February 3, 2020 by mvfour

Review: ‘A Patient Man’ – Dauntingly Relatable

Arts, Features, Film, Film Review, IndieFilm
A Patient Man, Amazon, Apple TV, Google Play, Jonathan Mangum, Kevin Ward, Tate Ellington, Vudu
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Jonathan Mangum as Tom Alexander, Photo: Courtesy of dawn til dusk PR

Indie film A Patient Man by writer-director, Kevin Ward (The Mist) starring Jonathan Mangum (“The Sarah Silverman Program”, “The Drew Carey Show”) follows Tom Alexander’s life after a devastating car crash. Alexander decides to go back to work after 4 months and tries to adapt to normalcy, begins cycling to work, as he’s not quite ready to drive a car, and goes to therapy yet can’t seem to open up. He’s the solo character driving the story. The film is absent of subplots. And the audience has to decide if they like or dislike the character pretty soon. Luckily, Alexander, played by Jonathan Mangum, who’s a comedic and improvisational actor, can pull off this sullen, ready to give up on life character with just the right amount of cynical sarcasm.

Exploring and delving into the mundane details of life, especially after a tragedy; scenes, I believed intentionally placed by director Kevin Ward, allows the audience to identify and feel empathy for Tom Alexander. The action finally comes in when Tom meets a stranger, Aaron Clark played by Tate Ellington (Remember Me, The Endless) on a Sacramento commuter train he uses to bike between home and work. We don’t know if this a chance encounter or a calculated meeting by Tom, but as the friendship progresses, we discover Tom is crafting a revenge plot on his would-be antagonist.

Tate Ellington as Aaron Clark, Photo: Courtesy of dawn til dusk PR

We learn about Tom’s life through flashbacks and Ward does an excellent job of weaving them throughout the story to give the audience enough snippets of information for us to follow and stay vested. Tom’s wife was killed in this life-altering crash and as more of the couple’s relationship is revealed, the more we sympathize with Tom. It wasn’t an ideal love story, something was amiss and this propels Tom to react instead of accepting his current circumstances.

A Patient Man requires audiences to be patient with the storytelling. This dramatic thriller insists upon evaluating a character’s trauma-inducing experience, as most people have endured at some point in their lives, and figuring out what to do with the cracks these situations leave behind. It’s a nice break from the numbing action-driven, over-the-top special effects blockbusters that only seem to get made in Hollywood lately. A Patient Man will be available on AppleTV, Amazon, Vudu, and Google Play on February 7, 2020. To learn more about A Patient Man, click here.

January 27, 2020January 28, 2020 by mvfour

Illustrious Choreographers Dwight Rhoden and Desmond Richardson Supersede Expectations With Complexions Contemporary Ballet’s New Season!

L to R: Dancers: Candy Tong, Tatiana Melendez, Eriko Sugimura Performing “Love Rocks,” Photo: Justin Chao

Complexions Contemporary Ballet’s 26^th season is back in full swing. Bringing to the stage previous audience favorites from the last two decades and sensational world premieres such as “Kaleidoscope,” “Elegy,” and “Love Rocks”. And, if you’re an aficionado of dance and Lenny Kravitz, you’d be remiss to overlook this magical performance as Complexions pays homage to the Grammy award-winning songwriter and advocate of love and unity.

L to R Complexions Contemporary Ballet’s Pre-Professional Program Dancers, L to R Dwight Rhoden and Desmond Richardson, Photo: THEGINGERB3ARDMEN

The evening, celebrating Complexions Contemporary Ballet fundraising Gala, highlighted co-founders Desmond Richardson and Dwight Rhoden’s educational initiatives to guide the young dancers of tomorrow through scholarships, mentorship programs and reinforce the artistic directors’ methodology of dance training. A testament to Richardson and Rhoden’s dance instruction was manifested by the dancers from Complexions Contemporary Ballet’s Pre-Professional Program performing “Kaleidoscope,” the aspiring professional dancers are poised, (some hail from as far as Winnipeg, Canada) to join an acclaimed dance company in the near future. Actress, songwriter, and musician Rhonda Ross kicked off the night to remind audience members the importance of dance as self-expression and daring everyone to reach for more – sentiments shared, and at the heart of Complexions Contemporary Ballet’s mantra.

Singer, Songwriter Rhonda Ross, Photo: THEGINGERB3ARDMEN

Setting the stage ablaze with her statuesque physique and mesmerizing dance moves was Jillian Davis. Davis has been with the company since 2014 and not only does she tower over the other dancers – male and female; she owns her height and glides across the stage with grace and confidence. On this night, Davis’ solo and world premiere of “Elegy” solidified her talents as a solo act and theater patrons will marvel at her performance.

Jillian Davis, Photo: THEGINGERB3ARDMEN

The final act of the evening was “Love Rocks” – a compilation of Lenny Kravitz’s music catalogue set to Dwight Rhoden’s choreography and performed by the entire company. These dancers did not miss a step. With their beautiful movements, the dancers captured Kravitz’s soulful and sultry voice. “Are You Gonna Go My Way, “ Fly Away,” and “I Belong To You,” – are some of the rock star’s popular songs featured in the tribute. The sensual costume design coupled with equally titillating mood lighting and backdrop, set the ambiance and ended the night on a high note.

Dancer Tim Stickney and The Company, Photo: Steven Pisano

Complexions Contemporary Ballet will showcase their 26^th season now through February 2, 2020 at the Joyce Theater in Manhattan. Do not miss this opportunity to see these incredibly gifted dancers on stage featuring classical, modern, and experimental ballet. To get tickets for upcoming shows and learn more about Complexions Contemporary Ballet, click here.

Credits:

KALEIDOSCOPE

Choreography by: Dwight Rhoden; Staged by: Natiya Kezevadz & Clifford Williams; Music by: African Drums and Soukouss – Beat the Drum, Mari Samuelson, Konzerthausorchester Berlin & Jonathan Stockhammer – November, Michael Bublé – Who’s Lovin’ You; Featuring the Complexions Contemporary Ballet Pre-Professional Program.

ELEGY

Choreography by: Dwight Rhoden; Music by: Beethoven; Lighting Design by: Michael Korsch; Costume Design by: Christine Darch; Performed by: Jillian Davis.

LOVE ROCKS

Choreography: Dwight Rhoden / Desmond Richardson; Music: Lenny Kravitz; Costume Design and Construction: Christine Darch; Lighting and Set Design: Michael Korsch; Sound Design: Corey Folta; Performed by: The Company.

January 13, 2020January 13, 2020 by mvfour

Review: ‘The Woman Who Loves Giraffes’ – Moving, Inspirational, and Triumphantly Valiant

Anne Innis Dagg, Photo Courtesy of Zeitgeist Films

To say Anne Innis Dagg was a trailblazer is an understatement. Making her mark before Jane Goodall studied chimpanzees and Dian Fossey gorillas in mountains, Dagg ventured on a solo trip to Africa and became the first female scientist/researcher to study giraffes in 1956. Giraffes have intrigued Dagg, a scientist/feminist/animal conservationist, since the age of three when her mother took her to a zoo. Twenty-years later, this life-altering, fateful encounter at the zoo; set in motion Anne’s quest to study giraffes in their natural habitat. Encouraged by her mother and then-boyfriend Ian Dagg, Anne began her research in the middle of the African bush when such endeavors by women were unheard of, yet Anne Innis Dagg pioneered the study of giraffes and discovered behavior never before documented. And, director Alison Reid, fascinated by Dagg’s life, embarked on bringing Anne Innis Dagg’s story to the screen after Listening to a CBC radio documentary, ‘Wild Journey’ on Dagg’s experiences.

Director, Alison Reid, Photo Courtesy of Zeitgeist Films

Award-winning director Alison Reid (The Baby Formula) wrote, developed, and shot the documentary, The Woman Who Loves Giraffes. Audiences will be thrilled she did. Besides bringing phenomenal historical context to the film, Reid does a beautiful job of capturing Dagg’s spirit and passion for giraffes. Reid chronicles Anne Innis Dagg’s life with rare footage from Dagg’s time in Africa by herself, the recreation of letters read between Anne, her mother, and boyfriend Ian Dagg. Anne’s unbelievable journey as a scientist, researcher, and feminist crusader fighting for her career against the patriarchy and male-dominated Canadian university staff. Her determination is admirable as she’s led the charge in challenging existing beliefs on female scholars.

Through Alison Reid’s lens and Anne Innis Dagg’s intact footage from over 60 years ago, we experience the highlights and low points of Anne Innis Dagg’s life. And complementing the film are the voices of Tatiana Maslany (Orphan Black), Victor Garber (Argo, Alias) David Chinchilla (The Expanse) and Lindsay Leese (Bomb Girls). We witness a seamless real-life story unfold of an extraordinary woman following her passion with grace and perseverance. Dagg’s multiple books on giraffes laid the foundation for future wildlife conservationists to study Anne’s findings and pursue careers in the field. Her contributions to the study of giraffes led to a resurgence in her career, and at almost 87 years-old, Anne Innis Dagg, currently known as a “giraffologist”, is still advocating for her beloved animals.

Anne Innis Dagg at age 23, Photo Courtesy of Zeitgeist Films

First airing in Canada, Zeitgeist Films and Kino Lorber Inc. acquired the U.S. rights for The Woman Who Loves Giraffes. Opening this past week in New York and slated to open February 21^st in Los Angeles, with subsequent engagements nationwide, The Woman Who Loves Giraffes is a must see! Whether you love animals, science or fighting for women’s rights, this film is for you. To learn more, click here.

December 11, 2019 by mvfour

Review: ‘A Christmas Carol in Harlem’ – Modern Twist of a Favorite Classic: Delightfully Uplifting

L to R: Emery Jones as Tiny Timothia and Charles Bernard Murray as Ebenezer Scrooge, Photo: Jill Jones

The holiday season is upon us and as you plan the rest of your entertainment activities with friends and family for the month of December look no further than A Christmas Carol in Harlem to fill you with glee. The Classical Theatre of Harlem brings to the stage a new adaptation of the beloved Charles Dickens novel. Its main character Ebenezer Scrooge, is a real estate mogul and community curmudgeon, who’s acquired his wealth at the expense of others and lacks empathy towards the less fortunate. He refuses to part with his money to help the needy without getting something in return. Scrooges’ lonely existence – and world – is turned upside down by the visit of Jacob Marley, Scrooge’s former business partner, the ghosts of Christmas Past, Present and Future. And, is forced to contend with the error of his ways. Almost two centuries old, this famous tale is as timely as ever with income disparity becoming increasingly prevalent throughout the country and citizens being displaced from their neighborhoods.

L to R: Kaden Jones as Young Ebenezer, Charles Bernard Murray as Scrooge, Eryn Barnes as Ghost of Christmas Past, Photo: Jill Jones

Set in present day Harlem, this dynamic cast’s interpretation is replete with magical strobes; hip-hop, lively dance numbers and singers with impressive vocal range. The festive and wintry backdrop sets the tone and Charles Bernard Murray (Honkey Tonk Nights) portrays the miserly Scrooge with conviction and wit. The most memorable ghost in the production: Christmas Past, as she sashays across the stage with interpretive dance to transition between Scrooge’s past memories – a wonderful creative touch as only the Classical Theatre of Harlem group can conceive.

Celebrating its 20^th anniversary season, The Classical Theatre of Harlem brings A Christmas Carol in Harlem production, with a 90-minute runtime, to the City College Center for the Arts’ Aaron Davis Hall from now through December 21, 2019. Don’t miss this spectacular holiday show for children and adult of all ages. To learn more about A Christmas Carol in Harlem and buy tickets, click here.

CREDITS:

The company of “A Christmas Carol in Harlem” includes: Eryn Barnes (as The Ghost of Christmas Past), Reed HarrisButts (as Bennie), Kahlil X Daniel (as The Ghost of Christmas Future), Gabrielle Djenné (as Fan and Belle; The Bacchae), Daniel Echevarria (as Fezz; In The Heights, Something like a Fairytale, The Open Gate), Ure Egbuho (as Sierra Jones; Good Friday, Locked Up Bitches; SCRAPS), Paula Galloway (as Claudette; The Colored Museum, Ain’t Misbehavin’), Steve Greenstein (as Jacob Marley; Flashdance the Musical), Emery Jones (as Tiny Timothia), Kaden Jones (as Child Scrooge and Bennie), Charles Bernard Murray (as Scrooge; The Bacchae), Andrei Pierre (as The Ghost of Christmas Present), Angela Polite (as Clock Shop Lady; MARY SPEAKS, Flambeaux), Jeffrey Rashad (as Bob Cratchit and Young Scrooge), and Kenzie Ross (as Mrs. Cratchit; Blood at the Root, When We Left). The ensemble features dancers from Elisa Monte Dance includingTracy Dunbar, Kat Files, Daniela Funicello, Ashley LaRosa and Sai Rodboon.

Based on the Charles Dickens Novella; Adapted by Shawn René Graham; Director: Carl Cofield; Choreographer: Tiffany Rea-Fisher; Costume Design: Lex Liang and Margaret Goldrainer; Lighting Design: Alan C. Edwards; Music Director: Kahlil X Daniel: Scenic Design: Izmir Ickbal; Sound Design: Kathy Ruvuna; Production Stage Manager: William V. Carlton; Projections Designer: Shawn Boyle; Props: Samantha Shoffner.

December 9, 2019December 9, 2019 by mvfour

Film Review: ‘People of the Wasteland’ – Frenzied, Raw Storytelling

Courtesy of Jouzour Film Production

Anxiety levels are sure to soar after watching, People of a Wasteland, mine sure did! Heba Khaled’s experimental documentary short; shot on a Go-Pro for two years, chronicles Jihadist fighters, working under the command of Turkish president, Recep Tayyip Erdogan, on the frontlines of war in Syrian-occupied territories against the Kurds and the Syrian army. This film isn’t an US vs. Them type of war genre. We don’t know whom we’re rooting for, since the audience is limited to the Go-Pro’s footage and essentially, it’s point-of-view, and we depend on the sights and sounds captured. We see what the soldier(s) sees.

Director Heba Khaled, Courtesy of Jouzour Film Production

And, first-time Syrian-born female filmmaker, Heba Khaled, weaves and edits different moments where the audience witnesses brutal warfare, fighters interacting with each other and performing basic acts like drinking water and taking pictures of one another drawing empathy from the audience. Her time spent with CNN and Reuters allowed Khaled access to cameramen and the fighters because there’s absolutely no way she would have survived as a female in the trenches and she knows it. According to Khaled: “As a female filmmaker, it was impossible for me to be there to film this. It was very urgent to learn how men and masculinity controls radicalism, and this experience at the moment of killing in a war, and to transfer it in a cinematic way through my own eyes, mind and heart.” War and devastation: a familiar theme in Heba Khaled’s life has been ingrained in her; she’s lost 20 relatives to bombings throughout the years.

Courtesy of Jouzour Film Production

People of the Wasteland’s experimental nature and powerful composition exposing fighters from both sides, even if it’s vague on identifying who’s who – done intentionally by the filmmaker, poses the question: What is the point of war when ultimately, everyone loses? Judge for yourself. Produced by Talal Derki, winner of Sundance’s Sundance Film Festival’s World Cinema Grand Jury Prize in 2018 for directing Of Fathers and Sons, and the Oscar® nomination for “Best Documentary Feature” in 2019. People of the Wasteland has fared well in the festival circuit, winning The Grand Prix for Best Short in the Berlin Liberi Film Festival, where Khaled now resides. The 21-minute short is under consideration for “Best Documentary Short”, and rightfully so. It merits all the accolades it has received thus far, and I would love for it to be expanded into a full-length feature. To learn more about People of the Wasteland, click here.

November 17, 2019November 17, 2019 by mvfour

Broadway Review: ‘Tina’ – Riveting, Heartfelt, and A Testament To Tina Turner’s Indelible Star Power

Photo: Manuel Harlan

Upon hearing that the Tina Tuner musical was coming to town, I had trepidation and a bit of skepticism. As a theatre and musical lover, I had no choice but to succumb to a new rendition of one of my childhood idol’s life portrayed on the Broadway stage. Would the actress playing Tina measure up? Would she be able to convey this powerhouse of a woman justly? Would the music move me? The answer to all my resounding questions: Absolutely! Tony-nominated actress, Adrienne Warren (Shuffle Along, Bring It On: The Musical) reprises her role of rock legend, Tina Turner; Warren had performed ‘Tina’ in London’s West End this past spring with rave reviews. And, now she’s traveled to New York to shatter all expectations of fans and critics alike. Warren’s portrayal of Tina Turner is sensational. The octaves in her similarly raspy voice to Turner’s are spectacular. Warren interprets Tina’s signature moves with grace, sans mimicry.

Photo: Manuel Harlan, Steven Booth as Phil Spector, Adrienne Warren as Tina

The musical begins with Warren seated on the stage floor wearing Turner’s iconic red leather dress reciting a Buddhist chant. Turner, a Buddhist since 1973, credits the religion for helping her endure life’s hardships. Then the audience is introduced to a young Tina (given name: Anna-Mae Bullock) played by Skye Dakota Turner masterfully, belting out church songs with fervor in her hometown of Nutbush, Tennessee, where her mother, Zelma, played by the talented Dawnn Lewis (A Different World, This Is Us) isn’t too pleased and constantly scolds her for being to loud and boisterous. At the behest of her grandmother, played by Myra Lucretia Taylor (Macbeth, A Streetcar Named Desire), she pursues her talents as a singer, and moves to St. Louis to be with her mother and sister.

The pacing of the musical is perfection. There are no lulls. We transition through the different phases of Tina’s life with Tina’s hit songs and sets so visually stimulating the rest of your senses have to play catch up! The scenes between Tina and Ike are electrifying. Their chronicled relationship is replete with success and abuse at the hands of Ike Turner played by Daniel J. Watts (Hamilton, The Color Purple). Ike Turner is undoubtedly the villain from what is known about his persona and documented past relationship with Turner. Watts does an excellent job of balancing the complexities of Ike, as the abusive husband, yet talented musician that discovered Anna-Mae Bullock’s talents at 17 years-old, Watts is able to convey this atrocious man, with comedic flair at times, while showcasing his singing and dancing abilities. After all, this is a musical and the tone shouldn’t be too gloomy.

Photo: Manuel Harlan, Adrienne Warren as Tina, Daniel J. Watts as Ike Turner

Executive produced by Tina Turner, directed by Phyllida Lloyd (Mamma Mia, The Taming of the Shrew), and choreographed by Anthony Van Laast (Mamma Mia!, Sister Act) ‘Tina’ is a true gem for biopic and musical aficionados. Run! Don’t walk to see this fantastic production of the Queen of Rock n’ Roll. Tina, The Tina Turner Musical will be on Broadway at the Lunt-Fontanne Theatre through September 2020, for upcoming performances, click here.

PRODUCTION: A presentation by Stage Entertainment, James L. Nederlander, Tali Pelman, Feste Investments B.V., David Mirvish, Nattering Way, Teg Dainty, Katori Hall, Mark Rubinstein Ltd., Warner Chappell, Peter May, Eva Price, No Guarantees, Caiola Productions, Jamie DeRoy, Wendy Federman, Roy Furman, Independent Presenters Network, John Gore Organization, Marc Levine, Carl Moellenberg, Al Nocciolino, Catherine Adler, Tom Perakos, Daryl Roth, Iris Smith, Candy Spelling, and Anita Waxman, in association with Tina Turner, of a musical in two acts, with book by Katori Hall (with Frank Ketelaar and Kees Prins), originally produced at the Aldwych Theater in London, by Stage Entertainment, Joop van den Ende and Tali Pelman.

CREATIVE: Directed by Phyllida Lloyd. Choreography, Anthony Van Laast. Sets & costumes, Mark Thompson; lighting, Bruno Poet; sound, Nevin Steinberg; projections, Jeff Sugg; hair & wigs, Campbell Young Associates; orchestrations, Ethan Popp; musical supervision, arrangements, additional music & conductor, Nicholas Skilbeck; production stage manager, Kristen Harris.

CAST: Adrienne Warren, Dawnn Lewis, Nkeki Obi-Melekwe, Myra Lucretia Taylor, Daniel J. Watts, Steven Booth, Nick Rashad Burroughs, Gerald Caesar, Holli’ Conway, Kayla Davion, Charlie Franklin, Judith Franklin, Matthew Griffin, David Jennings, Ross Lekites, Robert Lenzi, Gloria Manning, Jhardon Dishon Milton, Destinée Rea, Mars Rucker, Jessica Rush, Carla Stewart, Jayden Theophile, Skye Dakota Turner, Antonio J. Watson, Katie Webber.

November 15, 2019November 16, 2019 by mvfour

‘Hurdle’ Review: Palestinian Youth Combat Political Strife With Inspiring Creative Outlets

Activism, Arts, Democracy, documentaries, Film Review, Filmmaking, Human Rights
Freedom, Hurdle, Muslim Youth, Palestine
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Photo: Courtesy of Hurdle Film

The world is in political turmoil domestically and internationally as evidenced by the ongoing deadly protests in Hong Kong, Venezuela, Chile and Bolivia. Reaching its 50^th year of Israeli military occupation, Palestinians have mastered the virtue of resiliency in fighting for their rights to exist and living with the oppression that brings social injustice; they’ve taken to the streets for half a century, and attempting to reclaim their land is nothing new. But what has emerged, and shed light on this age-old Middle Eastern conflict, is a fresh perspective by documentary filmmaker, editor, cinematographer, producer: Michael Rowley. In his film Hurdle, audiences can judge for themselves what Palestinians are fighting for.

Photo: Courtesy of Hurdle Film, Mohammed by Wall In Occupied Palestine

Hurdle begins with Mohammed, a Palestinian photographer examining a wall built to confine Palestinians to their “territory” by the Israeli military. Mohammed is clearly anxious and frustrated by his and his family’s current situation, but uses his photography business to enlist the youth in his community to find what’s beautiful and intriguing in the midst of all the violent attacks on their people. It’s gut-wrenching yet hopeful to see this community persevere and strive for a better life and brighter future.

Photo: Courtesy of Hurdle Film, Parkour Team Member Jumping

The film then follows Sami, a parkour instructor who teaches young men to jump and flip over rooftops and structures with measured form. Apart from the mental and physical demands the sport requires – it invokes the spirit of these young men to persevere, to attain the unattainable and overcome obstacles in currently occupied Palestine, even with all the violence and bloodshed simultaneously consuming their daily lives.

Rowley’s Hurdle film is candid. It shows daily Palestinian life: the celebrations, familial moments, triumphs and tribulations that connect us on human level. There are devastating violent attacks that can strike at a moment’s notice. On one side, we see people (Palestinians) fighting for their very existence, and on the other, Jews waving their flags rejoicing as they claim victory over their enemies. It’s an eye-opening experience to see basic freedoms we are all entitled to, squashed, but in succession, witness a movement of self-preservation and determination. Rowley documents the breathtaking landscapes and energy of Jerusalem with captivating cinematography and music. Winner of the Best Documentary Feature Film from the 2019 Tulsa American Film Festival, Hurdle is destined for more accolades and world-wide recognition. To learn more and check out future screenings of the Hurdle documentary, click here.

October 31, 2019 by mvfour

Review: ‘Motherless Brooklyn’ Edward Norton Resurges Dynamic Film Noir Storytelling

20 years in the making and the film adaption of Motherless Brooklyn is finally here. Triple threat Ed Norton serves as writer, director, and star of this highly stylized film noir rendition of Jonathan Lethem’s 1999 novel of the same name. Unlike its printed predecessor, Norton’s film takes place in the 1950s, whereas Lethem’s crime novel describes a 1990s Big Apple. Some resistance from the author could have been expected, but according to Lethem, when Norton asked for his input, he said: “Just run with it.”

And Edward Norton did just that. For two decades the artist researched the New York City of the 1950s and its place in history with politics, race, community displacement and power struggles interwoven – the major components that make up this crime drama. Edward Norton plays Lionel Esrogg, a junior detective with Tourette’s syndrome that is determined to find the truth about his mentor’s (played by Bruce Willis) murder, all while uncovering unsavory truths about New York City’s powerful and disenfranchised. Joining Norton in this dramatic ensemble are acclaimed actors: Alec Baldwin, as the powerful, money-hungry and bigoted developer, Moses Randolph intent on bamboozling anyone and any institutions that get in his way of seeing his projects through (loosely based on actual New York developer, Robert Moses). Baldwin’s casting and interpretation of Randolph is quite apropos and authentic as his portrayal of Trump has been well received by the public and condemned by the president; and well, extremely timely.

Photo: Courtesy of Warner Bros. L to R, Alec Baldwin and Edward Norton

Gugu Mbatha-Raw as Laura Rose, a mixed-race lawyer and activist intertwined in this crime story is fantastic. Mbatha-Raw and Norton have great chemistry on-screen and there’s a beautiful connection their characters convey with an unspoken recognition of the struggle each has endured within a less-than accepting society. Rounding out the cast with electrifying performances are Willem Dafoe as Paul, Moses Randolph’s more humane, and less corrupt brother and Michael K. Williams (The Wire, Boardwalk Empire) as the trumpet man with keen situational awareness.

Photo: Courtesy of Warner Bros. L to R, Gugu Mbatha-Raw and Edward Norton

Edward Norton has a gift for portraying dimensional characters. He can go from 0 – 100 instantaneously, from self-deprecating to exuding complete confidence without hesitation; his Academy Award nominations for Primal Fear and American History X speaks to this. It’s a given. The audience will root for underdog, Lionel Essrog, to defeat the villains in Motherless Brooklyn but what is most compelling about Norton’s brilliant portrayal of Lionel’s disability is the way he outsmarts those who believe he’s no match for them with grace, humility and humor. And as the audience, we buy it.

The cinematography (Dick Pope) and set design (Kara Zeigon) conjures ups a romanticized nostalgia moviegoers crave. Manhattan and Brooklyn streets littered with 1950s Cadillacs and Chevys in an array of models and colors is a sight to behold. At first glance, you might think you’re in a tourist attraction in present day Cuba, but no, it’s the extraordinary production team that made this era come life with beautiful visuals. The film is lengthy but worth sitting through and witnessing wonderful storytelling. Motherless Brooklyn comes out tomorrow, November 1^st. Click here for showtimes.

September 27, 2019April 23, 2020 by mvfour

Urbanworld Film Festival 2019 Review: More Than A Platform for Filmmakers – A Community of Content Powerhouses and Artists Breaking Barriers

Photo: Courtesy of Urbanworld Film Festival

Urbanworld’s 23^rd Film Festival has come to an end but the lasting impression their 78 official film selections made still lives on. Opening this year’s festival was Harriet, directed by Kasi Lemmons (Eve’s Bayou, The Caveman’s Valentine). Harriet tells the story of Araminta Ross, born into slavery in Dorchester, Maryland as 1 out of 11 siblings in her family. She became famous for freeing over 300 slaves in the south as a conductor in the Underground Railroad and integral leader of the Civil War. Lemmons does a fantastic job of portraying Tubman, played by Tony Award-winning actress Cynthia Erivo (Color Purple on Broadway, Widows), as a crusader. This isn’t just another film about slavery depicting atrocities and pulling at your heartstrings. It’s the impossible tale of a true female warrior with incredible perseverance. When we first meet Araminta, she seems scared; she’s illiterate and a bit crass, having suffered a childhood assault, and possessing divine vision and clarity, she executes numerous and courageous efforts to lead her family and others to freedom. This is the 19^th century Oscar-worthy biopic we’ve been all been waiting for – the heroine of our dreams makes her way to the big screen. Harriet comes out November 1^st. Click here to learn more.

Other narrative features worth spotlighting are DC Noir, and the female-led cast, If Not Now, When?

Photo: Urbanworld Film Festival, Actor, Gbenga Akinnagbe in DC Noir

DC Noir is an anthology of 4 films based on writer/producer/director George Pelecanos’ (The Wire, Treme, The Deuce) critically acclaimed short stories. Each story is based in Washington D.C. and follows working class characters that in some way or other want to escape their circumstances, yet find themselves riddled with obstacles and propensity for crime. Pelecanos does a remarkable job of capturing the essence and culture of the urban communities he writes about and DC Noir is no exception. Long-time collaborating actor-turned-director, Gbenga Akinnage (The Wire, The Deuce, To Kill A Mocking Bird – currently on Broadway) directs and stars in one of the shorts. Pelecanos hires many of the same actors in his television series and now film series, to portray his three-demensional characters. During the panel discussion after the screening, I saw many familiar faces supporting Pelecanos and the cast and audience members emphasized his stellar efforts to characterize people from the places he writes about with authenticity. To learn more about DC Noir, click here.

Photo: Courtesy of Urbanworld Film Festival, L to R, Meagan Good and Tamara Bass on set of If Not Now, When?

Next up: If Not Now, When? The predominantly black cast led by stars-turned directors, Meagan Good (Think Like A Man, Minority Report) and Tamara Bass (Krazy Actress Productions) bring a poignant film about high school friends and the ups-and-downs they’ve encountered 15 years later. The film is reminiscent of 90s film, Waiting to Exhale with Whitney Houston and Angela Basset, as it explores the complexities of female friendships and love interests. If Not Now, When? tackles addiction, love-loss, infidelity with grit and honesty. The characters aren’t always likeable and that’s okay, you still root for them. Good and Bass directed the movie by chance, after their original director dropped out. According to Good, “I feel like I’m cheating on acting by saying this, but I definitely love directing as much as acting, maybe a little bit more sometimes.” Good and Bass have been friends for over 21 years and took turns behind the camera. To learn more about, If Not Now, When? click here.

Photo: Courtesy of Urbanworld Film Festival, Bakosó: Afrobeats of Cuba Film Still

I’m always in search of documentaries that strike a nerve in me – good or bad- and leave me thinking about the subject matter for a while. This year’s Urbanworld Film Festival presented: Bakosó: Afrobeats of Cuba and Skin – two films that have taken up residency in my mind.

I’ve been to 7 of Cuba’s provinces. I was born there and left for the United States at the age of 4. It took my 28 years to finally return to my motherland. And I’ve always wanted to go to Oriente where my mom was from and where the movie Bakosó is based, but I’ve never quite made it there on my 4 trips to Cuba. Habaneros, or those from Havana have always thought people from Santiago were guarijos (hicks from the countryside) and spoke a weird dialect the rest of Cuba couldn’t understand. Wow, are these Habaneros wrong! After watching Bakosó: Afrobeats of Cuba, directed by Eli Jacobs-Fantauzzi, and seeing the energy and vibrancy Santiagueros have, I completely understood what the people from the region of my native Cuba had to say and I want to visit Santiago more than ever. The film starts off with Isnay DJ Jigüe Rodriguez’s grandmother smoking a cigar and moving to African chants. African rhythms are a central theme in this documentary. DJ Jigüe takes us through the various parts of Santiago and introduces us to artists making due with homemade speakers and equipment. It’s Cuba after all – electronics and anything for that matter, are in short supply. He also shows us neighborhoods bursting with new dances and young people celebrating their local Bakosó superstars like: Ozkaro Delga2, Maykel El Padrino and El Inka making their music and receiving recognition for their upbeat and innovative contribution to Hip Hop. To learn more about Bakosó: Afrobeats of Cuba, click here.

Photo: Courtesy of Urbanworld Film Festival, Skin Film Still

The second documentary that made an impact on me was Skin, directed by Daniel Etim Effiong, starring and produced by Beverly Naya. Naya poses the question: Why do women and men bleach their skins and succumb to “supposed beauty standards” they feel they need to conform to? Naya is on a quest and travels to different regions in Africa and interviews public figures, cosmeticians, actresses, beauty entrepreneurs, local women and school children who feel compelled to feed into the beauty myth – that lighter is beautiful. Naya addresses her own insecurities growing up with her skin color and learning to accept her beauty and confidence as a grown up. Naya does a wonderful job of exploring this sensitive topic that is universal and warrants discussion amongst people of color within their communities. Skin color does not merit the worth of a person and Beverly Naya is an excellent advocate for championing this message. Please go see this movie and embrace how God made you – beautiful to the last cell of your body! To learn more about Skin, click here.

Launched in 1997 by founder Stacy Spikes, co-founder of MoviePass and former executive of October Films, for over two decades Urbanworld Film Festival is the premiere platform for emerging filmmakers and musical talent to showcase their work and partner with distributors such as HBO, BET and Warner Media for global exposure. Spikes believed people of color were underrepresented in film and there was a void to fill, and embarked on establishing, what is now known as the: Urbanworld Foundation Inc. Under the umbrella of the foundation is also Urbanworld Digital, which includes esteemed panelists in television and film holding invaluable conversations on how to get great content out there and what the process entails. Gabrielle Glore serves as Festival Director &Head of Programming. To learn more about the Urbanworld Film Festival, click here.

September 25, 2019September 25, 2019 by mvfour

Harlem Stage Debuts The Mystical World of Afrofuturism – Bewildering and Charming Experience

Movie Poster Still From Film, “ROXË15”

Before attending the Order Out of Chaos, a night of Afrofuturistic short films, music performances and a ‘Mind Share’ panel discussion recently, I had a vague understanding of the term: Afrofuturism. The phrase: Afrofuturism, was coined by Mark Dery in 1993 in his essay: “Black to the Future.” Dery, a cultural critic, essayist and journalism professor, examines the intersection of sci-fi and African pride. According to Dery, “a community of people whose past has been deliberately rubbed out, and whose energies have subsequently been consumed by the search for legible traces of its history, imagine possible futures?” The wildly successful Academy-Award winning pop culture movie: “Black Panther” is a testament to Dery’s hypothesis and focuses on black diaspora and technology – central themes in Afrofuturism.

On this night, Harlem Stage’s audience was treated to two experimental short films delving into the theories of Afrofuturism. The first: “ROXË15”, directed by Celia C. Peters, is a film about a virtual reality female programmer, living in a bleak futuristic New York City setting, searching for a better life through technology, reliving certain events she can’t escape from that prevent her from moving forward; it’s jarring and uncomfortable, but hints at the limitless possibilities technology has to shape our lives.

Still From “Prototype” Film, From Left to Right, “Android 499” and Sol

The second short, “Prototype,” by writer-director, Christopher Ortega examines human emotions when a black female scientist tests out different android prototypes in her mother’s lab to determine if they can experience empathy. In her quest for substantiated results, she discovers family secrets about her mother and her own existence. It’s “Black Mirror” meets modern-day Telenovelas; and I’m here for it. Would love to see a full-length feature made and have the subject matter explored further.

Photo Credit: Marc Millman, From L to R, Celia C. Peters, Craig T. Williams, Nona Hendryx, Craig Harris and Darian Dauchan

Post film screenings, director and moderator, Celia C. Peters led a discussion on the origins of Afrofuturism with fellow speakers: Nona Hendryx, acclaimed vocalist, record producer, songwriter of the hit song “Lady Marmalade” and former member of the group, Labelle, Craig T. Williams (filmmaker) of upcoming movie: “Hanging by a Thread,” Craig Harris (jazz-musician) and avant-garde composer, and Darian Dauchan, award-winning actor, writer, musician of the off-Broadway production of: The BroBot Johnson Experience. These talented artists discussed the past, present, and future of Afrofuturism. The role technology plays and one of the first innovators of the concept of Afrofuturism (before it was labeled a concept), Sun Ra – a jazz musician, who infused elements of space and jazz in his work. Sun Ra, in an NPR interview said: “In my music I speak of unknown things, impossible things, ancient things, potential things,” Known as recording pioneer, cosmic philosopher and poet, Sun Ra claimed to be from Saturn.

Photo Credit: Marc Millman, Nona Hendryx

Following the panel discussion, the galactic sights and sounds of Nina Hendryx filled the auditorium – Hendryx is currently resident Artistic Director for Afrofuturism at Harlem Stage. With her band mate on the drums and the visual backdrop of colorful orbiting bodies, 74 year-old Hendryx confidently sashayed on stage and made her way to the audience wearing a black cat-suit and digital audio tutu with synthesizers; multifunctional fashion. Hendryx is a force. Younger musicians can take a cue from Hendryx’s sultry appeal and career longevity.

Closing the night was Darian Dauchan as his Brobot Johnson character. He raps. He beat boxes. He dances. Moving to simulated outerspace sounds, manifested on screen with shapes and figures, Brobot Johnson (dressed as a robot, complete with silver hair) got the audience pumped and made his performance interactive. It was strange, yet unexpectedly entertaining to watch as some of the loud, pulsating sounds lingered.

Photo Credit: Marc Millman, Darian Dauchan as Brobot Johnson

For over 35 years, Harlem Stage has been one of the countries’ leading performing arts centers fostering and showcasing contemporary artists of color, bringing exciting and diverse performances daring to be provocative and engaging new audiences transcending cultural experiences. To check out more Afrofuturistic performances throughout the year and explore other phenomenal programs, click here.

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