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

When Betty Met Sally: On 'Mad Men's Finale

It's always so striking to me how things in life come full circle, how we inevitably return to the point at which we started. Many things may have happened in between the start and the finish, and yet the universe has a funny way of making sure we remember where we began. I started watching Mad Men my freshman year of college. I have always been a television fiend and the fact that Men was a historical series really drew me in. I'm aging myself a tad, but this was before Netflix got really big so, I ventured out to my local FYE and purchased the first two seasons of the show on DVD. By the time I'd returned home for the summer, DVDs in tow I was obsessed, and like I'd done with The Wire, One Tree Hill and Dawson's Creek before, I got my mother hooked as well. We'd lay for hours in her bed watching episode after episode. I was weary from my first adventures in NYC and she was exhausted from her endless doctors appointments that often included chemotherapy and radiation. So we laid there together, transported from 21st century Chicago to 1960's New York. Our troubles were real and would soon become even more daunting. But in those endless hours, on those warm summer evenings we could forget. Don Draper's world was slowly unraveling and the people closes to him; both family ans colleagues were getting swept away in the fall-out. We were captivated by the characters who lived and loved during that pivotal moment in our country’s history. Through them, we saw the assassinations of our nations leaders. We experienced the first moon landing, the Civil Rights Movement, and the beginning of the Women’s movement. I grew up in a home with only two television and no cable for a majority of my life. Though I'd watch season three on-line and at school, I purchased the third season and brought it home dreaming of another summer snuggled with my mama. But this was not to be. She never finished season three of Mad Men and she never saw any of the seasons that came after. But, I've stayed the course. Nearly five years later, I've seen all 92-episodes of the series.

[embed]https://youtu.be/3JUqwwjgLAY[/embed]

In the second to last episode of the final season, it's revealed that Don's ex-wife Betty Francis is dying of terminal lung cancer. Not yet 40-years old, she has three children and seems at last settled in her life. After leaving Don because of his lies, controlling nature and constant philandering, Betty seems to have figured out who she is.  Her husband Henry adores her, she and Don have called a truce, and she's gone back to school to get her Masters degree. Betty hasn't been the most sympathetic woman, but she's was a true and whole character; flawed and desperately seeking happiness.

After collapsing on the hall steps at her school, Betty finds out that she's dying. Though her husband and teenage daughter Sally beg her to seek treatment, she seems content in facing the end of her life. She wants to forgo treatment, proceeding as normal while doing the things that make her happy. She explains to her daughter,

Sally, I've learned to believe people when they tell you it's over. They don't want to say it so it's usually the truth.

With Henry crippled with denial and Don off wherever he was, Betty placed a great deal of trust and responsibility on 16-year old Sally. In a conversation that was eerily similar to one I had with my own father in January of 2010, it was Sally who tells Don about Betty's grim prognosis.  It is Sally who cancels her trip to Madrid, it's Sally who comes back and forth from school to try and normalize things for her little brothers and comfort her mother. Throughout the entire series we've watch Sally and Betty butt heads, challenging one another as the traditions of the 1950's gave way to the baby boomers; the free spirits and new thinkers of Sally's generation.  In a letter to Sally that includes her final instructions Betty writes,

Sally I always worried about you because you marched to the beat of your own drum. But now I know that's good because your life will be an adventure. I love you, mom.

As I wiped the tears from my cheeks, I thought how strange that Betty and Sally find themselves in the end, at the very place where I began.

xoxoxo Chocolate Girl in the City xoxoxo

Tribeca Interviews: Filmmaker Christopher Bell Discusses ‘Prescription Thugs’ and Addiction

We’re all addicted to something. It could be food, intimacy, exercise or even a TV show. Depending on what our addiction is, we may try to hide it because we are fearful of being judged by society. It seems, however, that it is society itself that can help lead us down that path. In fact, from the time we enter school, followed shortly by our first internship and job, we are taught to work through pain and to never truly talk about our issues in fear of showing weakness in a competitive environment. Additionally, we must pay our bills and take care of our families, so losing workdays is not an option for many of us (and paid sick days as well as vacation days are limited in numbers nationwide, and often dependent on experience and longevity at a company). With medications that combat everything from pain to restlessness, it’s natural to seek out remedies to help soothe any ailments you may have, whether they are physical or emotional. However, many of these medications, specifically prescription pain pills, are highly addictive. Since they are so readily available, it’s easy to see how one can spiral into addiction, especially in a society that is often deemed to be “overworked and overstressed.” And once you’re dependent on something, it can be nearly impossible, if not fatal, to pull yourself out of it.

Continue Reading at GALO Magazine.

Director Elizabeth Giamatti Talks ‘A Woman Like Me,’ Accepting the Unacceptable and Her Good Friend Alex

The Buddhist Meditation on Death says, “The point is we are all going to die, but that is the very thing we cannot accept.” Is it even possible to accept what is unacceptable to so many of us? Would you spend the precious time you do have left in despair over your circumstances, or would you try to find a way to be at peace with what is coming?

Oftentimes, we turn away from films with a terminal illness at their center. Too devastating for some and far too personal for others, we as moviegoers gravitate toward more lighthearted or even action-packed films. There have, of course, been anomalies like Jonathan Levine’s 50/50 (2011), or more recently, Josh Boone’s The Fault in Our Stars (2014). Generally, however, we go to the cinema to escape our own troubles. It is rare that we are drawn to films like Alex Sichel and Elizabeth Giamatti‘s A Woman Like Me. Continue reading at GALO Magazine.

Filmmaker Caryn Waechter Talks ‘The Sisterhood of Night,’ Social Media, Friendship and What It Means To Be A 21st Century Teen Girl

Our teen years are filled with some of the most memorable points in our lives: blossoming friendships, first loves and kisses, and the discovery of who we are. Everything is heightened, from our emotions to our self-awareness, as we leave the innocent childhood days behind us. However, with the advent of social media, millennial teens experience the world differently than any adolescents of the past. Web sites and apps like Facebook and Instagram may have connected us globally, but they’ve also put our existence on display for observation, admiration and critique. Often, it can seem that our lives are simply popularity contests. The fear of missing out is one of the most overwhelming feelings that have come out of today’s technological climate. For teen girls especially, living up to or falling short of particular standards of beauty and likeability can prove to be both exuberant and devastating.

Caryn Waechter’s female-driven The Sisterhood of Night explores many of these very themes. Her feature debut follows the uproar that erupts in Kingston, New York after a teenage girl claims she has been abused by a secret group who call themselves “The Sisterhood.” This is not your typical teen girl film with a romance at its center. Instead, it’s a movie that celebrates girlhood, friendship and what the nuances of being a teen in today’s world are.

Continue reading at GALO Magazine.

Brad Saville Talks ‘Regretting Fish,’ Independent Filmmaking and 21st Century Moviegoing

Filmmaker Brad Saville on the set of “Regretting Fish.” Photo Credit: Brad Saville.

Once a major Hollywood genre, the gangster film has become somewhat of a dying breed in Hollywood. Goodfellas (1990) was perhaps the last of its kind in this classic category, though films like The Departed (2006) and Public Enemies (2009) have drawn major numbers at the box office, providing some nostalgia for the 21st century filmgoer. In the past few years, action films, comedies and biopics have dominated the box office. It seems that we have traded in our bad boys and femme fatales for action heroes and romantic comedies. Luckily, independent films haven’t yet given up on film noir and criminals. John Hillcoat’s Lawless (2012) and Jim Mickle’s Cold In July (2014) are just a couple of examples of independent films that have not yet forgotten the thrill of the gritty underworld and the characters that inhabit it.

Continue Reading at GALO Magazine.

Actor Richard Brooks Talks ‘Being Mary Jane’ and Diversity on the Big and Small Screens

Richard Brooks stars in “Being Mary Jane.” Photo Credit: BET Networks/ Daniel McFadden.

What does it mean to hit rock bottom? Is there any way to recover; to gradually rebuild all that you have destroyed on your downward spiral? Typically the freefall is what draws television audiences in, keeping them attached to the screen hour after hour or week after week. And yet on Being Mary Jane, a powerful drama on BET created by husband and wife duo Salim Akil and Mara Brock-Akil, the recovery is just as riveting.

Continue Reading at GALO Magazine

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.

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.

Continue Reading at Shadow and Act 

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.

Continue Reading at Shadow and Act 

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.

Continue at Shadow and Act

xoxoxo Chocolate Girl in the City xoxoxox

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.

Continue reading at Shadow and Act

xoxox Chocolate Girl in the City xoxoxox

'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.)

Read more at Shadow and Act

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?

Continue reading at Shadow and Act.

xoxoxo Chocolate Girl in the City xoxoxox 

'The Hunger Games: Mockingjay Part 1' Cast & Director Dish on Winding Down the Franchise

At a recent press junket, Shadow and Act was present as the majority of the cast of "The Hunger Games: Mockingjay Part 1," spoke about the series and their experiences.
Here are some of the highlights:

Francis Lawrence (director), Nina Jacobson (producer), Jennifer Lawrence (Katniss Everdeen), Josh Hutcherson (Peeta Mellark), Liam Hemsworth (Gale Hawthorne), Julianne Moore (President Alma Coin), Donald Sutherland (President Coriolanus Snow), Natalie Dormer (Cressida), Mahershala Ali (Boggs), Sam Clafin (Finnick Odair), Willow Shields (Primrose Everdeen), and Jeffery Wright (Beetee Latier) were present for the conference.

On "The Hunger Games: Mockingjay: Part 1"
Francis Lawrence: This half of Mockingjay is really about Katniss discovering what she means to people; all of the districts. And really taking on the responsibility of her role in this revolution. It gave us the opportunity to explore one of the facets of war, which is propaganda.

Fascism vs. Freedom and being caught in the middle. On the political and social sophistication of the books and films
Jennifer Lawrence: Katniss is representing the consequences of war. It’s not that she doesn’t believe in what President Coin wants. It’s not that she doesn’t believe that the Capitol is a terrible government that is only good for the one percent. But war is complicated, and it affects everyone on both sides. I think for Katniss being caught in the middle is feeling pain from both sides. There really is no right way to start or end a war.

Julianne Moore: When I read [the books] I was really struck by the political allegory, and that is very unusual in YA. The thing about dystopia is that what is posits is whether or not we have free will as human beings. And for adolescents in particular, that’s a time when that idea is looming pretty large because you haven’t had free will. You’re in your parents’ house and you’re looking to… who you’re going to be as human being.  So here you have this central character who is trying to decide who she is going to be personally, and who she is going to be politically; and it’s fascinating.  It’s really wonderful. Suzanne Collins also sets up this idea about the difference between freedom and totalitarianism, and how you move from one system to another. I think it’s amazing and it speaks to not just me, but millions of people.

Donald Sutherland: The allegory is evident. When I first read the script I truly wanted to be apart of this project  so that I could look back at the end of my life, which is very close, and say I was a piece of this. Because for me how she has presented this dilemma to young people, and demanded from them a resolution; demanded from them participation that could change things. Because the world that my generation is leaving everyone is a disaster in every respect; politically, socially and economically. I hope that it would be a catalyst for young people. To get them off the seat of their pants …that someone from Occupy or wherever use these films to generate from young people an energy that  will take them into the voting booths of the United States in 2016 and make people responsible, politicians responsible for their words and their actions.

On the lack of physical action scenes in the film
Jennifer Lawrence: There was a lot less action in this movie. [Katniss] is in a very different place emotionally at the beginning of this movie, and the Games have completely changed her. She has to completely rebuild herself.  There wasn’t time for much action. Instead, there was just time for her reaction to everything.

Finish reading at Shadow and Act.

xoxoxo Chocolate Girl in the City xoxoxox

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.

Continue reading at Shadow and Act 

xoxoxo Chocolate Girl in the City xoxoxox

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.)

Finish reading at Shadow and Act.

xoxox Chocolate Girl in the City xoxoxo

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

'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.

Continue reading at Shadow and Act.

xoxoxo Chocolate Girl in the City xoxoxoxo

Film Review || Aaliyah: The Princess of R&B

It has been thirteen years since Aaliyah's untimely death. A rising superstar, she had two wildly successful albums under her belt (Age Ain't Nothing But A Number (1994) and One in A Million (1996).) She also managed to secure roles in the Matrix sequels, having already shot Romeo Must Die (2000) and Queen of the Damned (2002). Only 22 years old at the time of her death, she’d already accomplished a great deal. Had she lived, I'm sure that her success would have rivaled that of our current greats. (ie: Beyonce, Rhianna)

 
There have been talks for many years about turning Aaliyah's life into a film, despite lack of support from her family and those who were closest to her. Since she was extremely young when she passed, there has been a great effort to maintain her image and her preserve her life’s work, which a film could potentially jeopardize. Despite these concerns, huge pushback, and a casting shake-up, Lifetime decided to press forward with their film on her life entitled, Aaliyah: The Princess of R&B.

I had the opportunity to screen a rough cut of the film, and I'll be honest and say that I went into it with extremely low expectations. The story follows Aaliyah Dana Haughton (Alexandra Shipp) from her failed Star Search appearance in 1989 to her passing in August 2001. The film provided a bland and general overview of Aaliyah's life, with the occasional melodramatic acting (which is often typical of Lifetime.)

The Haughton's are depicted as extremely family oriented.  Aaliyah's Uncle, Barry Hankerson, (Lyric Bent) ran Blackground Records and managed Aaliyah from the beginning of her career. Despite singing with Gladys Knight (played brilliantly by Elise Neal) who is Barry's ex-wife, Aaliyah struggles for years to get her career off the ground.  Instead she showcases her talent by performing in school talent shows and at local events.  It’s not until 1993, when Barry introduced her to R. Kelly, (Clé Bennett) that her career takes off. Fresh off his widely successful 12 Play (1993), Aaliyah goes to Chicago to work with Kelly on what would become Age Ain't Nothing But A Number (1994).

Much of the issue with having the film done at all has been how the relationship between R. Kelly and Aaliyah would be depicted. Surprisingly, Lifetime treated the relationship as well as they could have.
Kelly, (Bennett) at the top of his game, is uninterested in even hearing Aaliyah sing at first.  However, that all changes after her audition with him. At once, he's enchanted and their relationship becomes uncomfortably close moving from a mentor mentee relationship into one that is secretive and predatory in nature.

Though it's obvious in the film that Aaliyah was young, naive, and clearly enamored with Kelly's genius, the film (like society) seems to sweep his misdeeds under the rug. After her parents discover their marriage (in a uncomfortable scene both in terms of the acting ability and material), they have it swiftly annulled and Kelly fades into the background of Aaliyah's life.

Post- Kelly, the film deals with Aaliyah's second album One In A Million (1996) and her relationships with Timbaland (Izaak Stack) and Missy Elliot (Chattrisse Dolabaille); virtually unknown producers at the time. Though it was not intended to be humorous, the lack of resemblance between these actors and Tim and Missy amused me to no end. Perhaps the film would have been more worthwhile had it focused on them within the making of Million, but since the duo were hardly believable then perhaps not.

The film touches on important moments in her career including her performance at the Oscars in 1998 and ends with her relationship with Damon Dash (Anthony Grant).

The film certainly wasn’t anything spectacular; Shipp is an ok actress with a decent voice who unfortunately, can't dance.  This becomes obvious in every performance showcased in the film, as Shipp does nothing more than sway from side to side. I think it would have been better off if Lifetime had simply respected the family's wishes and scrapped the idea of a movie altogether. If we are ever going to see another film on the late Princess of R&B's life, I would hope that it’s at least a theatrical wide release, well funded, well-acted, and backed by her family. (There have been whispers of a 2015 theatrical release.)

Lifetime's “Aaliyah: The Princess of R&B” gave me exactly what I expected, which sadly isn't much at all.

Aaliyah: The Princess of R&B premieres Saturday, November 15^that 8PM on Lifetime

xoxox Chocolate Girl in the City xoxoxox