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

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

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

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

Continue reading at Shadow and Act.

Image: "Straight Outta Compton" Film Poster

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

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

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

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

Continue Reading at Shadow and Act.

Image: Sneakerheadz Film Poster

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

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

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

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

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

Continue reading at Shadow and Act.

Image: Tut/SpikeTV

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

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

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

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

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

Continue Reading at Shadow and Act.

Image: Marvel/Ant-Man

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

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

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

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

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

Boris Kodjoe: Thank you.

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

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

Continue reading at Shadow and Act.

Image: FOX

Keith Powers Talks ‘Straight Outta Compton,’ Leaving Football Behind and Playing the Villain

Biopics can often be nerve-wracking experiences for all of those involved. Paying homage to actual people and portraying their lives in a real and fair way can certainly put a lot of pressure on the actors involved with the project. Hence, it goes without saying that expectations often run high, especially from fans and those who knew (or know) the person being depicted — and sometimes even the person themselves. However, if the actor is fearless, the experience can be one of the best that he or she has ever had. Take, for example, Jamie Foxx’s portrayal of Ray Charles in Ray (2004). He was so extraordinary that it earned him the Academy Award for Best Actor. Likewise, Angela Bassett’s depiction of Tina Turner in What’s Love Got to Do with It? (1993) is still one of the best performances I have ever seen by any actor on screen. With only a few years of acting under his belt, 22-year-old Keith Powers is already making a name for himself in the entertainment industry. A former football player turned model/actor, Powers is best known for his role as the charismatic “new kid,” Theo (aka Anthony), in MTV’s groundbreaking series Faking It. However, after this summer’s premiere of the highly-anticipated N.W.A. biopic, Straight Outta Compton, a film that chronicles the rise and fall of the pioneering hip-hop group, everyone will see how fearless he really is. In fact, he’s got the real makings of a leading man. In the film, Powers portrays Dr. Dre’s younger brother, Tyree Crayon, who died in 1990 while Dr. Dre was on tour with N.W.A.

With the media mogul’s blessing, Powers was able to pay homage to a man long gone, but one that is still tremendously important to Dr. Dre’s life. This certainly was no easy feat, embodying a loved one of a powerful cultural figure has to be mind-boggling. However, it sounds like Powers really nailed the role. “He gave me all of these amazing things, and now I get to give him his little brother on film, in front of everybody. And from what I heard, he really liked my performance,” he tells us.

Taking time out of his increasingly busy schedule, Powers chatted with us about the buzz surrounding the upcoming biopic, his move from the sports world into entertainment, and his “man crush” on Brad Pitt, all while showing us just how diverse and talented he truly is.

GALO: I’ve been really looking forward to chatting with you about your upcoming projects and all of the great things that you’ve been working on.

Keith Powers: Thanks.

GALO: I read that you ended your football career and turned to acting and modeling. How different are these two worlds for you? Do you have any regrets about leaving the sporting world behind?  

KP: First of all, yes, they are totally different worlds. Football is a competitive sport. I come from Sacramento, California, and how I was raised [was that] either you were playing sports or you were a scholar — or you were both. The area of Sacramento that I [grew] up in was the type of environment where you feel like there isn’t too much else to do. You’re going to have a regular nine to five [job], you’re going to be a lawyer or a doctor, or you’re going to be in the streets.

It’s two different worlds because when you get the opportunity to be a model and travel the world, you meet these photographers, these beautiful women, and these other models. Of course, you have the other side of that. You have to deal with the people in the industry who act bourgeoisie, but that’s any aspect of life, you’re [always] going to run into those types of people.

GALO: Of course, they are everywhere.

Continue reading via GALO Magazine.

Image: Keith Powers/Marc Cartwright.

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

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

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

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

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

Continue reading at Shadow and Act.

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

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

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

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

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

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

Continue Reading at Shadow and Act.

Image: 'In My Father's House' Film

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

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

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

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

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

Continue Reading at Shadow and Act.

Image: 'Dope' Film/Rachel Morrison

ABFF 2015: Taraji P. Henson Gets Candid on Fear, Having a Baby in College, Hollywood Struggles, Career Goals, Oscar, 'Empire' + More

Taraji P. Henson has been well known and loved in the Black community since her portrayal of Yvette, in John Singleton’s "Baby Boy" (2001). However, it was the unprecedented success of Fox’s hip-drama "Empire" that made her a household name around the world. This past weekend, at the 19th Annual American Black Film Festival. ABFF’s 2015 Ambassador Taraji P. Henson sat down with Gayle King to talk about her long running career, dating, raising her son and what she wants most of all.  Here are some of the highlights, and Shadow and Act attended.

Here are some highlights from the conversation:

On going From Electrical Engineering to Acting

- What had happened was I auditioned for the Duke Ellington School of the Arts in the tenth grade, and I didn’t get accepted.  My best friend did, isn’t that horrible? I took it to heart. I thought that meant I could not act, so I stopped acting. When it was time to go to college I knew I had to go to school, so I just said electrical engineering because it sounded like I could make a lot of money.  But, I was terrible at math. Acting was still in me, but I was just afraid.

On Fear

- When I was at A&T I had to pass the fine arts building to get to my English Class. One day, I walked passed and they had an audition for a play and I was like 'I’m gonna do it.' And I got my monologue, and I remember standing on that stage and the only thing I kept hearing in my head was ‘No’. I was nervous and my hands were shaking, it was horrible. And they said, we’ll put up on the bulletin board the next day who gets the call back. I was so riddled with fear that I never went back to see if I got the call back.

On Growing Up

- I grew up in the hood and I wasn’t the coolest. I was an artist. I was a little quirky and to the left. I dressed a little crazy. But you know, I would set trends I would do kooky things like wear clips in the front of my hair and next thing you know, Peaches and them got clips in the front of their hair.

Continue Reading at Shadow and Act.

Image: Chuck Hodes/Fox

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

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

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

Continue reading at Shadow and Act.

Image: Universal Studios

Review: 'Shake the Dust' is a Beautifully Shot Film That Leaves It’s Audience Wanting

It’s strange to think that there was a time, not too long ago, when hip-hop wasn’t considered “real” music. The rhythms and beats are now so ingrained in our culture, that music would be severely lacking without it. Hip-hop has stretched far beyond the confines of the United States seeping into every corner of the globe. The stories told through the music inspire those whose lives are far more devastating than we could ever imagine. The songs we blast through our open windows, and the movements that have inspired us for the last several decades, are the same ones they gravitate towards.  Hip-hop has connected us all.

Directed by journalist turned filmmaker Adam Sjöberg, and executive produced by hip-hop icon Nasir ‘Nas’ Jones, "Shake the Dust" paints an inspiring portrait of b-boys and b-girls from Uganda, Colombia, Cambodia and Yemen. Their environments are bleak. Many of them were orphaned at a young age, and turned to drugs or a life of crime. And yet, for all of them, it was the music that brought them back from the brink. They have found happiness and satisfaction in break dancing.  In Cambodia, mega talented B-Boy- Suicide spins on his head continuously as a crowd gathers around him. His name, he says, was given to him because of his willingness to go to the extreme to perfect his techniques.  He has no fear, because as he states, “What’s left to fear?”

Continue reading at Shadow and Act

Image: Shake The Dust Film

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

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

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

Continue reading at GALO Magazine.

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

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

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

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

Continue reading at Shadow and Act.

Image: HBO

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