Category / Features

by mvfour

Netflix Levels Up Their Streaming Game with Bingeworthy Programming Primed to Captivate Viewers with ‘Back in Action,’ ‘What Had Happened Was,’ and ‘Missing You’

Secret operative missions, stand-up comedy, and a who-dun-it; Netflix enthralls viewers with a new batch of titillating entertainment.

From L to R: Cameron Diaz, Jamie Foxx, and Rosalind Eleazar; Photo Credit: Netflix.

Superstars Cameron Diaz (Emily) and Jamie Foxx (Matt) make a splashy comeback with their spy thriller Back in Action. The couple plays a pair of brilliant CIA spies in a clandestine relationship. Once Diaz finds out she’s pregnant with their child, they decide to disappear, assume new identities, marry, and move to the suburbs until their cover is blown. Forced to return to the world of espionage with precocious teens in tow, they battle oligarchs and their henchmen until their family is safe. Glenn Close (Fatal Attraction, The Wife) plays Cameron Diaz’s estranged mother, whose actions allude to being a former spy, and she’s glorious as usual! An actor’s actor.

Both actors are in great shape, and we buy their roles as GenX martial experts who haven’t lost their edge. Back in Action marks Diaz and Foxx’s return to cinema. Diaz hasn’t starred in films since 2014, and in the middle of shooting the action-comedy, Foxx had a medical emergency that left him out of the spotlight for a few years. The two stars have dynamic chemistry and a natural comedic ability. Cameron Diaz’s Emily is reminiscent of Natalie Cook’s graceful fight scenes from the Charlie’s Angel franchise (2000–2003), while Foxx channels his Django character’s stealth moves.

Cameron Diaz and Jamie Foxx proved their bankable stars as Back in Action remains the top film on Netflix.

Cameron Diaz and Jamie Foxx in ‘Back in Action’; Photo Credit: Netflix.

Clearing the air and setting the record straight on his hiatus from TV and Film, Foxx stars in his poignant and hilarious comedy special What Had Happened Was. Rumors and conspiracies stating that P. Diddy drugged Foxx to him becoming a paraplegic were debunked by Foxx. The truth, as confirmed by the actor, is that he had a brain bleed, leading to a stroke that doctors had a hard time diagnosing, and his sister stepped in to advocate for further analysis. Foxx addresses the severity of his condition and epiphanies, makes jokes, and sings in this hilarious and poignant one-hour show. Foxx still got it, but more importantly, never lost it.

Lastly, Harlan Coben returns with his book adaptation series, Missing You. And use John Waite’s hit 80s song “Missing You” as the musical backdrop.

Rosalind Eleazar (Kat) and Richard Armitage (Stagger) in ‘Missing You’; Photo Credit: Netflix.

Missing You follows Kat Donovan (Rosalind Eleazar, Slow Horses, Deep Water), a detective inspector in the U.K. whose fiance broke off their engagement and went off the grid for 11 years. To make matters worse, Kat learns her father’s murderer is about to die and visits him to find out why he murdered him, a former policeman. In true Harlan Corben fashion, there are more winding twists and turns than the steepest stairwell in a centuries-old European castle in this story. And fans of the suspense-thriller author will love it! Not to mention the diverse multinational cast and Coben favorite and veteran British actor Richard Armitage (Fool Me Once, The Stranger) as Donovan’s boss, Ellis Stagger.

Fluff up your couch and prepare your favorite snacks for a superb TV viewing this weekend or next. Back in Action, directed by Seth Gordon (Horrible Bosses, Identity Thief). It’s Netflix’s highest-grossing film to date. Jamie Foxx’s honest Golden Globe-nominated special What Had Happened Was, detailing his recovery, is ripe with impersonations, storytelling, and singing extravaganza. If you’re looking for more than a contained show or film, check out the 5-episode limited suspenseful series Missing You.

by mvfour

Why Glenn Close’s Character is So Controversial in ‘The Deliverance’ — and Director Lee Daniels Unapologetically Celebrates it

Inspired by actual events, Daniels’s new Black drama rattles viewers with the enigmatic veteran actress’s portrayal of Alberta.

Glenn Close as Alberta in ‘The Deliverance’; Photo courtesy of Netflix.

Alberta (Glenn Close, Fatal Attraction, The Wife) is the domineering white mother to her mixed-race daughter, Ebony Jackson (Andra Day, The United States vs. Billie Holiday, Marshall). A single mother of three, she moves her kids to a new home in Indiana, where the residence seems occupied by demonic forces. She resigns herself to finding an unorthodox solution to the problem, often through horror genre-infused tropes that are entertaining (kids speaking in satanic voices and levitating) but also through spiritual guidance that seems to temper the demons.

What’s so bad about the house?

Andra Day as Ebony Jackson and Anthony B. Jenkins in ‘The Deliverance.’; Photo courtesy of Netflix.

Ebony starts noticing strange behavior in her children: trance-like states, communicating with people who aren’t there, and unexplained bruises on their bodies. To make matters worse, Ebony is struggling financially, trying to stay sober, and battling with her mother, Alberta, who doesn’t hold back when Ebony messes up. Not to mention, Child Services is keeping a close eye on Ebony because of her past child endangerment issues. Constantly reminded by the agency’s rep, Cynthia Henry (played by Oscar-winning actress Mo’Nique, (Precious, and The Parkers), that she must put them first and be a responsible parent, Ebony feels trapped.

But back to Glen Close.

I watched the film without IMDB-ing or Googling the cast. At first glance, I didn’t recognize the actress playing Alberta (Close) until I started focusing on her voice and mannerisms. It’s Glenn Close like I’ve never seen or heard before. Ghetto-fabulous sassy. Critical. Bat-wielding protector. And owning the mean-spirited attributes sometimes single mothers possess when faced with poverty and lack of support. Resentment. Despair. And addiction passed down to their children. In this instance, it’s Alberta and Ebony’s dynamic. Generational trauma plays out on-screen between them, and viewers will cringe at the numerous mother-daughter showdowns. One explicit scene of their relationship, which has social media in an uproar, has Alberta (resurfacing as a Nosferatu-like creature) saying: “I can smell your nappy p*%@y.” Yeah, it’s an intense line. Granted. However, according to Daniels:

Andra Day as Ebony Jackson and Glenn Close as Alberta in ‘The Deliverance.’; Photo courtesy of Netflix.

“I had to do it. Every Black person knows an Alberta. She’s part of the fabric of our community, but we’ve never seen her on screen before,” Lee told CNN.

One of those never-before-seen moments viewers can anticipate is watching Alberta (mid-to-late 70s) flirt with a much younger (Omar Epps, Love & Basketball, Higher Learning) while receiving chemotherapy. Dressed in a revealing blouse, wearing lots of makeup, and confidently flirty for days, Glenn Close perfected the role to a tee. Cheers to that! We need more sexagenarians and septuagenarians strutting their stuff on screen playing sirens, not seniors ready for the afterlife. It makes for exciting cinema. Stream The Deliverance, based on Latoya Ammons’s experience with the haunting of her house in 2011, on Netflix!

by mvfour

Film Review: Netflix’s ‘They Cloned Tyrone’ Expertly Treads Between Reality and Illusion

On the surface, this sci-fi mystery seems like another urban crime drama, but what bubbles underneath will shock and delight fans.

Movie Poster for They Cloned Tyrone; Photo: Netflix

After Fontaine (John Boyega, Star Wars Episode VII — The Force Awakens, Attack the Block ), a drug dealer in the fictitious city of Glen, robs and runs over a rival dealer, retaliation is inevitable. But before payback comes to fruition, Fontaine stops at a motel to collect money from Slick Charles, a pimp more interested in drinking and partying than worrying about paying off his debts. Slick is played charismatically and entertainingly by Jamie Foxx. The Oscar-winner, and one of the film’s producers, multi-layered portrayal of this particular pimp perfectly balances the debonair and boisterous tough guy.

Fontaine (Boyega) is subsequently shot by the head rival drug dealer (Isaac J. Alphonse Nicholson, Just Mercy, P-Valley) outside the motel parking lot. But comes back to life and briefly encounters a version of his injured, bullet-laden self on the street. When he knocks on Slick’s door at the motel again, the pimp is dumbfounded. Fontaine doesn’t realize he’s already been there.

Teyonah Parris as Yo-Yo, Jamie Foxx as Slick Charles, and John Boyega as Fontaine; Photo: Netflix

Slick enlists his reliable escort, Yo-Yo (Teyonah Parris, Wandavision, If Beale Street Could Talk), to help Fontaine figure out what’s happening. The on-screen dynamic between Slick and Yo-Yo is enjoyable to watch; his pimp hand is weak, and she knows it but still has to oblige and pay him for her work while poking fun at his detective skills.

The unusual trio forms a bond as they discover a secret elevator behind the refreshments from the local convenient store to a lab where there are a variety of human-like Back clones housed in life-size capsules, overseen by white scientists. After Fontaine finds his clone on a stretcher, he replays a series of repetitive events in his head that he can’t explain, similar to Bill Murray’s character Phil in Groundhog Day, but way less light-hearted and more sinister.

Teyonah Parris as Yo-Yo, Jamie Foxx as Slick Charles, and John Boyega as Fontaine; Photo: Netflix

John Boyega, the British-Nigerian actor who rose to stardom with the Star Wars sequel trilogy, is scarily good in They Cloned Tyrone as the hardened and stoic Fontaine. The soundtrack deserves mention as well. Classic 70s and 90s tunes permeate the film giving it a slick urban film noir feel. Director and co-writer Juel Taylor (Creed II, Space Jam: A New Legacy) paints a gritty world of a community in disarray with limited options — that seems to exist and is designed with these characteristics by the government. Other notable characters making a splash: David Alan Grier as the charlatan preacher and Keifer Sutherland (Nixon) as the ruthless government messenger to keep the clones in check.

They Cloned Tyrone is now streaming on Netflix. Click here to watch and learn more!

Follow me for more BIPOC articles and content.

by mvfour

Review: ‘Ovid and the Art of Love’ – Resoundingly Mirrors Modern Times

Screen Shot 2020-05-08 at 4.23.31 PM

Corbin Bleu as Ovid, Photo: Brian Geldin PR

Esmé von Hoffman’s latest film to hit the streaming platforms, Ovid and the Art of Love, couldn’t have come at a better time amidst a global pandemic and the ensuing chaos the current administration is wittingly encouraging in our nation. Its social and political commentary will resonate with audiences. As millions of Americans affected with the repercussions of the novel coronavirus (over 76K+ deaths domestically, an unemployment surge of 14.7%, a statistic unseen since the Great Depression) continues to wreak havoc in our daily lives.

Screen Shot 2020-05-08 at 4.28.14 PM

John Savage as Augustus, Kimberly Cruchon Brooks as Livia, Photo: Brian Geldin PR

Parallels of our stark reality compounded by the film’s theme are spot on. Writer/Director Esmé von Hoffman’s version of the old tale of beloved poet, Ovid, otherwise known as Publius Ovidius Naso, who was exiled by Roman emperor, Augustus in 8 AD, “allegedly” because of his exotic and provocative books of poetry. Corbin Bleu (“High School Musical,” “Dancing with the Stars”) is charming as he breathes life into modern-day Ovid, and finds his purpose in the urban streets of Detroit. He’s summoned by Augustus, the inept and hypocritical emperor, played by the talented John Savage, (“Deer Hunter”) to pursue a career in law but his interests lie elsewhere: poetry. Determined to follow his passion, Ovid attempts to read his poems at open mic clubs, failing at first and ridiculed by patrons, later finds his rhythm in verse and love as he follows a woman he thought would fulfill his life. As Ovid’s poetry career and romantic conquests flourish, the citizens of Rome, A.K.A. Detroit, are in an upheaval; jobs are lacking, health insurance is scarce, and people are protesting inadequate leadership. Ring a bell? It’s 2020 on screen, minus the fancy togas, and elegant headpieces.

 

Screen Shot 2020-05-08 at 4.37.48 PM

Director Esmé von Hoffman, Photo: Brian Geldin PR

Ovid and The Art Love is a tale as old as humanity – depicting average citizens standing up to power with truths and freedom of expression to affect change and the dire consequences that result, in this case, Ovid, regarded as the canonical poet of Latin literature, is exiled and sent to Romania, but his beautiful poetry and popularity lives on. In 2017, Ovid’s birthplace of Sulmona formerly Sulmo in Italy, acquitted the poet of any wrongdoing, Florence followed suit.

Check out this wonderful adaptation of Ovid and the Art of Love by director, Esmé von Hoffman, when it’s released on May 19th by Level 33 Entertainment via major streaming and VOD platforms including Amazon, iTunes, Comcast, XFinity, Dish, Sling, Microsoft, Google Play, YouTube and many more.

 

 

by mvfour

Review: ‘A Patient Man’ – Dauntingly Relatable

Screen Shot 2020-02-03 at 12.05.04 PM

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.

Screen Shot 2020-02-03 at 12.08.08 PM

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.

by mvfour

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

IMG_6770

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.

Screen Shot 2019-10-30 at 10.12.53 PM

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.

Screen Shot 2019-10-30 at 10.13.29 PM

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 1st. Click here for showtimes.

by mvfour

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

Screen Shot 2019-09-26 at 3.55.00 PM

Photo: Courtesy of Urbanworld Film Festival

Urbanworld’s 23rd 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 19th 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 1st. Click here to learn more.

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

Screen Shot 2019-09-27 at 12.17.07 AM

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.

Screen Shot 2019-09-27 at 12.20.34 AM

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.

Screen Shot 2019-09-27 at 12.18.27 AM

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.

Screen Shot 2019-09-27 at 12.15.34 AM

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.

by mvfour

3rd Annual Festival of Cinema NYC: Hosted Brave, Brash, and Beautiful Films

Screen Shot 2019-08-15 at 3.58.07 PM

Photo: Courtesy of Festival of Cinema NYC

Festival of Cinema NYC has wrapped its 3rd season – and it was a season replete with films tackling trauma, love, and hope with authenticity. Cinema fanatics from not just Queens (host location), but all over the world were treated to more than 125 films, relentlessly holding audiences’ emotions hostage and settling up well-deserved ransoms at the end of each screening with sensational works of art.

Screen Shot 2019-08-14 at 2.25.17 PM

Photo: Courtesy of Red Dress. Red Straps film

This years’ roster of indie shorts held their own and commanded as much attention as their full-length narrative features and documentary counterparts. The films that merit mention: Red Dress, Red Straps, Keylight, and Coffee and a Donut – brief in presentation, robust with long-lasting, heart-felt and controversial themes that permeated well after their screenings. Red Dress. Red Straps by director Maryam Mohajer follows the story of a young girl in her grandparents’ home in the midst of Iran-Iraq war in 1985. She’s enamored by a pretty pop star’s red dress she sees on television all the while listening to her grandfather’s favorite radio program spouting “Death to America” chants. The child is nonetheless consumed with how the dress her grandmother is making for her will turn out during this upheaval in her life. The whimsical animation touching upon war, coupled with a child’s perception of the world she lives in is bittersweet and enchanting. Red Dress. No Straps was produced in the U.K. and won the Best Animation award from the 11th annual NYC Independent Film Festival. To learn more about Red Dress. Red Straps, click here.

Screen Shot 2019-08-14 at 1.15.59 PM

Photo: Courtesy of Keylight film

Keylight by director Simon Kay begins with former child star Sarah, (Samantha Strelitz) about to audition when she’s suddenly confronted with what seems like stage fright but turns out to be thoughts of a traumatic incident in her past she’s incapable of letting go. Sarah finds a way to channel this experience to bring forth her best stage performance – but via dark introspective means. Winning the Festival of Cinema NYC’s Best Cinematography Award, Keylight offers a fresh perspective on how people can address past trauma to release cathartic enlightening and rise above it. To learn more about Keylight, click here.

Screen Shot 2019-08-14 at 7.26.34 PM

Photo: Courtesy of Coffee and a Donut film

Finally, the last narrative short that resonated with me was Coffee and a Donut by director Cary Patrick Martin. The story is about a young Spanish-speaking immigrant (Memo), whom after hearing a patron request a coffee and a donut at a local diner, perpetually asks for the same order because it’s the only English phrase he’s learned. He suffers in silence as he watches others order mouth-watering pancakes and the like – until he meets a fellow Spanish-speaking customer (Rocio Mendez) that helps him learn English, but not without some hiccups. This short film has resonated with audiences as it explores the universal immigrant experience of adapting to a new country they now call home; it’s sweet, funny and empathetic; a film so vital in today’s current political climate, particularly with the current administration’s animosity towards immigrants. Actress Rocio Mendez received this year’s Festival of Cinema NYC Best Supporting Actress Award. To learn more about Coffee and a Donut, click here.

Screen Shot 2019-08-14 at 12.49.44 PM

Photo: Courtesy of Over 18: A Documentary About Porn film

Documentaries must be given their spotlight too. After all they focus on topics that are rarely covered in mainstream films. This year’s standouts: Over 18: A Documentary About Porn and The Queens. Over 18 by directors Jared Brock and Michelle Brock chronicle the life of Joseph, a 13 year-old boy recovering from a porn addiction since age 9. Shocking? Absolutely. As the film progresses and shares eye-opening data, the more disturbing it becomes. The filmmakers examine the correlation between the Internet and the easy accessibility children have to porn sites with inadequate, limited restrictions; the male porn stars and companies who’ve profited and continue to make money from pornography, the female stars exploited and left to pick up the pieces – post porn work, and most importantly, the devastating effects and consequences porn addiction can have on children and adults. The directors did a fantastic job of interviewing subjects to discuss their roles in porn culture – specifically content, distribution and consumption; and what ultimately needs to change to safeguard children’s accessibility. To learn more about Over 18: A Documentary About Porn, click here.

Screen Shot 2019-08-14 at 1.21.02 PM

Photo: Courtesy of The Queens film

The Queens documentary introduces audiences to a whirlwind of female impersonators and female illusionists around the country vying for the coveted title of Miss Continental. The national pageant, founded by Jim Flint in 1980, is held annually in Chicago and has preliminary qualifying Miss Continental contests around the country and the world. Forget everything you’ve heard or know about traditional pageants. The true super stars are the contestants in this documentary. Filmmaker Mark Saxenmeyer follows contestants that have invested tens of thousands in becoming Miss Continental; the dance routines they create and practice; the lavish costumes and makeup they spend money on; the perseverance they posses is immeasurable. Saxenmeyer delves into the culture of female impersonators and what’s at stake for them to follow their dreams with grace and integrity. To learn more about The Queens, click here.

Screen Shot 2019-08-14 at 1.09.52 PM

Photo: Courtesy of Quest: The Truth Always Rises film. L to R, Dash Mihok as Tim and Greg Kasyan as Mills.

In a film festival, more often than not, there’s a film that makes you stop, reflect and ponder for a while what you just saw. For me, this film was: Quest: The Truth Always Rises. Quest, written and directed by Santiago Rizzo, is autobiographical. Rizzo’s character Mills is played by Greg Kasyan. Kasyan (Netflix’s “Daybreak”) portrays a troubled teen in Los Angeles from an abusive home that seems destined for doom with tremendous grit and vulnerability. The teen is a graffiti artist and is talented in his tagging pursuits and expresses interest in school, but lashes out, as he internalizes the consistent physical and verbal abuse his stepfather (Lou Diamond Phillips) bestows on him. There’s a teacher and football coach that takes notice of his behavior and attempts to befriend the youth, albeit with resistance, but ultimately changes his life. The educator played by Dash Mihok (Showtime’s “Ray Donovan”) shows a display of compassion and lack of judgment so admirable and mirrors Rizzo’s true-life mentor, Tim Moellering. Mihok interprets the character with great stoicism and sincerity and the audience can’t help but root for both student and teacher. Receiving Best Feature Narrative at this year’s Festival of Cinema NYC, I can’t recommend this film enough. We need more stories like these to be told and raise awareness of troubled youth, the good these films can do to improve their lives and impact change. I impart Santiago Rizzo’s words from his emotional post-film Q&A: “Trust Your Struggle.” To learn more about Quest: The Truth Always Rises, click here.

Festival of Cinema NYC’s name was recently changed from Kew Gardens Film Festival to promote film submissions globally. The Mayor’s Office of Media and Entertainment and Governor Andrew Cuomo recently acknowledged the tremendous strides the festival is making to promote filmmakers and their work, and the free programming film panels and workshops events they sponsored in New York City. To learn more about Festival of Cinema NYC, click here.

by mvfour

Rawness and Unconventionality Captured The Essence of The 22nd Annual Brooklyn Film Festival

Screen Shot 2019-06-11 at 7.16.21 PM

Opening Night, 22nd Annual Brooklyn Film Festival

This year’s Brooklyn Film Festival broke new ground with superb storytelling. And, we couldn’t get enough of it. According to the festival’s Executive Director, Marco Ursino, “BFF featured the largest presence of female directors within a single festival edition to date. I’m also proud to say that four out of our six festival programmers are women and the festival is run mostly by women.” What a refreshing and revitalizing statement from a male festival organizer. Time will tell if other male festival directors will follow suit with domestic and international film festivals in the future. Brooklyn Film Festival’s (BFF) roster of films included 133 features and shorts from over 30 countries spread over six continents. The lineup included 37 world premieres, 29 east coast debuts and 34 first-time screenings in NY.  In addition to the 13 narrative features and 10 documentary features, the festival presented 39 short narrative films, 23 short documentaries, 28 animated films and 20 experimental projects.

Documentaries at their core are meant to raise awareness and provide a candid journalistic perspective on subjects completely devoid of mainstream coverage. The documentaries that rose to the occasion in this year’s festival are: Clean Hands and RocKabul.

Screen Shot 2019-06-11 at 12.32.41 PM

The Lopez Children At La Chureca, Photo: Courtesy of Clean Hands Press Site

Clean Hands, directed by Michael Dominic, follows a family in Nicaragua over the span of seven years (2011-2018) living in extreme poverty and relying on a garbage dump, La Chureca (Central America’s largest garbage dump) for food and everyday necessities. When we first meet the 4 children in the Lopez family, they are aged 6 – 10, unable to read and write and depend on each other for companionship and engage in sibling rivalry. They are unaware of a better life, unlike their parents. When they receive an opportunity from a foundation to move into a new home on the condition that the kids go to school, the family seems destined for a bright future until other underlying problems set in. Dominic’s storytelling is raw, and depicts his subjects as they are. The director captures moments that are heart-wrenching in its portrayal of this family and lets audiences experience the highs and lows with them. In the end: you’re rooting for the Lopez family instead of pitying them.

Screen Shot 2019-06-11 at 7.28.55 PM

L to R: Qais (Guitarist), Pedram (Drums), Yousef (Vocals), Qasem (Bass), Lemar (Vocals/Guitar) Photo: Courtesy of Rockabul Press Site

In RocKabul, Australian director/journalist, Travis Beard goes on a journey with the first metal band in Afghanistan: District Unknown. What’s so interesting and compelling about this movie is the universal love for music these subjects exhibit. Whether you love metal or not, you will be immediately drawn in by these subject’s relentless pursuit of their passion for music – a passion that is frowned upon by the conservative and extremist government of Afghanistan. Beard, having lived in Kabul for seven years, and a metal musician as well, injects himself in the documentary as an advocate and mentor for the group. District Uknown’s story is bittersweet as Beard chronicles the band’s discovery of rock music, playing an international festival in India, and capturing Kabul’s underground party scene. The band members face insurmountable threats by the Afghani system and ultimately must make a decision on the future of the band.

Two narrative features that boldly address unconventional themes in their films and were awarded Certificates of Achievement by the Brooklyn Film Festival this year are: #LIKE for Best Producer Award and Only Good Things for Best Original Score Award. Both directed by female filmmakers. These films are true standouts in their own right.

Screen Shot 2019-06-11 at 7.11.16 PM

Actress Sarah Rich As Rosie, Photo: Courtesy of Brooklyn Film Festival

In #LIKE, director Sarah Pirozek begins the story with the aftermath of suicide brought on by cyberbullying and the family members left to pick up the pieces, one year later. In this instance, it’s Rosie’s point-of-view, a teen from Woodstock New York confronted with the harsh reality that the anonymous man whom bullied her younger sister into committing suicide is back on the prowl trolling for new victims online. After getting nowhere with the local police and realizing their lack of interest to prosecute her sister’s assailant, Rosie decides to seek retribution. This is more than a vengeance-thriller film. Pirozek is smart to keep Rosie’s teenage perspective with every action and decision she makes – even if detrimental. We empathize with her situation and revel in the psychological exploration of captor vs. captee.

Screen Shot 2019-06-11 at 5.41.11 PM

Cast of Only Good Things, Photo: Courtesy of Brooklyn Film Festival

Only Good Things (Solo cose Belle) by director Kristian Gianfreda is delightful all around. The premise: a popular 16-year old teen starts to question her loyalties and character when a bizarre family moves into her small town of Rimini, Italy. Unwanted and stigmatized by town regulars and her own mother, father, who’s the mayor of the village; Benedetta can’t – in good conscience – follow the pack and mistreat her new neighbors that are quite odd, but familial and loving nonetheless. As Benedetta’s moral compass keeps getting tested, the surprise ending will leave you feeling warm and fuzzy. No wonder this film won the festival’s Achievement of Certificate for Best Original Score Award for composer, Bevano Est.

Two shorts in the documentary and narrative categories that left me smiling and hopeful are One Leg In, One Leg Out and Dunya’s Day.

Screen Shot 2019-06-11 at 7.14.01 PM

One Leg In, One Leg Out, Photo: Courtesy of Brooklyn Film Festival

One Leg In, One Leg Out, won Best Documentary Short at the Brooklyn Film Festival this year. The film is about a transgender female (Iman) sex worker who dreams about becoming a social worker to help her fellow transgender community. Canadian Director Lisa Rideout follows Iman as she seeks out johns on the street and interacts with them on the phone. Iman is skilled at her job, but knows her profession has a limited shelf life. In pursuit of bigger things, she seeks information about a social work program and seriously considers the career change. Rideout aptly lets the audience get to know Iman with no preconceived notions. The film paints the transgender subject in a positive light – especially in the era we are living in, where LGTBQ rights are being stripped away by the U.S. government and attacks against the group have increased exponentially.

Screen Shot 2019-06-11 at 7.57.27 PM.png

Sara Balghonaim as Dunya, Photo: Courtesy of Brooklyn Film Festival

Dunya’s Day, a narrative short by writer/director Raed Alsemari pokes fun at Dunya, a well-to-do Saudi Arabian woman who is in the midst of having her college graduation party and is abandoned by her help staff. Who doesn’t want to see entitled people struggle? I suspect just the entitled. Even through her desperate attempts to save her soiree, Dunya still wants to be perceived as “having it together” and a gracious host by her rival affluent friends. It’s comedic timing is spot on. Dunya’s Day is the winner of Sundance’s Short Film Jury Award for International Fiction at the 2019 Sundance Film Festival.

The Brooklyn Film Festival has been supporting competitive film events since 1998 to drive worldwide attention to Brooklyn as a purveyor of stellar cinema and independent filmmaking. This year the 22nd Brooklyn Film Festival collaborated with several South American film organizations: Proimagenes (Colombia), ChileDocs, IMCINE (Mexico), Universidad del Cine (Buenos Aires, Argentina), Festival Internacional del Cine Buenos Aires (FIDBA), Cinema Tropical and Proyector Film Series to increase Latin American film submissions. I’ll be waiting with bated breath to see what’s in store for 2020. To learn more about the Brooklyn Film Festival, click here.

 

 

 

by mvfour

Female Filmmakers Rule The Spotlight At The 22nd Annual Brooklyn Film Festival

IMG_5340

Photo: Mercedes Vizcaino

If you’ve had enough of the quintessential Hollywood hyped films that have been – and will continue to be – splashed all over TV stations and streaming services with overly saturated ads (after all it’s only the beginning of June), then check out the roster of films at the 22nd Annual Brooklyn Film Festival to embrace global innovation and creativity. I’ve seen a few films thus far, in the narrative and documentary features and shorts, and experimental and animation categories, and wow! have they made an impact on me. And, we still have 6 more days of film festival-ing to revel in and see more fascinating films.

It all began with the presentation of The Gathering on BFF’s opening night and this year’s festival theme of empowering women to tell their stories and call out Hollywood for their inaction towards predatory powerful men. The Gathering, directed by Emily Elizabeth Thomas, showcases actresses dressed in character (the nun, elf queen, spy) all sharing personal accounts of sexual assaults within the film industry. The film and director’s message: “NYC…Brooklyn is a space for the other, the weird, the disruptors. And, that a better Hollywood is possible.” Following this powerful short film was the world premiere of Above The Shadows by Claudia Myers starring Olivia Thirlby, Alan Ritchson, Jim Gaffigan, and Megan Fox.

Screen Shot 2019-06-03 at 2.18.17 PM

Olivia Thirlby and Alan Ritchson, Photo: Courtesy of Brooklyn Film Festival

Above The Shadows is a supernatural action romance between a tabloid photographer (Holly) and a disgraced MMA fighter (Shayne). Holly has been invisible to her family and society for more than a decade. After discovering that one of her tabloid photos resulted in Shane’s downfall, she tracks him down to make things right and realizes he can see her and has the potential to restore her existence in the world. Director Claudia Myers brings a softer perspective to the sport of MMA and reverses the age-old boy-saves-girl paradigm with Thirlby as a believable heroine and savior of the day.

Screen Shot 2019-06-03 at 2.17.50 PM

Elephant in Africa’s Congo Basin Region, Photo: Courtesy of the Brooklyn Film Festival

Regardless if you love elephants or whether you just love all animals, the documentary, Silent Forests, is worth seeing. Taking place in Africa’s Congo Basin region, the film follows Cameroon’s first female eco-guard conversationalist, a Congolese biologist studying elephant behavior, an anti-poaching sniffer dogs team leader led by a Czech conservationist all tackling the unbelievable corruption, lack of funding and weapons, as they deal with the huge crisis of the decreasing population of forest elephants. The film is eye-opening and sentimental in the depths these activists undertake to examine the problem head-on,  from poaching to conversation and vice-versa. Check out director Mariah Wilson’s documentary feature on June 4th at 10pm at the Wythe Hotel.

Screen Shot 2019-06-03 at 3.11.59 PM

Numa Perrier as Susan (Center), Photo: Courtesy of Brooklyn Film Festival

A recent film that had me immersed in thought long after it ended was: Una Great Movie by Director Jennifer Sharp. The story begins with an African-American woman (Susan) traveling back to Mexico to rekindle a romance with a former lover; then it cleverly switches to the film’s screenwriter second-guessing her characters and their actions in the film and the all-too-familiar producers, “screen therapists,” agents, and movie insiders injecting their formulaic and over-used anchors to drive the film to “sell” and have a mass appeal. This film will speak volumes to all, but is especially poignant for any creative who has dreamt, tried-but-failed, or succeeded in making their vision come to life. It’s funny, full of heart, and entertaining for the entirety of its 96 minutes. Check it out and buy tickets to the world premiere on June 7th at the Wythe Hotel at 8pm.

Screen Shot 2019-06-03 at 3.22.01 PM

Mollie Cowen as Casey, Photo: Courtesy of Brooklyn Film Festival

The documentary short, 3 Sleeps, by painter-turned-director, Christopher Holt is based on the true story of a 9-year-old girl (Casey) left to take care of her younger siblings for a whole weekend in a tough London neighborhood. After her mother leaves young Casey with little money to watch over herself and sisters, her youngest sister, aged 5, becomes ill. While Casey is forced to make the harrowing decision to either protect her mom or save her sister’s life, the audience is at standstill – grappling and sympathizing with Casey’s predicament. Fine acting by actresses Mollie Cowen, Keira Thompson, and Emily Haigh. 3 Sleeps has its U.S. premiere tonight at the Wythe Hotel at 6pm and encore on June 7th.

Screen Shot 2019-06-03 at 3.37.44 PM

Bernard in Bristled, Photo: Courtesy of Brooklyn Film Festival

The animation short Bristled is a gem of a film that captures the idiosyncrasies of dating perceptions in the modern world. After countless failed blind dates, Bernard believes he may have found “the one,” only to find yet another fault in the person and is quickly consumed with his perceived “fault” she possesses, only to discover he’s not perfect either. The narration’s comedic dialogue and timing is superb. Bristled, by Scott Farrell has been selected by the Beverly Hills Film Festival, Chicago Comedy Film Festival, and Canadian International Comedy film Festival to name a few. Go see this quirky film on June 5th at the NY Media Center.

This year The Brooklyn Festival’s programmers are committed to advocating for filmmakers who are working in critical systems, taking risks and challenging themselves to tell stories that are breaking barriers. Please check out these amazing films and support these extraordinary and talented artists. To see Brooklyn Film Festival’s full schedule, click here. Plus, don’t miss my festival wrap-up piece next week. The Brooklyn film festival will be running through, June 9th.