I thought was a very interesting idea. I thought, ‘This guy is crazy — famously crazy.’ This has been a great pleasure for me coming back to do Lando. I didn’t believe that it would happen, I just wrote it off. I said, ‘I did what I had to do, and that was it.’ But, when I got the call from J.J. and even when we met, I just sat there, and I just chuckled because I thought this was a gift, so I’m a very happy human being right now.” 

Continue reading at BlackFilm.com

Image: Disney

Julia Roberts as Harriet Tubman was a racist idea, but that's quite common in Hollywood

Hollywood hardly has had a stellar track record when it comes to diversity and inclusion, from its dismal (and continuing) use of yellowface, its past (and present) utilization of blackface or the prevalence of brownface in movies as wide-ranging as "West Side Story," "Argo," "A Beautiful Mind" and "House of the Spirits." However, a recent revelation proves just how absurd its insistence on relying on such tropes really is, and how resistant the industry has been to change.

In a recent interview with Focus Features, Gregory Allen Howard, the screenwriter behind2019's Harriet Tubman biopic "Harriet," dropped a bombshell. Howard, who has been working for more than two decades to get Tubman's story to the big screen, said that, when he first began his journey in 1994, a studio executive suggested that Julia Roberts — then a 27-year-old starring in a summer rom-com with Nick Nolte — should portray the former slave, freedom fighter and abolitionist.

"I was told how one studio head said in a meeting, 'This script is fantastic. Let's get Julia Roberts to play Harriet Tubman,'" Howard remembered. "When someone pointed out that Roberts couldn't be Harriet, the executive responded, 'It was so long ago. No one is going to know the difference.'"

Continue reading at NBC THINK.

Image: Focus Features.

Mati Diop Is Doing More Than Just Storytelling: EXCLUSIVE

Set in Senegal’s bustling capital Dakar, Mati Diop’s Atlantics is mesmerizing, poetic and haunting. The filmmaker is the first Black woman to win a Jury Grand Prize at Cannes Film Festival. As the first frame of Atlantics was displayed on the screen, it became clear why this story stood out. Based on her 2009 short film of the same name, Atlantics follows Ada (Mama Sané), a captivating and headstrong woman banging against the traditional Muslim norms of her culture to speak for herself and listen to her heart.

Engaged to a wealthy but arrogant man, Ada longs for her true love Souleiman (Ibrahima Traoré), who has sailed across the sea in search of better work opportunities. As her wedding day looms –Ada becomes increasingly haunted by memories of her lover, despite her family and friends urging her to look towards her future. Atlantics isn’t just about love–greed, class status and politics are also themes in this film. The added layer of supernatural mystique only serves to draw the audience in further—leaving them enraptured until the very last moment of the film.

Ahead of Atlantics’ Netflix debut, STYLECASTER sat down to chat with Diop about her inspiration for the film, her filmmaking process, and what it has meant to be the first Black female Palme d’Or winner.

“Atlantics the short, was initially supposed to be a scene in a movie that became a short film,” Diop explained. “I was witnessing a lot of young people leaving the country for Europe. What was most striking, was not the fact that they wanted to leave, but how they were doing it. They were crossing the ocean by boat. That’s a real risk to your life.”

When Diop initially made the short film, she had no idea what would come of it. “The young man I filmed throughout the night who was crossing the sea– it was unclear to both of us what would happen,” she revealed. “His story was epic and poetic. That’s what I actually wanted to capture. I wanted to hear a crossing from the point of view of somebody who experienced it. But it needed to be positioned heroically. I wanted to make sure to add dimension to the story as opposed to how the media was treating these people. I was so sick of it. As a French Senegalese filmmaker with the tools of cinema, I decided to put my cinema at the service of that situation. It took me a little while before I realized that, but I knew I needed to continue to talk about this situation.”

Adding the supernatural aspect to her story was also important to Diop’s vision. “I was moved by the connection between reality and fantasy,” she reflected. “There was also a coherence as I was talking about a lost generation—a ghost generation. These people have disappeared in the ocean, trying to reach a better future. I felt that there was nothing better than using a fantasy film to talk about this ghost generation. I wanted to talk about loss, about being hunted by these boys in the neighborhood–to really feel the difference between their presence in the neighborhood and their absence, and how it just transforms the society and the women who stayed behind.”

Continue reading at STYLECASTER.

Image: Instagram.

'Sunday Girl' Almost Breaks Traditional Rom-Com Tropes For Women

The modern dating scene is a harrowing place—particularly for women who find themselves seeking heterosexual partnerships with men. Dating apps of the 21st century intersecting with misogynist ideals from a past time can make it feel like we’re all trudging through mud. There seems to be a constant misunderstanding of one other. Instead of communicating effectively, we continue to walk in circles. Most single women find the experience utterly exhausting. Unfortunately, cinema hasn't made it much better when it comes to how women are portrayed when it comes to breakups. 

Thankfully— Peter Ambrosio's new film, Sunday Girl, offers a unique and mostly refreshing perspective. The movie follows Natasha (Dasha Nekrasova), an introverted artist who finds herself keeping company with five different men. Though each man has his merits (for the most part) —Natasha decides she wants to have a real shot at a relationship with her on-again, off-again boyfriend — George (Brandon Stacy).

On one particular day, dressed in a bold red coat with matching flats —Natasha sets off to break up with her four "extra" men. In letting go of these other attachments, Natasha hopes to clear a real path for her relationship with George. What ensues next is what makes much of Ambrosio's film such a standout in films that center romance. Too often, films position women as hysterical people who can't deal with the fall out of broken relationships. However, in Sunday Girl, the tables are turned. 

It's mesmerizing to watch Natasha break up with each guy. From Victor (Bilar Mir), a poet who is absolutely tortured by Natasha's dismissal of him -- to Winston (Morgan Roberts), who literally cannot handle the news that Natasha has been seeing other people. Watching these varied and nuanced reactions from men is almost unheard of in cinema. However, when the film is not focused on the breakups — it stumbles. 

Using a non-linear timeline, Sunday Girl unpacks the events leading up to Natasha's day of breakups while fleshing out the world around her. We learn about her work as an artist and the pseudo creepy boss who seems intent on bringing her on a business trip to Rome with him. Yet, none of this tells us anything real about Natasha. 

By offering such small slivers of her life, Natasha's motives when it comes to relationships become hazy. It becomes quite clear that though she wears an armor of courage —sunglasses, and cigarettes to boot, Natasha lacks any true self-confidence. This was a rather disappointing revelation to the audience after watching a woman who appears from the first frame of the film to know exactly what she wants. 

To that end, George —the man that Natasha is making all of these changes for certainly isn't worth the effort. He's withholding, dull, and quite frankly the worst. There's really no explanation as to why Natasha decides to make things permanent with George other than the fact that his aloofness appears to be a challenge for her

Though Nekrasova's performance Is quirky and compelling, Sunday Girl never really lives up to its full potential. When Natasha is seen despondent and drunk dialing on Valentine's Day, shoving aside both her work obligations and other plans she could have partaking in —she becomes much less of a hero and more of a typical rom-com character.

Sunday Girl just finished a limited theatrical run in New York City and Los Angeles.

Images: Cresmont Pictures

'ANYA' Proves That Bonds Go Well Beyond Love

As much as we still cling to fairytale versions of love and romance— science and the real world love to come sweeping in. Reality has a way of shaking us out of our unrealistic stupors, forcing us to face real facts about the life partners that we choose and the journeys that we take. In their new sci-fi romance, ANYA, directors Jacob Akira Okada and Carylanna Taylor remind us that as much as we want to be in control of our own destinies — science and the universe have a way of knocking us down a peg.

The compelling drama follows Libby (Ali Ahn), a New York City-based journalist who falls head over heels in love with Marco (Gil Perez-Abraham). The polar opposite of the driven Libby, Marco is a quiet but compassionate man haunted by his past. After allowing Marco to break through the walls around her heart, the ambitious workaholic Libby decides to go all-in — marrying him and deciding she wants to start a family with him. However, after a series of miscarriages —Marco comes clean about his true origins and why his convoluted past may be the key to the couple's infertility issues. 

Unfortunately, in this day and age, infertility is more common than one would imagine, and sadly many hopeful couples are given little to no information about the reasons behind it. Instead of laying the burden of their troubles solely on Marco and Libby's shoulders, Okada and Taylor do a deep dive into human genetics and anthropology.

When Libby turns to her ex-lover, Seymour (Motell Foster)—a geneticist for help, we learn about Marco's true origins. He comes from Narval, a fictional Caribbean community that is both physically and genetically isolated from the rest of humanity. The people of Narval are convinced that those who marry outside of their community are cursed with infertility. Working with scientists from Harvard and Carnegie Mellon University— the directors were adamant about giving Seymour's research some real-world weight to provide Libby and Marco some of the answers that they were desperately seeking.

An intriguing story with a diverse cast and a compelling subject matter, a great deal of ANYA works well. From the moment Libby and Marco approach Seymour to the slivers of Marco's past life that are slowly revealed -- the audience desperately tries to get to the root of Marco’s mysterious background and find a solution for the couple's future. 

However, because of the relatively modest run time of the film — a great deal of ANYA felt rushed. From the second they encounter one another on the streets of New York, Marco and Libby's relationship is full speed ahead. Though that reads as romantic at times, it was also troubling— as it's obvious (to everyone except Libby) that Marco is withholding information from his wife. 

Likewise, when we do finally encounter Marco's family and the rest of his Narval-born community, the audience doesn't get the payoff that they deserve. Narval’s customs and traditions are neither well explored or explained. Instead, it felt unsettling, with audience members racing to put things together quickly for themselves. 

Despite its rapid pace, and some of the questions that remain unanswered as the final credits roll — ANYA, is a film for our time. As we continue to move about and exist in a rapidly deteriorating world, what does it mean for the generations that will follow? Will our bodies and our ability to survive and procreate in the present sustain? ANYA doesn't have all of the answers, but the story does remind us that as we look toward the future, we must remember we are much more alike and connected than we think. 

ANYA will be available Nov. 26. ITUNES, AMAZON, GOOGLE PLAY, VIMEO, VUDU, XBOX & DVD

Images: Giant Pictures.

The Oscars disqualified 'Lionheart' because Nigerians speak English in it — just like in Nigeria

On Monday, Nov. 4, the Academy of Motion Picture Arts and Sciences announced their devastating decision to disqualify Nigeria's entry in the best international film category, Genevieve Nnaji's feminist and emotionally searing "Lionheart," from the 2020 Oscars race. Apparently, the film had not been vetted by the academy’s International Feature Film Award Executive Committee prior to the Oct. 7 announcement of qualifying films, when it was first named.

The academy, which has recently changed the name of the category from "best foreign language film" to "best international film," disqualified "Lionheart" under the rule that best international film entries must boast "a predominantly non-English dialogue track." It should be noted that in addition to English, the Nigerian language Igbo is also spoken throughout "Lionheart," Netflix's first original film from Nigeria.

A female trailblazer for African cinema, Nnaji began her career in Nigeria's burgeoning film industry, known colloquially as Nollywood, as a child star on soap operas and in commercials, moving into films as first an actor, then a producer and now a director. "Lionheart," her directorial debut, follows Adaeze (Nnaji), a whip-smart businesswoman who is desperately trying to save her father's transport company in the wake of his illness and her fraught relationship with her uncle.

But perhaps more important than the plot or its talented director-star, is an understanding of the history of Nigerian filmmaking and Britain's century-long rule over the country.

Though Nollywood is now one of the top film industries in the world, it only got its start in the 1960s, when Nigerian film pioneers like Ola Balogun realized in the post-colonial era that an entire country of people, with a rich culture and traditions, were looking outward — toward Hollywood — for their entertainment. Nigeria has always been pulsing with its own stories to tell. Along with Balogun, Hubert Ogunde, Jab Adu, Moses Olayia and Eddie Ugboma became the first generation of Nigerian filmmakers, setting the foundation for an industry that would explode in the 1990s.

Reeling from the imprint of colonization and teetering under the weight of decades of government instability, a ban on imports and a massive economic crisis, Nigerian filmmakers, artists and entrepreneurs had to find new ways to make movies and distribute them without the high overhead costs of traditional film. Using VHS systems, which were cheaper and more widely available, producer Kenneth Nnebue launched Nigeria's home-video industry in 1992 with his first straight-to-video movie, "Living in Bondage."

From there, cinema in Nigeria became a nearly $700 million a year phenomena.

Continue reading at NBC THINK.

Image: Netflix.

Black Romance In Film Makes A Glorious Return On The Set Of 'The Photograph'

Love and romance are integral parts of the human experience. However, romantic dramas in cinema starring Black people have been few and far between. Some of the most beloved have been Love Jones, The Best Man and Love & Basketball. Also, recent projects like Beyond the Lights, Moonlight and If Beale Street Could Talk have shown Black love.  However, there have been limited films that solely focus on love and relationships between young Black people in the 21st century. In her New York City-based romantic drama, The Photograph, writer and director Stella Meghie is putting the spotlight on Black love stories.

The Photograph follows Mae Morton (Issa Rae), a museum curator grappling with the death of her estranged mother, a famed photographer. After uncovering a forgotten photograph in her late mother's safety deposit box, Mae embarks on a quest to unpack who her mother truly was. Her journey connects with journalist Michael Block (Lakeith Stanfield), who is working on his own story about Mae's mom.

"I was 16 watching Love Jones on repeat," Meghie explained when Shadow And Act visited The Photograph set in New York City. "It was an adult, very sexy, intellectual, sophisticated kind of love. That film shaped me a lot. Love & Basketball was a big thing for me. Gina Prince-Bythewood is a definite inspiration. Hav Plenty as well."

The Photograph is a story that the Canadian-born director has been wanting to create for years. "I talked to Will [Packer] about a romantic drama like five years ago," she revealed. "I ended up doing my first film Jean of the Joneses and then Everything, Everything. However, I wanted to come back to this script. I finally ended up writing it a few years later after we spoke about it."

Continue reading at Shadow and Act.

Image: Universal Pictures.

Gugu Mbatha-Raw Is Shattering The Mold: EXCLUSIVE

Though the spotlight isn’t always directly on them—women are often the catalysts who propel some of Hollywood’s most enticing stories forward. Based on Jonathan Lethem’s 1999 novel of the same name, Gugu Mbatha-Raw’s latest feature, Motherless Brooklyn, is a compelling crime drama with a film noir tone. After falling in love with the story and its characters, actor/director Edward Norton decided to put his own twist on Lethem’s gritty Brooklyn.

Moving the story from 1999—Norton sets his tale in the 1950s. The actor/director stars as Lionel “Brooklyn” Essrog, a private investigator struggling with Tourette syndrome who is taken under the wing of Frank Minna (Bruce Willis). However, when Minna is murdered it’s up to Lionel to piece together what happened. His quest to uncover the truth leads him to ruthless New York City planner, Moses Randolph (Alec Baldwin) and a Harlem lawyer/activist Laura Rose (Mbatha-Raw).

Ahead of the film’s release STYLECASTER sat down to chat with Mbatha-Raw about diving into this compelling story, working with this incredible cast that also includes Leslie Mann, Willem Dafoe, Michael K. Williams, and Bobby Cannavale–and why her character just might hold the key to unpacking this mystery.

Continue reading on STYLECASTER.

Image: Cierra Miller/STYLECASTER.

Tyrese Talks Biggie Smalls, Eric Garner & Being Vulnerable In 'Black And Blue'

With the seemingly constant murders of Black people at the hands of police across the globe, and in the United States specifically, it can feel unsettling to watch the relationships between police forces and the Black community on screen. However, for filmmaker Deon Taylor, even more urgently in the wake of the murders of Botham Jean and Atatiana Jefferson, this is a conversation that needs to continue.

Set in contemporary New Orleans, Taylor's latest thriller, Black and Blue, follows rookie police officer Alicia West (Naomie Harris) as she returns to her hometown after several tours in Afghanistan. With a newly minted police badge, Alicia finds herself shunned from the community she once left behind. Feeling like an outsider from her fellow "brothers and sisters in blue," and desiring to be of service, Alicia naively tries to extend her arms to the community and her colleagues, but both are equally suspicious of her motives.

In addition to her personal troubles, Alicia has joined a police force that is riddled with problems. Ultimately, things take a turn for the worst when she bears witness to the brutal murders of several young Black drug dealers at the hands of some corrupt cops, all of which have been recorded on her body cam. With both the cops and the Black community turning against her, Alicia turns to the one person who might be willing to help, her old friend, Milo "Mouse" Jackson (Tyrese Gibson). Knowing that her only means of survival is getting the video from her bodycam uploaded to the internet Alicia leans on Milo to help her navigate the streets.

Ahead of the film's debut, Shadow And Act caught up with Taylor, Harris, Gibson and co-stars Mike Colter, Nafessa Williams and Frank Grillo to talk about the heart-pounding thriller. We chatted about New Orleans as the landscape of this film and why it's so essential to keep discussing police brutality in the Black community.

Continue reading at Shadow and Act.

Image: Sony.

Cynthia Erivo & Kasi Lemmons On Depicting ‘Harriet’ With Love: EXCLUSIVE

It’s always a massive undertaking when trying to depict the life of a legendary historical figure–especially on the big screen. Bringing Harriet Tubman’s legacy to life would take much more than sheer determination. Helmed by Eve’s Bayou director Kasi Lemmons with Tony Award winner Cynthia Erivo stepping into the famed Underground Railroad conductor’s shoes, as much as Harriet is a story about the horrors of slavery, it’s also a film about love and faith.

Set in Dorchester County, Maryland, in 1849, the year Tubman escaped to freedom in Philadelphia, Lemmons’ Harriet follows the young abolitionist throughout her many missions back into the slave states leading into the Civil War to rescue friends and loved ones. Though many people have lamented the release of Harriet as yet “another slave movie,” Lemmons’ lens and Erivo’s take on Tubman showcases something entirely different.

While the brutality of slavery hovers in the shadows of the film, the Black Nativity director centers her story on love. When the film opens, we find the enslaved young woman hopelessly in love with her free husband, John Tubman (Zackary Momoh). She’s also extremely close to her mother (Vaness Bell Calloway), father (Clarke Peters), and brothers.

However, the brutality of the peculiar institution and the threat of being sold away like her beloved sisters emboldens Tubman to run for her life. Using her faith in God as her guide–the political activist finds another version of a family in abolitionist William Still (Leslie Odom, Jr.)  and a free Black woman named Marie (Janelle Monáe). Though they both caution Tubman about returning to the South, especially with the Fugitive Slave Act of 1850 looming –the fearsome revolutionary does not heed their advice.

Continue reading at STYLECASTER.

Image: STYLECASTER.

Chatting On WNYC's 'The Takeaway' About Disney + and What’s to Be Done With 'Song Of the South'

Next month, Disney is set to launch its new streaming service, Disney Plus, giving audiences access to an extensive range of the studio’s films, from classics like "Snow White and the Seven Dwarfs" to less well-known releases like 1995’s "Operation Dumbo Drop." 

But one controversial title will remain locked away in the Disney Vault: 1946’s "Song of the South." Set on a plantation in the late 19th century, the film was boycotted by the NAACP at the time of its release for selling a whitewashed version of slavery.

While "Song of the South" has been unavailable to the public for decades, Disney has continued profiting off of the property: including the song "Zip a Dee Doo Dah" on music compilations and using the film as the basis for the Splash Mountain ride at Disneyland.

Joining The Takeaway to discuss "Song of the South" is Aramide Tinubu, an entertainment editor for Stylecaster.com and freelance film critic. 

Click on the 'Listen' button above to hear this segment. Don't have time to listen right now? Subscribe for free to our podcast via iTunes, TuneIn, Stitcher, or wherever you get your podcasts to take this segment with you on the go.

LISTEN HERE.

Image: Aramide Tinubu

‘Maleficent: Mistress of Evil’ Coulda Been A Bad B*tch

It’s always intriguing to examine Disney fairytales through the perspective of the villains. Five years ago with her sharp cheekbones and spectacular horns, we fell in love with Angelina Jolie’s Maleficent. Now years later with this Maleficent: Mistress of Evil movie review–-we expected the “good girl” to go bad again. Unfortunately, instead of the diabolical dark fey that we grew to love–the follow up to Maleficent showcases the powerful fairy in a much more reserved light.

Picking up years after the first film–we find Aurora (Elle Fanning) living as the Queen of the Moors. There’s been peace for many years and with an impending marriage between Prince Phillip (Harris Dickinson) and Aurora, there is hope that the Moors and the prince’s kingdom might be formally united in peace once and for all. However, as we all know–we cannot simply skip to the “happily ever after.”

While Jolie’s Maleficent still gets rilled up when she feels threatened or when the connection that she and Aurora share is hanging precariously in the balance–she’s not actually the villain in this mistitled film. Instead, that honor goes to Prince Philip’s diabolical mother– Queen Ingrith (Michelle Pfeiffer). Rather than centering the film on Maleficent and all of the ways she’s misunderstood–or giving her a better Achilles’ heel than iron– the villainous crown in this flick goes to Pfeiffer’s Queen Ingrith.

Continue Reading at STYLECASTER.

Image: Disney.

Jessica Allain Doesn’t Think Money Should Be A Taboo: EXCLUSIVE

Hollywood isn’t always the easiest space to navigate. However, for The Laundromat actress Jessica Allain, grasping on to each project with fervor and gusto has been the key to success. Though the London native is a star on the rise in the entertainment industry–she’s been working as a model since she was just 16 years old. Her love for the camera seamlessly transitioned into her actor’s training. With credits like Mission Impossible 5: Rogue Nation and Blumhouse’s Thriller under her belt–Allain’s latest project might be her most ambitious yet.

Starring Meryl Streep, Gary Oldman and Antonio Banderas–Netflix’s The Laundromat follows the Panama Papers scandal. Streep plays Ellen Martin, a woman who falls down a rabbit hole of insurance fraud and scams when the vacation of her dreams takes a tragic turn. What she finds is a shady Panama City law firm run by Jürgen Mossack (Oldman) and Ramón Fonseca (Banderas) who run offshore tax schemes. For her part, Allain plays Simone–a Southern California college student whose affluent world shatters due to her father’s indiscretions.

Ahead of The Laundromat’s debut on Netflix–STYLECASTER sat down to chat with Allain about the film, why this role was so intriguing to her and why we’ve got to start talking about money.

Continue reading at STYLECASTER.

Image: Instagram.

Maddison Jaizani Has Some Secrets To Share: EXCLUSIVE

We’ve heard this story before–but we’ve never seen it quite like this. Nancy Drew is the whipsmart detective of our girlhoods. However, in The CW’s Nancy Drew–actress Maddison Jaizani and the rest of the cast are about to show us a much more menacing side to Nancy, Horseshoe Bay, Maine and the mysteries we all thought we knew.

On the series–Kennedy McMann stars as the red-headed teen detective. When her mother dies–Nancy’s dreams of attending the prestigious Columbia University fade into the background as well as her passion for detective work. Shoving her aspirations and her grief into the corners of her mind, Nancy works as a waitress at the Horseshoe Bay diner along with her former classmate and surly boss George Fan (Leah Lewis), the aloof Ace (Alex Saxon), and Bess Marvin (Jaizani)–a recent Horseshoe Bay transplant still clinging to the last remnants of her affluent past.

However, when the foursome, along with Nancy’s secret boyfriend Ned “Nick” Nickerson (Tunji Kasim) are implicated in the murder of a socialite –the red-headed detective must put on her mystery-solving hat again–unpacking her personal demons, and uncovering her friends’ secrets in the midst of it.

Ahead of the debut of Nancy Drew–-STYLECASTER sat down to chat with Jaizani about the surprisingly dark show, what exactly Bess is hiding and what we can expect during this debut season.

Continue reading at STYLECASTER.

Image: Instagram.

Meagan Tandy Is The Girl With The Guns: EXCLUSIVE

For the past two decades, popular culture has had a laser-sharp focus on the superhero genre. From Spider-Man to Iron Man–we’ve been enamored with various meta-humans from the Marvel and DC Universes. Unfortunately, only a handful of these superheroes have been women. Now, with The CW’s Batwoman, Meagan Tandy is proving that women hardly need superpowers to be badass.

Batwoman is set in Gotham–three years after Batman aka Bruce Wayne has vanished into thin air. In the caped crusader’s absence–Gotham is being protected by Jacob Kane and his military-grade Crows Private Security. However, the rise of the diabolical Alice (Rachel Skarsten) and the disappearance of Crows’ top security agent, Sophie Moore (Tandy) brings a new superhero to town.

Kate Kane (Ruby Rose)–Batman’s cousin and the daughter of Jacob Kane returns home to Gotham after a long absence. An out lesbian–Kate is still struggling with demons from her past and a heartwrenching end to her romantic relationship with Sophie. However, in her cousin’s absence and fearing for Sophie’s safety forces Kate to do the one thing her family is against–becoming the city’s new cloaked vigilante.

Ahead of Batwoman’s debut–STYLECASTER chatted with Tandy about the series, being a badass and why this is so much more than a “superhero” series.

Continue reading at STYLECASTER.

Image: Instagram.

Alice Waddington Is Here For Brave & Bold Women: EXCLUSIVE

There has been much talk about women taking the reigns in the entertainment industry–but for her directorial debut, Paradise Hills, Alice Waddington wanted to be certain that this sort of agency extended into the characters on the screen. A gorgeously shot fantasy futuristic film--Paradise Hills follows Uma (Emma Roberts), a bold and determined young woman from the upper echelons of society. When she refuses to heed her mother’s wishes to marry a horrible man for his wealth-Uma finds herself shipped off to Paradise. Led by The Duchess (Milla Jovovich), Paradise is a picturesque boarding school with a spa-like appearance. Its mission is to convert rebellious young women into demure, agreeable ladies.

Upon her arrival, Uma encounters –Yu (Awkwafina), Amarna (Eiza Gonzalez) and Chloe (Danielle Macdonald). Together the ladies discover that things at Paradise aren’t quite what they seem. With stunning sets and lavish costuming–the core of Paradise Hills remains with the women, and what happens when silenced voices are compelled to speak for themselves and blaze their own paths despite treacherous terrain. Ahead of Paradise Hills‘ debut–STYLECASTER chatted with Waddington about the need for female-led and diverse films–why this story spoke to her heart and all about that stunning costuming.

“I have a few cousins who are, 12, 13, 14 years old,” Waddington reflected on why Paradise Hills spoke to her. “The world is continuously telling them that they’re not going to be perfect enough, or beautiful enough, or popular enough, and that the real versions of themselves don’t matter and that they need to change who they are to fit into society. I just wanted to tell them that all of their imperfections make them beautiful. They don’t need to change for other people, they need to find the people who love them for who they truly are. That was my intention was with the film. When I was 12, 13, 14 years old I was a big fan of fantasy, and I was a big fan of all science fiction. And I loved Lord of the Rings, and Ender’s Game and The Neverending Story, but I couldn’t see myself in those narratives. I essentially wanted to create a story in which I could rescue princesses and slay dragons myself.”

Continue reading at STYLECASTER.

Image: Instagram.

Lovie Simone Has Charisma—In Spades: EXCLUSIVE

When you’re able to make a name for yourself amongst legends like Lynn Whitfield and Keith David–it’s clear that you have an effervescent spirit. Lovie Simone has starred on the hit OWN series, Greenleaf since 2016 as the charismatic and rebellious Zora Greenleaf.  But now, the 20-year-old is more than ready to show the world that portraying Zora is only the tip of the iceberg. With a slew of films debuting soon and an iconic casting announcement, Lovie’s name is exploding around Hollywood.

In addition to Greenleaf–Simone’s forthcoming film, All Rise based on Walter Dean Myers’ National Book Award-winning novel Monster is slated to hit theaters in November. Also, her Sundance hit, Selah and The Spades where she stars opposite Emmy-winner Jharrel Jerome will premiere on Amazon soon. With all of this happening amid Season 4 of Greenleaf, Lovie is one busy woman.

However, the New York native is just taking it all in. Recently, STYLECASTER sat down to chat with Simone about why she left fashion school for acting, Zora’s Season 4 journey, playing the bad girl in Selah, and her bewitching upcoming project.

“I’m very into fashion, but not in the mainstream sense,” Simone revealed about why she left the fashion industry for acting. “But I do feel like acting is for me because it’s not just one perspective that I get to grasp and understand. There are so many characters and so many people that you have to go through and figure out their gray areas. It’s not the white and black that you normally encounter when you come into contact with strangers.”

Continue reading at STYLECASTER.

Image: Instagram.

Keke Palmer’s Superpower Is Being True To Herself: EXCLUSIVE

When you’ve been working in the industry since you were a kid, you know the interworkings of Hollywood like the back of your hand. This knowledge has enabled Hustlers actress Keke Palmer to cultivate a distinguished and multifaceted career at just 26-years-old. An actress, singer, and morning show host–Palmer can’t be placed in a box.

Though she began her career in films like Akeelah and the Bee and on shows like Nickelodeon’s True Jackson, VP–as an adult, the veteran actress has starred in everything from the musical Joyful Noise to the gritty drama, Pimp. Now, in addition to the critically acclaimed Hustlers, Palmer is lending her voice and her opinion to the morning show, GMA3: Strahan, Sara and Keke while continually working in entertainment.

All of this hasn’t deterred Palmer from continuing to seek out movie roles or becoming the face of the most hilarious viral meme of 2019 –“Sorry to This Man.” At #BlogHer19 Creators Summit, STYLECASTER sat down to chat with Palmer about the most terrifying thing she’s done in her career, how she’s remained so positive amid #cancelculture, and what compels her to say “yes” to a role.

“I think at home, my mom always encouraged me to be myself,” Palmer reflected on how her upbringing shaped who she is today. “She encouraged me to be true, to not let other people’s perception of me be the perception of myself as a woman, as a Black woman, as a Black person, and as a young person. She always made me feel like I could defy whatever those odds were. Growing up in the church, I think that’s a place where many people can find their voice. That sense of community that I saw very early on, it always made me feel like I had that foundation that I could stand tall.”

Continue reading at STYLECASTER.

Image: Cierra Miller/ STYLECASTER.

The Intensity Of 'Human Capital' Fizzles In The End

As human beings, we'd like to think that the decisions we make stand alone. We pretend that our choices in no way affect our loved ones or the strangers whose lives' circle ours. The truth is, our fates are more intertwined then we would like to admit. Based on Stephen Amidon's 2004 novel, Marc Meyers' Human Capital shows how the lives of several families can collide against one another. 

The film opens with a tragedy—a cyclist, someone's father and husband, is sideswiped as he's riding home from work. Though the motorist sees him—they ride off, living him for dead on the side of the road as if he were a squirrel or roadkill. Meyers then pulls us back in time, and we begin to meet the people whose lives are irrevocably changed as a result of the accident.

First, there's Drew (Liev Schreiber)— a middle-class real-estate agent drowning in debts and struggling to get by. Desperate to be more, make more money—or simply to feel included, he becomes enthralled, almost to the point of obsession with Quint (Peter Sarsgaard). Quint's son, Jamie (Fred Hechinger) is dating Drew's daughter. Shannon (Maya Hawke). With new changes on the horizon in his small family and with his wife, Ronnie (Betty Gabriel)-- Drew goes against the advice of everyone he knows, hastily investing in Quint's elite hedge fund.

Though the lives of the wealthy and elite often look pristine from the outside, we all know that they are typically cracked and fractured once you peer a bit closer. Quint's company isn't exactly having the best quarter. His long-suffering wife Carrie (Maresi Tomei) is sad, bored and lonely— and his son, Jamie is harboring a secret.

The first two acts of Human Captial are beautifully paced and measured. Meyers points his lens at each character, unpacking their motivations and desires while pulling the tension of the dramatic thriller tauter. It's enthralling to watch people dive headfirst into traps of their own making, allowing their very worse compulsions and instincts lead them. 

Amid a revelation from Jamie and her parents' own significant life changes, Shannon falls for a new guy, Ian (Alex Wolff) However, because we sit with Quint, Drew, Carrie, and even Jamie for so long in the front end of the film—when we arrive at Shannon's perspective in the final act, Human Capital falters. Though we understand a bit of Shannon's background through Drew, Ronnie and Jamie, Meyers does not sit with her long enough for the audience to connect with her--let alone Ian. 

Dark, bearded, and alluring—it's clear why Shannon is almost immediately enamored with Ian. However, their "romance" is stuffed in a quick handful of scenes that don't give the audience enough depth or time to connect with them. For her part, Shannon lacks boundaries and loyalty means nothing her, which makes empathizing with her difficult. Though she and Ian are both fragile people, their motivations remain unclear so the audience never really cares about either of them. Therefore, as things come to a head, the foundation that Meyers so beautifully laid out in the first hour of the film does not stand.

Dark, bearded, and alluring—it's clear why Shannon is almost immediately enamored with Ian. However, their "romance" is stuffed in a quick handful of scenes that don't give the audience enough depth or time to connect with them. For her part, Shannon lacks boundaries. It’s clear that loyalty means nothing her, which makes empathizing with her difficult. Though she and Ian are both fragile people, their motivations remain unclear so the audience never really cares about either of them. Therefore, as things come to a head, the foundation that Meyers so beautifully laid out in the first hour of the film does not stand. 

With 95 minute run-time, Meyers is required to do quite a bit in Human Capital. The sheer amount of characters in the film need a great deal of examination. However, the last act of the film does not have the intensity or character development that was so carefully laid out in the first two acts. Therefore, the film's climax doesn't really pay off. Instead, when the dust settles and all is said in done, we are left to wonder why were even supposed to be enthralled with these people to begin with. 

Human Capital premiered Sept. 10 at the Toronto International Film Festival.

Image: Toronto International Film Festival.