It's obvious that a lot of people giving PRIDE a "1" are reacting to the trailers and radio ads that make this movie come off as a "black vs. white" thang. In reality, the movie it self is much more nuanced and filled with universal themes. It's been said that the achievement in sport by people of color is responsible more than anything to bring a semblance of equality in America. In sports, it's mathematical. A strike is a strike, a touchdown's a touchdown no matter who throws it. PRIDE is worth supporting because it shines light on a real-life person who used sports to teach young kids there's a bigger world past the playground, and if you develop your talents you won't have to fall back on the race card to catch breaks. Pride is a solid sports flick with strong performances by all that will suffer because of some unimaginative and lazy marketing. If you like Terrence Howard or Bernie Mac or even Kimberly Elise, make this one worth your time. Otherwise, wait for the Mark Gastineau story.
Reviews
5 Reviews
Love Chronicles
(2003)
Burn The Negative!
18 March 2007
It's unfortunate the choices Terrence Howard had to make while still a struggling actor in Black Hollywood. This is a movie that is well cast with very capable and talented actors--and puts them to shame.
The direction, camera-work and editing are terrible and are not helped by the full-screen DVD transfer, which kills the composition. Basically the plot is this--Howard, Robin Givens and Paula Jai Parker are radio hosts of a relationship call-in show. They get calls which become the basis of several vignettes a-la "Love American Style." Every great actor has at least one of these on their resume. Tom Hanks has "He Knows You're Alone." Tom Cruise has "Losin' It." Michael Caine does one a year. With a budget and better writing, this might have been a decent time waster. Unfortunately, it's not, so don't waste your time.
The direction, camera-work and editing are terrible and are not helped by the full-screen DVD transfer, which kills the composition. Basically the plot is this--Howard, Robin Givens and Paula Jai Parker are radio hosts of a relationship call-in show. They get calls which become the basis of several vignettes a-la "Love American Style." Every great actor has at least one of these on their resume. Tom Hanks has "He Knows You're Alone." Tom Cruise has "Losin' It." Michael Caine does one a year. With a budget and better writing, this might have been a decent time waster. Unfortunately, it's not, so don't waste your time.
Phat Girlz
(2006)
Monique's "fantasy island" outclasses Latifah's forebear
6 April 2006
Phat Girlz is in many ways similar to Queen Latifah's film LAST HOLIDAY, which hit theaters earlier this year. Both star plus size women as department store clerks with an ambition to be more. In Last Holiday, Latifah wishes to be a master chef. In Phat Girlz, Monique wishes to create high fashion for big girls so that the'll feel more attractive. While Last Holiday had a big enough budget to film in Prague, Monique has to settle for Palm Springs. And in doing so, comes out with the better film. Both films are comic fantasies that provide vicarious thrills for their (assumed) big female audiences. But while Latifah's stunts like skiing and skydiving are visceral adventure, Monique goes through the motions of falling in love--with a man, then herself, then ourselves. Yes, some of the comedy is broad, the video cinematography is unsettling and the character development for the supporting players nonexistent. But Monique delivers a film that speaks directly to her fans. Filmmaker Nnegest Likké provides counterpoint to the proceedings. The Nigerian doctor is seriously interested in a big girl like Monique because in his culture size is a reflection of wealth. He's intelligent, handsome and even challenges Mo's liberal use of the "B" word. In the end, Phat Girlz is more rewarding and life-affirming than Latifah's flick or even How Stella Got It's Groove Back, it's obvious muse. Let's hope Monique uses her success to continue to portray equally well rounded, truthful characters. Let's hope Hollywood notices her in this film, as well as in Lee Daniels' Shadowboxer and will offer her roles (and budgets) that match the size of her appeal and talent.
ATL
(2006)
Surprisingly strong film shows the flipside of the dirty dirty
27 March 2006
I just got back from an advance screening of ATL--the movie that cannot be marketed as a roller skating flick because Roll Bounce "didn't make money."
OK, so I guess that's a major spoiler in Warner Brother's eyes. But I think it's kinda cool to see a PG-13 movie set in current times that shows young men and women battling with the process of growing up. If you've seen lots of movies like me, you'll know where ATL borrows it's cues from--the friendships of Juice, the house party from House Party, the fat girl from Cooley High a dash of Purple Rain the broad tapestry of Last Picture Show or American Graffiti and the swagger of Saturday Night Fever. It also owes a lot to John Hughes' early work. That being said, director Chris Robinson, in his feature debut, delivers strong visuals and an excellent soundtrack/score that constantly reminds you that these are real places, people and problems. He gets excellent performances from his cast--a mix of veteran actors and musicians in their film debuts.
The big plot twist in the story (which I won't give away) raises a very interesting question that the movie with as broad a scope as ATL has no way to answer--do these young girls project a "grown-up" attitude because it's fashionable or is it the only way to find love and attention from these young boys who are, in their own way, desperately in search of their own manhood without the guidance of true role models? ATL tels a very familiar story but with interesting hues and nuances that defy the typical "hood" flick. I encourage you to check it out in theaters.
OK, so I guess that's a major spoiler in Warner Brother's eyes. But I think it's kinda cool to see a PG-13 movie set in current times that shows young men and women battling with the process of growing up. If you've seen lots of movies like me, you'll know where ATL borrows it's cues from--the friendships of Juice, the house party from House Party, the fat girl from Cooley High a dash of Purple Rain the broad tapestry of Last Picture Show or American Graffiti and the swagger of Saturday Night Fever. It also owes a lot to John Hughes' early work. That being said, director Chris Robinson, in his feature debut, delivers strong visuals and an excellent soundtrack/score that constantly reminds you that these are real places, people and problems. He gets excellent performances from his cast--a mix of veteran actors and musicians in their film debuts.
The big plot twist in the story (which I won't give away) raises a very interesting question that the movie with as broad a scope as ATL has no way to answer--do these young girls project a "grown-up" attitude because it's fashionable or is it the only way to find love and attention from these young boys who are, in their own way, desperately in search of their own manhood without the guidance of true role models? ATL tels a very familiar story but with interesting hues and nuances that defy the typical "hood" flick. I encourage you to check it out in theaters.
Goodbye Uncle Tom
(1971)
Probably closer to the truth than any other film about slavery, ever..
11 January 2004
When I first saw GOODBYE UNCLE TOM several years ago on a muddy bootleg, the level of production value that went into this "shockumentary" impressed me. I was amazed that the filmmakers were able to corral literally hundreds of Black people into degrading and de-humanizing reenactments of various aspects of slavery. But I also understood that this was a very special film for that exact reason. Unlike American films about slavery, it makes no effort to excuse or sugarcoat this heinous act. Like the opening of Bunuel's Un Chien Andalou, the filmmakers intent is to force you to open your eyes to the truthful horrors of this 400 year old practice.
The premise of the film is brilliant--an Italian documentary film crew is transported "back in time" to interview and bear witness to American Slavery on all levels--from rich slave owners, to the "veterinarian" who must clean and delouse the slaves, to the poor whites who don't own slaves but invade their quarters for the purposes of rape this movie holds nothing back, etc. It loses points for some gratuitous nudity and violence (Mandingo, anyone?), and it's contemporary ending (which tries to connect the Black Power movement and the Nat Turner 1831 slave revolt) is somewhat muddled and clearly designed to leave viewers terrified. The concept that Black men still hate white people but crave their women but would prefer to kill them rather than make love to them is an idea better tackled in the film version of Baraka's DUTCHMAN. If the film were made a few years later it might end by raising the question of whether or not Black are still enslaved--not by carnal lust, but in a prison of the mind.
But the recent DVD release of this film (and its Director's Cut) brings to light two things the shoddy bootlegs didn't. (1) Unlike typical grindhouse exploitation, this is first and foremost a work of art--the opening shot, taken from a helicopter flying over a plantation over a field of slaves, then drawing low enough to blow away the bales of cotton and causing the slaves to flee in glee is GENIUS. Every image and idea is incredibly thought out. The score is up there with the best of Morricone and Rota . The photography and widescreen compositions are top-notch.
However, it is unsettling to discover (2), most of the film was shot in Haiti with the full cooperation of mercenary dictator "Papa Doc" Duvaluier and the Tontons Macoutes (who probably had no problem getting hundreds of Hatian natives willing to degrade and dehumanize themselves for the purpose of making a film). ). In the end, this is a painful film to watch on many levels, but deserves to be seen alongside Alex Haley's ROOTS. 8.5/10 Stars.
The premise of the film is brilliant--an Italian documentary film crew is transported "back in time" to interview and bear witness to American Slavery on all levels--from rich slave owners, to the "veterinarian" who must clean and delouse the slaves, to the poor whites who don't own slaves but invade their quarters for the purposes of rape this movie holds nothing back, etc. It loses points for some gratuitous nudity and violence (Mandingo, anyone?), and it's contemporary ending (which tries to connect the Black Power movement and the Nat Turner 1831 slave revolt) is somewhat muddled and clearly designed to leave viewers terrified. The concept that Black men still hate white people but crave their women but would prefer to kill them rather than make love to them is an idea better tackled in the film version of Baraka's DUTCHMAN. If the film were made a few years later it might end by raising the question of whether or not Black are still enslaved--not by carnal lust, but in a prison of the mind.
But the recent DVD release of this film (and its Director's Cut) brings to light two things the shoddy bootlegs didn't. (1) Unlike typical grindhouse exploitation, this is first and foremost a work of art--the opening shot, taken from a helicopter flying over a plantation over a field of slaves, then drawing low enough to blow away the bales of cotton and causing the slaves to flee in glee is GENIUS. Every image and idea is incredibly thought out. The score is up there with the best of Morricone and Rota . The photography and widescreen compositions are top-notch.
However, it is unsettling to discover (2), most of the film was shot in Haiti with the full cooperation of mercenary dictator "Papa Doc" Duvaluier and the Tontons Macoutes (who probably had no problem getting hundreds of Hatian natives willing to degrade and dehumanize themselves for the purpose of making a film). ). In the end, this is a painful film to watch on many levels, but deserves to be seen alongside Alex Haley's ROOTS. 8.5/10 Stars.
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