Showing posts with label Black Film. Show all posts
Showing posts with label Black Film. Show all posts

Wednesday, January 1, 2025

Review: "THE SIX TRIPLE EIGHT" Delivers Potent Drama and Powerful History

TRASH IN MY EYE No. 1 of 2025 (No. 2007) by Leroy Douresseaux

The Six Triple Eight (2024)
Running time:  127 minutes (2 hours, 7 minutes)
MPA – PG-13 for language including racial slurs, thematic material and some war violence
DIRECTOR:  Tyler Perry
WRITER:  Tyler Perry (based on the magazine article by Kevin Hymel)
PRODUCERS:  Tyler Perry, Angi Bones, Nicole Avant, Carlota Espinosa, Keri Selig, and Tony L. Strickland 
CINEMATOGRAPHER:  Michael Watson (D.o.P.)
EDITOR:  Maysie Hoy
COMPOSER:  Aaron Zigman

DRAMA/HISTORICAL/WAR

Starring:  Kerry Washington, Ebony Obsidian, Milauna Jackson, Kylie Jefferson, Shanice Shantay, Sarah Jeffery, Pepi Sonuga, Moriah Brown, Jeanté Godlock, Dean Norris, Sam Waterston, Susan Sarandon, Oprah Winfrey, Gregg Sulkin, Donna Biscoe, and Baadja-Lyne Odums

SUMMARY OF THE REVIEW:
The Six Triple Eight is one of the most beautiful and powerful films about World War II that has ever been made.

Its true story about a battalion of Black women soldiers who broke the logjam of mail that kept overseas American servicemen and their families back home from connecting will bring tears to your eyes

The Six Triple Eight is one of the year's best films, and Kerry Washington gives the heroic performance of her career.


The Six Triple Eight is a 2024 wartime drama and historical film from writer-director Tyler Perry.  The film is based on the article, “WAC Corporal Lena Derriecott and the 6888th Central Postal Battalion,” written by Kevin M. Hymel and published in the February 2019 issue of WWII History Magazine.  The article details the contributions of the 6888th Central Postal Directory Battalion, an all-Black and all-female battalion, in World War II.

The film is a Netflix Original,” and it began streaming on the service December 20, 2024, after a limited theatrical run that began December 6, 2024.  The Six Triple Eight the movie focuses on battalion of Black women soldiers who go overseas and take on the forces that are keeping American service personnel and their families back home from simply exchanging mail.

The Six Triple Eight introduces high school students and longtime friends, Lena Derriecott (Ebony Obsidian), a Black girl, and Abram David (Gregg Sulkin), a Jewish White boy.  They are reckoning with the difficulties of their budding romance in Bloomfield, Pennsylvania, a small town outside Philadelphia, in the year 1942.  David is enlisting in the U.S. military in order to serve in World War II, and he wants to be a pilot.  David wants Lena to wait for him to return from the war when he will propose marriage to her, and, in the meantime, he gives her a promise ring.

Meanwhile, in rural West Virginia, a mother waits everyday for news about her two sons who are serving overseas in the war.  She never gets any mail from her sons, and she later discovers that this is a problem all over the country.  It turns out that there is a terrible backlog of undelivered mail.  The mother approaches First Lady Eleanor Roosevelt (Susan Sarandon), and she approaches her husband, President Franklin Roosevelt (Sam Waterston), and philanthropist and civil rights activist, Mary McLeod Bethune (Oprah Winfrey), to solve the overseas military mail problem.

Meanwhile, Lena has received terrible news, and it spurs her to join the Women's Army Corps (WAC).  She travels to Georgia for basic training with the 6888th battalion – also known as “the Six Triple Eight” –  where she meets her battalion commander, the indomitable Captain Chasity Addams (Kerry Washington).  Despite being well trained, Capt. Adams and her battalion are never given any orders to serve from the War Department.  Then, thanks to the efforts of the Roosevelts and Miss Bethune, the 6888th becomes “The 6888th Central Postal Directory Battalion.”

Now, they must travel to Glasgow, Scotland where they have six months to sort through 17 million pieces of undelivered mail and packages.  The must fight, however, a war on all fronts, fighting segregation and racism at home and abroad.  Many White military commanders, officers, and soldiers do not believe they can sort through the backlog.  Plus, some of these crackas will do everything to stop the Six Triple Eight from being successful.

If you, dear readers, wanted to watch World War II films based on on true events, you can find over eight decades of Hollywood films, including everything from recent films like Saving Private Ryan (1998), Hacksaw Ridge (2016), and Dunkirk (2017) to golden oldies like Thirty Seconds Over Tokyo (1944) and Sands of Iwo Jima (1949).  However, the those films focus on White servicemen.

When it comes to the service of Black personnel during WWII, there is a virtual Hollywood wall of silence that has only rarely been broken by such films as the HBO television movie, The Tuskegee Airmen (1995); Spike Lee's Miracle at St. Anna (2008), and the George Lucas-financed Red Tails (2012).  Director Budd Boetticher's Red Ball Express (1952) is about a racially integrated platoon, but the film's leads are White males.

Tyler Perry, a filmmaker whose TV and film work, has been reviled by both Black and White critics and detractors, breaks the wall of silence that exists in front of the story of African-American WWII personnel.  He has done it with The Six Triple Eight, the first such film in over a decade.

The film is filled with star-making turns by a cast of young African-American actresses who could see this movie launch their careers. Ebony Obsidian as Lena Derriecott and Shanice Shantay as Johnnie Mae Burton are the most obvious, but though they shine, all the actors make the most of their roles in this film.  I must say Dean Norris kills it as the Southern racist cracka-ass General Holt.  However, Kerry Washington practically devours this film with her power-move turn as the wily, strong, survivor, Captain (later Major) Chasity Adams.  In some ways, Adams is the co-lead with Derriecott, but there other times when the following point is clear.  The real-life “Six Triple Eight” probably would have not survived without Adams, and The Six Triple Eight the film probably would not survive without Washington as Adams.

I like that Tyler Perry's direction captures the desperation of families on the home front and of the service personnel overseas who are not connecting because the mail isn't being delivered.  Perry does not need to summon his usual melodramatic tropes to convey this to his audience, nor does he.  Perry plainly states what his audience can clearly understand; the mail backlog is a desperate situation.

And what better way to portray how much the racist and segregated system was at work against the women of the 6888th than to detail how some thought it was more important to sabotage the women of this battalion than to actually let them do their jobs and get the mail through.  Perry could have fallen back time and time again on depictions of verbal and physical racist violence, yet he didn't.  The word, “nigger,” does not make many appearance in The Six Triple Eight.  Perry merely had to show that in war we are sometimes our own worst enemy, and he showed the white devils who were against the “Six Triple Eight” in all their infamy.

The Six Triple Eight is Tyler Perry's best drama since 2010's For Colored Girls.  Although there will likely be no Oscar nods for this film, The Six Triple Eight does not need them.  It is more important that a Black filmmaker gets a chance or takes the opportunity to pierce the wall of silence about the honorable and heroic service of Black men and Black women during World War II.  The Six Triple Eight is the soaring symphony that, at least for now, shatters that silence. 

10 of 10

Wednesday, January 1, 2025


You can read Kevin M. Hymel's original article about the 6888th, "WAC Corporal Lena Derriecott and the 6888th Central Postal Battalion," here.


The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Tuesday, December 24, 2024

Review: Tyler Perry's "DIVORCE IN THE BLACK" is Shamelessly Shameless

TRASH IN MY EYE No. 60 of 2024 (No. 2004) by Leroy Douresseaux

Divorce in the Black (2024)
Running time:  143 minutes (2 hours, 23 minutes)
MPA – R for language, some sexual content and violence
WRITER/DIRECTOR:  Tyler Perry
PRODUCERS:  Will Areu, Tyler Perry, Angi Bones, Diane Ashford, and Meagan Good
CINEMATOGRAPHER:  Michael Watson (D.o.P.)
EDITOR:  Storm Evans
COMPOSER:  Sheri Chung

DRAMA/THRILLER

Starring:  Meagan Good, Cory Hardrict, Joseph Lee Anderson, Taylor Polidore, Shannon Wallace, Richard Lawson, Debbi Morgan, Mark Elliot Brewer, Rakeem Laws, Berry Williams, Jr., Jeffrey Creightney, and Ursula O. Robinson

Divorce in the Black is a 2024 drama and thriller from writer-director Tyler Perry.  The film is an Amazon “Prime Original,” and it began streaming on the service July 11, 2024.  Divorce in the Black follows a young woman who is left heartbroken after her husband abandons their marriage.

Divorce in the Black introduces 37-year-old Ava (Meagan Good).  She is the daughter of a preacher, Clarence (Richard Lawson) and a demur church-going woman, Gene (Debbi Morgan).  Ava married Dallas Bertrand (Cory Hardrict), one of five sons from a family of trifling Negroes who were raised (not reared) by their obnoxious mother, Linda (Ursula O. Robinson)

Ava and Dallas's marriage was troubled from the start and is troubled now.  The recent troubles begin with the funeral of Dallas' 39-year-old brother, Cody Bertrand, who had just been released from prison when someone he attempted to mug shot him to death.  Ava's preacher father, Clarence, officiates the funeral, and he believes that he cannot lie and act as if Cody had been a decent person.  Clarence's words about Cody lead the Bertrands to commit a horribly disgusting act in order to put an end to the funeral service.

Shortly after the funeral, Ava and Dallas return to their home in Atlanta.  Dallas is feeling resentful, mainly egged on by his remaining brothers and his mother.  He tells Ava that he wants a divorce and that he has already taken care of everything.  He says all she needs to do is sign the divorce papers.  Ava is heartbroken and grief-stricken by this terrible turn of events.  She returns to her parents home in rural Georgia.  Eventually, she finds solace and friendship by reuniting with an old friend, Benji (Joseph Lee Anderson), which could turn romantic.  Dallas, however, starts to feel cheated when he discovers that Ava and Benji are seeing each other, and he begins to grow increasingly violent.  Now, Ava will have to make the toughest decisions of her life.

I thought that Mea Culpa, a “Netflix Original” film released in February (2024), was likely Tyler Perry's craziest non-Madea film to date, being even wackier than his 2013 film, Temptations: Confessions of a Marriage Counselor.  Now, I'm declaring that Divorce in the Black, released mere months after Mea Culpa, is Perry's craziest film.  In many ways, Divorce in the Black is not a good film.  After its jaw-dropping opening act, the film's narrative has a hard time finding its footing.  It meanders, mostly focusing on Ava's grief over the sudden divorce announcement.

[Apparently, “divorce in the black” means a divorce in which you gain something or remain in the positive after the conclusion.  “Divorce in the red” means to lose something or end up in the negative after it is all over.]

Divorce in the Black redeems itself with an entertainingly outrageous and outrageously entertaining last act.  I wouldn't call Dallas' actions throughout the film over-the-top.  They're quite believable, and, in fact, I've known or heard of men like him.  What makes the ending of Divorce in the Black so satisfactory is Ava's change in attitude and Dallas' comeuppance.  I can't remember the last time I so enjoyed an African-American male character suffering something similar to Dallas' fate.  However, dear readers, you have to wade through a lot of mixed-bag storytelling and almost two hours of questionable runtime to get to the end's immense satisfaction.

I mainly watched Divorce in the Black because I wanted to do some Tyler Perry catch-up before I watched his latest “Netflix Original,” the historical drama, The Six Triple Eight.  So I judge Divorce in the Black as mainly being fit for fans engaged in watching most of, if not all, of Perry's filmography.

5 of 10
C+
★★½ out of 4 stars

Tuesday, December 24, 2024


The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Tuesday, September 10, 2024

Review: "HEAD OF STATE" was Ahead of its Time

TRASH IN MY EYE No. 157 (of 2003) by Leroy Douresseaux

Head of State (2003)
Running time:  95 minutes (1 hour, 35 minutes)
MPAA – PG-13 for language, some sexuality and drug references
DIRECTOR:  Chris Rock
WRITERS:  Ali LeRoi and Chris Rock
PRODUCERS:  Ali LeRoi, Chris Rock, and Michael Rotenberg
CINEMATOGRAPHER:  Donald E. Thorin (D.o.P.)
EDITOR:  Stephen A. Rotter
COMPOSER:  DJ Quik and Marcus Miller

COMEDY

Starring:  Chris Rock, Bernie Mac, Dylan Baker, Nick Searcy, Lynn Whitfield, Robin Givens, Tamala Jones, James Rebhorn, Keith David, Tracy Morgan, and Nate Dogg

Head of State is a 2003 political comedy from director Chris Rock.  The film is Rock's feature film debut as a director, as he had previously mainly been an actor, writer, and producer.  Head of State focuses on a minor politician who steps into the void left after the death of a presidential candidate and enters the 2004 U.S. Presidential race.

Chris Rock’s first directorial effort, Head of State, plays to his strengths as a comedian and (and although many people seem to have forgotten this) as a political commentator.  Although Rock and his co-writer Ali LeRoi (“The Chris Rock Show”) take the political and social commentary to the extreme and even to farcical levels, they certainly make their point, and what they have to say is actually dead on and funny.

The story begins late in a presidential race.  When the opposition party’s (ostensibly the Democrats) ticket dies in a double plane crash, the party leaders need to throw a candidate to the wolves, someone who will lose this race and allow the party powers-that-be to get ready for the next race in four years.  Party leader, Senator Bill Arnett, (James Rebhorn) who wants to run in the next election, picks a defrocked Washington D.C. alderman Mays Gilliam (Rock) to run against incumbent Vice-President Brian Lewis (Nick Searcy).  Arnett assigns Mays two handlers (Dylan Baker, Lynn Whitfield) and sends him on the campaign trail.  When Mays popularity begins to grow, the Washington establishment moves to destroy him.  They’re doing a good job until Mays calls in a ringer as his running mate, his brother Mitch (Bernie Mac).

More than anything else, Head of State is very funny, and quite often hilarious.  Rock is himself, sharp as ever, and he doesn’t shy away from being himself.  It’s his act, his shtick that sells, and he’s smart to know that his act is the axis upon which the film turns.  Being a directorial novice, he wasn’t able to make the film seamlessly flow from one scene to another, but established directors have done far worse.  He makes up for the bumps and stops by letting his cast of excellent character actors (Rebhorn, Baker, Searcy, and Ms. Whitfield clearly stand out) play the roles to their utmost ability.  He’s smart enough not to force them into being straight the entire time, and all of them have at least a few bright comedic moments, even the usually dour Rebhorn.

Head of State is probably Bernie Mac’s best and funniest turn as an actor.  He seems comfortable, and the character is a natural fit in that it seems so much like his public and professional persona, especially the one he uses on the comedy stage.  In fact, Mac’s performance here is light years ahead of his crippled turn in Charlie’s Angels 2: Full Throttle, where he seemed to be forcing his act and presence and where the filmmakers clearly didn’t know how to use him.  HOS doesn’t treat him like a token, and Angels seem to go out of its way not to treat him thusly, which only made it more obvious that he was.

People who like Chris Rock should like this film.  Its take on politics is so funny, and much of it has a grain of truth.  That Rock’s take on how to fix our government is unrealistic in the real world is actually the saddest thing about the movie.

7 of 10
B+
★★★½ out of 4 stars

Edited: Saturday, September 7, 2024


NOTES:
2004 Image Awards (NAACP):  1 nomination: “Outstanding Supporting Actor in a Motion Picture” (Bernie Mac)

2004 Black Reel Awards:  1 nomination: “Film: Best Screenplay-Original or Adapted (Chris Rock and Ali LeRoi)


The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Saturday, August 24, 2024

Review: "BLINK TWICE" is Incredible; 2024's Best Film, Thus Far...

TRASH IN MY EYE No. 39 of 2024 (No. 1983) by Leroy Douresseaux

Blink Twice (2024)
Running time:  103 minutes (1 hour, 43 minutes)
MPA – R for strong violent content, sexual assault, drug use and language throughout, and some sexual references.
DIRECTORS:  Zöe Kravitz
WRITERS:  Zöe Kravitz and E.T. Feigenbaum
PRODUCERS:  Zöe Kravitz, Bruce Cohen, Garret Levitz, Tiffany Persons, and Channing Tatum
CINEMATOGRAPHER:  Adam Newport-Berra (D.o.P.)
EDITOR: Kathryn J. Schubert
COMPOSER:  Chanda Dancy

MYSTERY/THRILLER

Starring:  Naomi Ackie, Channing Tatum, Alia Shawkat, Christian Slater, Simon Rex, Adria Arjona, Haley Joel Osment, Liz Caribel, Levon Hawke, Trew Mullen, Geena Davis, and Kyle MacLachlan

SUMMARY OF THE REVIEW:

Blink Twice is a both an incredible psychological thriller and mesmerizing mystery thriller and is sort of a spiritual sibling of Jordan Peele's “Get Out”

Naomi Ackie and Channing Tatum gives stellar performances that really sell this film's frequent weirdness

This is a stunning directorial debut on the part of Zöe Kravitz, and thus far, it is the best film released in 2024


Blink Twice is a 2024 psychological thriller and mystery film from director Zöe Kravitz.  The film focuses on a cocktail waitress who accepts a tech billionaire's offer to vacation on his private island, after which, she begins to question her reality of the situation.

Blink Twice introduces Frida (Naomi Ackie), a cocktail waitress.  She is working an exclusive event with her roommate and best friend and roommate, Jess (Alia Shawkat).  The event's V.I.P. is billionaire tech mogul, Slater King (Channing Tatum), who recently stepped down as CEO of King Tech amid a public apology for some bad behavior on his part in the past.  Frida and Slater quickly strike up a friendship, and he invites her and Jess to join him and his friends to holiday at his private island.

Arriving at the island, Slater's assistant, Stacy (Geena Davis), confiscates the everyone's phone.  Also on the island for some fun are Slater's friends and business partners:  Vic (Christian Slater), Cody (Simon Rex), Tom (Haley Joel Osment), and Lucas (Levon Hawke).  In addition to Frida and Jess, there are three female guests:  Sarah (Adria Arjona), Camilla (Liz Caribel), and Heather (Trew Mullen).  The women are treated to lavish rooms, gift bags with perfume, gourmet meals, and a luxurious, carefree holiday experience.

But something is wrong.  Frida has a hard time keeping track of time, and she begins to question her perception of reality.  Also, there is a strange maid who is saying something to her that she can't quite make out.  When one of the women disappears, Frida is forced to confront this luxurious holiday, the kind she always wanted... as troubling as this dream vacay has turned out to be.

After director Steven Soderbergh made his feature film debut with sex, lies, and videotape (1989), some may have wondered if his rousing success with it (winning the Palme d'Or at Cannes 1989 and earning a “Best Original Screenplay” nomination) was “beginner's luck” or perhaps, a fluke.  For several years, the film did seem like a fluke, but by the time Soderbergh won a “Best Director” Oscar 12 years later, one could say that sex, lies, and videotape was not a fluke, but was a calling card.

I'd like to believe that Blink Twice will also be a calling card for its young first-time director Zoe Kravitz.  Right now, it is the best new film to debut in 2024, and I wouldn't be surprised if I am calling it the “Best Picture of the Year 2024” deep into the 2024-25 movie awards season.  Blink Twice is an astounding debut, a mystery thriller and psychological terror that recalls Alfred Hitchcock and David Lynch.  And no, I would not be embarrassed to reference Lynch's legendary Blue Velvet (1986), of which I am not a big fan, when discussing Blink Twice.  I am also calling Blink Twice a spiritual sibling of Jordan Peele's Get Out (2017) and a distant relative of Alex Garland's Men (2022).  Blink Twice even has a element similar to one found in the underrated horror thriller, You're Next (2011).

Kathryn J. Schubert's film editing for Blink Twice is superb, and I think that should be mentioned.  Of course, I think Schubert has superb material with which to work.  Kravitz has an eye for storytelling which finds pleasure in accepting that altered states of reality are a norm for many of us, especially when we obtain something we always wanted in a way that seems to be too good to be true.  Dressing her film in Biblical themes, “Me Too” politics, gender dynamics, and sexual gamesmanship, Kravitz takes the screenplay she wrote with E.T. Feigenbaum and grapples with the modern battle of the sexes.

Behind the pulpy entertainment and popcorn horror thrills of this psychological thriller is a movie that does a deep dive into the modern psyche.  Kravitz isn't afraid to examine the social hierarchies and assumed and presumed privileges.  It is refreshing that Kravitz so boldly answers any questions her film asks with a resounding, “Because he can.”

Actress Naomi Ackie is the perfect choice to be this film's lead.  Her face, with its wide mouth and big expressive eyes, is an artist's canvas.  Whatever her director needs in terms of emotion and action, Ackie can deliver.  Also, I must say that Channing Tatum shocks me in Blink Twice.  I never thought that he was really a good actor.  However, he gives Slater King so many layers that there are moments when I feel sympathy for him.  Tatum makes King innocent, childish, childlike, and monstrous, and he can do all of that in the span of a minute.

Wow.  I'm still stunned.  I've wanted to see Blink Twice since it was first announced last year under the title, “Pussy Island,” but I never thought I'd get this nearly perfect film, a film so good that its flaws seem like artistic choices rather than mistakes.  I heartily recommend this to movie fans looking for great films in a time when the various movie factories seem determined to only deliver entertainment that dare not make a statement lest “middle America” take offense.  Blink Twice is both – tremendous cinematic art and delightfully good entertainment.

10 of 10

Saturday, August 24, 2024


The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

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Tuesday, August 13, 2024

Review: "HAUNTED MANSION" is Surprisingly Charming and Delightfully Scary

TRASH IN MY EYE No. 35 of 2024 (No. 1979) by Leroy Douresseaux

Haunted Mansion (2023)
Running time:  123 minutes (2 hours, 3 minutes
MPA – PG-13 for some thematic action and scary action
DIRECTOR:  Justin Simien
WRITER:  Katie Dippold
PRODUCERS:  Jonathan Eirich and Dan Lin
CINEMATOGRAHER:  Jeffrey Waldron (D.o.P.)
EDITOR:  Phillip J. Bartell
COMPOSER:  Kris Bowers

COMEDY/FAMILY/FANTASY/HORROR

Starring:  LaKeith Stanfield, Rosario Dawson, Owen Wilson, Tiffany Haddish, Danny DeVito, Chase Dillon, J.R. Adduci, Charity Jordan, Hasan Minhaj, Daniel Levy, and Jared Leto (voice) with Winona Ryder

Haunted Mansion is a 2023 American supernatural horror-comedy and family film from director Justin Simien.  Released by Walt Disney Pictures, the film is loosely based on the Disney theme park attraction, “The Haunted Mansion,” which first opened at Disneyland in 1969.  Haunted Mansion the movie focuses on a single mom and a group of peculiar locals who attempt to exorcise her new home, an old mansion, of its troublesome ghosts.

Haunted Mansion opens in New Orleans, LouisianaBen Matthias (LaKeith Stanfield) is an astrophysicist developing a camera to detect dark matter.  He marries Alyssa (Charity Jordan), a tour guide for the city's famously haunted places.  Tragedy strikes, and Ben gives up his career and continues to operate Alyssa's tour despite the face that he does not believe in ghosts and the supernatural.

Meanwhile, Gabbie (Rosario Dawson), a doctor from New York, and her young son, Travis (Chase Dillon), move to the formerly lavish, but now rundown mansion, Gracey Manor.  Her plan is to transform the abandoned place into a bed and breakfast, but she and Travis soon discover that the place is infested by so many ghosts that they can't count them all.

Father Kent (Owen Wilson), a local Catholic priest who claims to be an exorcist, is helping Gabbie with the hauntings.  He hires Ben to photograph Gracey Manor's ghosts because Ben has a “dark matter” camera that may be able to photograph ghosts.  Kent also calls in Harriet (Tiffany Haddish), a psychic with genuine abilities, and Bruce (Danny DeVito), a college historian and professor who has written a book on Gracey Manor, as additional help.

However, the ghosts of Gracey Manor immediately attach themselves to anyone who enters the mansion.  Those same ghosts are apparently afraid of an alpha ghost who is seeking one more ghost to add to his menagerie, an act that would give him ultimate power.  Can a singe mother, her son, a grieving tour guide with a ghost camera, an eccentric psychic, an odd priest, a cantankerous historian, and Madame Leota (Jamie Lee Curtis), the ghostly psychic trapped in a huge crystal ball, exercise the horrible evil that haunts Gracey Mansion?  Or will one of them have to make the ultimate sacrifice?

I have to admit that last summer, as I watched the advertisements for Haunted Mansion, I could never convince myself that it was a must-see film.  I did plan to see it... eventually because I had seen the previous take on the Disney ride, the Eddie Murphy-vehicle, The Haunted Mansion (2003).  Also, I have had my eye on Justin Simien, the director of Haunted Mansion, since I saw his 2014 film, Dear White People.  But I thought I could wait, and so I did.

Recently, I finally did see Haunted Mansion, and I am surprised by how much I like it.  It is sweet and charming, and it is one of those perfect scary family movies.  I love it.  July 28, 2024 was the one-year anniversary of Haunted Mansion original theatrical release, and the film was a huge box office disappointment.  The mistake was Disney releasing the film against 2023's box office behemoths, Barbie and Oppenheimer, which were still at the height of their box office powers in the last weekend of July 2023.

Haunted Mansion should have been a late September to early October 2023 theatrical release.  This film is perfect Halloween, from its kooky cast of characters to the literal 1001 ghosts with stories.  I think Tiffany Haddish gets the most eccentric mileage out of her character, the psychic Harriet.  Although, LaKeith Stanfield can be a bit stiff at times, the way he plays Ben Matthias brings some center and balance to the wackiness and supernatural craziness.

Jamie Lee Curtis shines in her small role as the ghostly psychic, Madame Leota, and Owen Wilson as Father Kent and Danny DeVito as Bruce are pitch perfect.  Rosario Dawson and Chase Dillon are perfectly “Disney normal” as the mother and son combo of Gabbie and Travis.

Writer Katie Dippold's screenplay, Justin Simien's direction, and the rest of the film's creative crew deliver a haunted house film that is as lavish in its production values as it is rich in chills and thrills.  The cast fills that haunted house with the consummate scary movie characters.  The Haunted Mansion 2003 was a bit of a box office disappointment, but it has gone on to become a Disney television Halloween favorite.  Given time, Haunted Mansion 2023 will also become a beloved Disney Halloween trick-or-treat. 

8 of 10
A
★★★★ out of 4 stars

Tuesday, August 13, 2024


The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved.  Contact this blog or site for reprint and syndication rights and fees.

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Monday, July 15, 2024

Review: "THEY CLONED TYRONE" Digs in the Past to Raise Hell Today

TRASH IN MY EYE No. 30 of 2024 (No. 1974) by Leroy Douresseaux

They Cloned Tyrone (2023)
Running time: 119 minutes (1 hour, 59 minutes)
MPA – R for pervasive language, violence, some sexual material and drug use
DIRECTOR:  Juel Taylor
WRITERS:  Tony Rettenmaier and Juel Taylor
PRODUCERS:  Jamie Foxx, Charles D. King, Stephen “Dr.” Love, Tony Rettenmaier, Juel Taylor, and Datari Turner
CINEMATOGRAPHER:  Ken Seng (D.o.P.)
EDITOR:  Saira Haider
COMPOSERS:  Pierre Charles and Desmond Murray

SCI-FI/COMEDY/DRAMA and MYSTERY/THRILLER

Starring:  John Boyega, Teyonah Parris, David Alan Grier, J. Alphonse Nicholson, Tamberla Perry, Eric B. Robinson Jr., Trayce Malachi, Leon Lamar, Joshua Mikel, and Keifer Sutherland and Jamie Foxx

They Cloned Tyrone is a 2023 American science fiction comedy-drama and mystery-thriller from director Juel Taylor.  After receiving a limited theatrical release, the film began streaming on Netflix on July 21, 2023 as a “Netflix Original.”  The film focuses on a drug dealer, a pimp, and sex worker, who must uncover a bizarre mystery that seems to originate from an underground facility beneath their predominantly Black neighborhood.

They Cloned Tyrone focuses on Fontaine (John Boyega), a drug dealer living and slanging in the predominantly African-American, poverty-stricken, and crime ridden suburban neighborhood called “the Glen.”  One night, Fontaine arrives at the hotel hideaway of the pimp, Slick Charles (Jamie Foxx), to get money owed to him.  Slick freaks out when he sees Fontaine, who apparently had visited him the previous night just before being gunned down by Isaac (Eric B. Robinson Jr.), a rival drug dealer.

Fontaine does not remember the previous night's events, so Slick takes him to one of his ho's, Yo-Yo (Teyonah Parris), in order to confirm his claims of Fontaine's death.  Yo-Yo does just that, but later, a series of eerie events thrusts the three onto the trail of a nefarious government conspiracy.  But can a drug dealer, a pimp, and a ho really solve a mind-bending mystery that threatens not only their own neighborhood, but Black neighborhoods everywhere?

They Cloned Tyrone got lost in the glare of two of 2023's mega-box office hits, the movies Barbie and Oppenheimer.  This month – specifically July 14th – is the one year anniversary of its limited theatrical release.  I had been putting off seeing They Cloned Tyrone, so I thought now was a good time to do so.

In They Cloned Tyrone, co-writer-director Juel Taylor and co-writer Tony Rettenmaier make many references to American popular storytelling via the characters dialogue.  However, the film's plot and narrative reference numerous previous Black speculative and genre films.  They Cloned Tyrone's conspiracy around consumer products recalls the blaxploitation homage and spoof films, Undercover Brother (2002) and Black Dynamite (2009).  Director Jordan Peele's Get Out (2017) and Us (2019) are spectral presences in They Cloned Tyrone's narrative, and I also see a passing resemblance to elements from Boots Riley's Sorry to Bother You (2018).  The essences of two landmark 1971 films, A Clockwork Orange and Sweet Sweetback’s Baad Asssss Song, as well as that of the 1988 cult classic, They Live, are in pungent evidence here.

Still, They Cloned Tyrone is an original.  It is a gleeful comedy and satire of America.  It also manages to be a bolder and more imaginative science fiction film than the pew-pew-pew, space opera epics that pass for modern sci-fi cinematic storytelling.  Taylor and Rettenmaier are correct.  The Founding Father's of the United States of America came up with some high ideals, but then, died and left us with the messy reality of a fractured disunited state of affairs.  These two writers are among the few to plainly state via metaphor and allegory that for too long, Black people have carried the weight of fixing that mess and trying to make the experiment called America an actual thing.

The film has great production values all around, from cinematography and editing to art direction, costume design, and score.  You might, dear readers, miss that because They Cloned Tyrone is such an engaging, crazy, lovable story driven by powerhouse performances.  John Boyega, Jamie Foxx, and Teyonah Parris give killer performances, and if they were nepo babies, at least one of them (likely Foxx) would have received Oscar nominations for his or her performance here.  Parris clearly has leading lady chops, which she wields in this film to make herself a co-lead rather than a supporting player.  Foxx balances pathos and absurdity in making Slick Charles a wonderfully engaging and exceedingly likable character.

But John Boyega:  let's be honest.  His career in America has not exploded like that of his Star Wars sequel trilogy co-star, Adam Driver... and we know why.  Boyega is every bit as good as everything that passes for the young Hollywood's A-list.  Boyega disappears inside Fontaine and makes him not so much a tragic figure or even criminal for that matter.  Fontaine's is the hero's journey even if he is not fair of hair and skin.  Boyega has moments here that are most poignant and dramatic and that only an actor both talented and skilled can pull off.

Boyega makes They Cloned Tyrone more than satire, blaxploitation, horror, science fiction, and absurdist comedy.  Boyega gives the film dramatic heft and weight.  They Cloned Tyrone is memorable and is also one of 2023's very best films because John Boyega is one of a kind.

10 of 10

Monday, July 15, 2024


NOTES:
2024 NAACP Image Awards:  9 nominations: “Outstanding Ensemble Cast in a Motion Picture,” “Outstanding Motion Picture,” “Outstanding Actor in a Motion Picture” (John Boyega), “Outstanding Breakthrough Creative-Motion Picture” (Juel Taylor), “Cinematography in a Motion Picture” (Ken Seng), “Outstanding Supporting Actor in a Motion Picture” (Jamie Foxx), “Outstanding Directing in a Motion Picture” (Juel Taylor), “Outstanding Writing in a Motion Picture” (Juel Taylor and Tony Rettenmaier), and “Outstanding Stunt Ensemble-Television or Film”

2024 Black Reel Awards:  8 nominations: “Outstanding Lead Performance” (John Boyega), “Outstanding Supporting Performance” (Jamie Foxx), “Outstanding Screenplay” (Tony Rettenmaier and Juel Taylor), “Outstanding Ensemble” (Kim Coleman), “Outstanding Emerging Director” (Juel Taylor), “Outstanding Score” (Desmond Murray and Pierre Charles), “Outstanding Costume Design” (Francine Jamison-Tanchuck), and “Outstanding Editing” (Saira Haider)


The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved. Contact this site or blog for reprint and syndication rights and fees.


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Sunday, July 14, 2024

Review: "SWEET SWEETBACK'S BAAD ASSSSS SONG" is Still Beatin' Some White Ass

TRASH IN MY EYE No. 184 (of 2004) by Leroy Douresseaux

Sweet Sweetback’s Baad Asssss Song (1971)
Running time: 97 minutes (1 hour, 37 minutes)
Rating: MPAA – X; re-rated R in 1974 
EDITOR/WRITER/DIRECTOR: Melvin Van Peebles
PRODUCERS: Jerry Gross and Melvin Van Peebles
CINEMATOGRAPHER: Bob Maxwell
COMPOSERS: Earth Wind & Fire and Melvin Van Peebles

CRIME/DRAMA/ACTION/THRILLER

Starring:  Melvin Van Peebles, Simon Chuckster, Hubert Scales, John Dullaghan, Johnny Amos, Mario Van Peebles, Megan Peebles, and Max Van Peebles

Sweet Sweetback's Baadasssss Song is a 1971 action-thriller, drama, and crime film from writer-director Melvin Van Peebles.  It is considered a seminal black exploitation film or “blaxploitation” film, being one of the first that kind.  The film focuses on a Black man who goes on the run after brutally beating two police officers, with help from other marginalized people and outsiders.

After saving a black protester (likely a Black Panther) by brutally beating the two cops who were brutalizing the protester, Sweetback (Melvin Van Peebles), an apolitical sex performer goes on the run from the white pigs and other white law enforcement types.  He heads for Mexico with help from the black community and disaffected Hell’s Angels, and he also meets many unique characters on the way to freedom.

Melvin Van Peebles’ Sweet Sweetback Baad Asssss Song is considered by many people to be the film that ushered in the blaxploitation film wave.  With its emphasis on fighting “the man” (the white power structure, in particular corrupt city officials and policemen) and graphic and gratuitous sex, the film is the prototypical blaxploitation film.  However, there is likely no other film like this one in its portrayal of police corruption and the of the racist attitudes that prevail among white law enforcement officials.

Structurally, the film has a bare and simple plot, and the script is absent of story and character development.  In a many ways, the film itself is more impressionistic than literal, while the theme is literally against white oppression and (evil) white cops.  Van Peebles in collaboration with Earth, Wind, and Fire, the R&B group who would go on to have huge crossover success on the pop charts provide a constant musical backdrop for the film.  So sometimes, this movie seems like an overly long music video.  In spite of its narrative shortcomings, Sweet Sweetback’s Baad Asssss Song is bold stroke in using film to not only communicate messages and ideas, but to also be used as a means of protest.  The film is the work of an artist/firebrand; one must open up to feelings, experiences, emotions, and thoughts that are alien in order to get to the art, and when you get it, Sweetback will be like nothing else.

7 of 10
B+
★★★½ out of 4 stars

EDITED:  Sunday, July 14, 2024


NOTES:
2020 National Film Preservation Board, USA:  National Film Registry


The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved. Contact this site or blog for reprint and syndication rights and fees.

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Thursday, July 4, 2024

Review: Original "BEVERLY HILLS COP" is Still Crazy and Cool

TRASH IN MY EYE No. 28 of 2024 (No. 1972) by Leroy Douresseaux

Beverly Hills Cop (1984)
Running time:  105 minutes (1 hour, 45 minutes)
MPAA – R
DIRECTOR: Martin Brest
WRITERS:  Daniel Petrie, Jr.; from a story by Daniel Petrie, Jr. and Danilo Bach
PRODUCERS:  Jerry Bruckheimer and Don Simpson
CINEMATOGRAPHER:  Bruce Surtees (ASC)
EDITORS:  Arthur Coburn and Billy Weber
COMPOSER:  Harold Faltermeyer
Academy Award nominee

COMEDY/ACTION/CRIME

Starring:  Eddie Murphy, Judge Reinhold, John Ashton, Lisa Eilbacher, Ronny Cox, Steven Berkoff, Jonathan Banks, James Russo, Stephen Elliot, Gilbert R. Hill, Art Kimbro, Joel Bailey, Bronson Pinchot, Paul Reiser, Michael Champion, and Damon Wayans

Beverly Hills Cop is a 1984 American buddy-cop film and action-comedy directed by Martin Brest and starring Eddie Murphy.  This year (2024) makes the 40th anniversary of Beverly Hills Cop original theatrical release (specifically December 1984).  The film was the first entry in what would become the Beverly Hills Cop film franchise.  Beverly Hills Cop focuses on a cocky young Detroit cop who pursues a murder investigation in Beverly Hills where he must deal with a very different culture and a very different police department.

Beverly Hills Cop opens in Detroit, Michigan.  There, we meet Axel Foley (Eddie Murphy), a plainclothes police detective.  As the story begins, his unauthorized sting operation goes sour resulting in a disastrous high-speed chase.  Axel's reckless behavior earns him the ire of his superior, Inspector Todd (Gilbert R. Hill), who threatens to fire him unless he changes his ways.

Axel returns to his apartment to find his childhood friend, Michael “Mikey” Tandino (James Russo).  After doing a stint in prison, Mikey got a job as a security guard in Beverly Hills, California via a childhood friend of both Axel and Mikey's, Jenny Summers (Lisa Eilbacher).  However, Mikey has gotten into something dangerous, and it costs him his life.

In spite of threats from Inspector Todd, Axel travels to Beverly Hills and visits Jenny at her place of employment, the “Hollis Benton Art Gallery.”  There, he discovers that the gallery's owner, Victor Maitland (Steven Berkoff), is involved in something very shady, and that he also likely had Mickey killed.  Meanwhile, Axel runs afoul Lt. Bogomil (Ronny Cox) at the local precinct of the Beverly Hills PD.  Bogomil has two of his detectives,  Billy Rosewood (Judge Reinhold) and Sergeant John Taggart, trail Axel.  Can the street-smart Axel convince Rosewood and Taggart to help him discover exactly what Victor Maitland is doing?  Or will Axel end up sharing the same tragic fate as Mikey?

It has been well over 30 years since I had watched Beverly Hills Cop in its entirety.  As far as I can remember, I definitely saw it in a movie theater sometime in December 1984, likely with some or all of my sisters.  I may have watched it once or twice more before the 1980s came to an end.  In anticipation of the just released sequel, Beverly Hills Cop: Axel F (a “Netflix Original”), I decided to watch the first film again.  Just for starters, the film's soundtrack is still perky, although a bit quaint.  Harold Faltermeyer's score, especially the instrumental title tune/theme, “Axel F,” still seems pitch perfect for this movie, as if nearly four decades had not passed.

I wondered if I would like it as much as I did the first time I saw it, and I absolutely loved it back then.  This film made Eddie Murphy, for a few years, the biggest star in Hollywood.  Watching Beverly Hills Cop now, I feel as if I have fallen in love with it again.  Beverly Hills Cop was originally meant to be a star vehicle for Sylvester Stallone and be a straight action film.  Instead, it became an Eddie Murphy star vehicle, and a comic action film that has numerous funny moments, most of them executed by Eddie Murphy.  Here, you can see what made Murphy a transcendent star; he has true movie star qualities and loads of charisma.  Still, Judge Reinhold and John Ashton have their chances to be funny as Rosewood and Taggart, respectively.  Of course, Bronson Pinchot as the museum employee, Serge, steals every scene in which he appears.  He would go on to use this role to launch himself into television stardom.

As funny as Beverly Hills Cop is, it retains some of the edge that was probably in the early versions of its screenplay.  The beginning of the film shamelessly displays the inner city ruins of Detroit.  There are also multiple violent deaths, beginning with Mikey's, but I find that the excellent car chase scenes and gun battles are a bit of pop movie fun that balance out the poverty, deprivation, and violent firearm deaths that pepper this film.

Director Martin Brest, who made a career out of turning plain genre films into something just a bit more special, eagerly keeps his camera on his star.  Brest records every last bit of Murphy's talent, star power, and comedy modus operandi on the way to making Beverly Hills Cop a cop movie like nothing audiences had seen before or have seen since.  In spite of its sequels, Beverly Hills Cop remains one of a kind, and is surprisingly (at least to me) still crazy as heck and funny as hell.

A
8 of 10
★★★★ out of 4 stars

Thursday, July 4, 2024


NOTES:
1985 Academy Awards, USA:  1 nomination: “Best Writing, Screenplay Written Directly for the Screen” (Daniel Petrie Jr.-screenplay/story and Danilo Bach-story)

1985 Golden Globes, USA:  2 nominations:  “Best Motion Picture - Comedy or Musical” and “Best Performance by an Actor in a Motion Picture - Comedy or Musical” (Eddie Murphy)

1986 BAFTA Awards:  1 nomination: “Best Score” (Harold Faltermeyer)


The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved.  Contact this blog or site for reprint and syndication rights and fees.

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Saturday, June 1, 2024

Review: "BAD BOYS FOR LIFE" Takes a Bit to Come to Life

TRASH IN MY EYE No. 24 of 2024 (No. 1968) by Leroy Douresseaux

Bad Boys for Life (2020)
Running time:  124 minutes (2 hours, 4 minutes)
MPA – R for strong bloody violence, language throughout, sexual references and brief drug use
DIRECTORS:  Adil El Arbi and Bilall Fallah
WRITERS:  Chris Bremner, Peter Craig & Joe Carnahan; from a story by Peter Craig & Joe Carnahan (based on characters created by George Gallo)
PRODUCERS:  Doug Belgrad, Jerry Bruckheimer, and Will Smith
CINEMATOGRAPHER:  Robrecht Heyvaert (D.o.P.)
EDITORS: Dan Lebental and Peter McNulty
COMPOSER:  Lorne Balfe

ACTION/CRIME/COMEDY

Starring:  Will Smith, Martin Lawrence, Vanessa Hudgens, Paola Núñez, Alexander Ludwig, Charles Melton, Kate del Castillo, Nicky Jam, Joe Pantoliano, Jacob Scipio, and Theresa Randle

Bad Boys for Life is a 2020 American action, crime, and buddy cop film directed by Adil El Arbi and Bilall Fallah, better known as “Adil & Bilall.”  It is the third entry in the Bad Boys film series, which began with 1995's Bad Boys, and it is a sequel to Bad Boys II (2003).  In Bad Boys for Life, Detectives Lowrey and Burnett, the “Bad Boys,” face off against a mysterious killer whose campaign of revenge is centered on Lowrey.

Bad Boys for Life opens in Mexico at the Santa Maria Ixcotel Prison.  There, Isabel Aretas (Kate del Castillo) escapes with the help of her son, Armando (Jacob Scipio).  Isabel is the son of the late cartel kingpin, Benito Aretas, and she wants revenge against the men who helped take down her husband twenty-four years ago.  Armando, a highly-skilled criminal, savvy fighter, and vicious killer, is the instrument of her revenge.

One of those men is Detective Lt. Michael “Mike” Lowrey (Will Smith), and Armando comes close to killing him.  Mike is a hard man to keep down, and he wants payback.  His boss, Captain Conrad Howard (Joe Pantoliano), wants Mike to let a new, tech-driven police unit, called “AMMO” (Advance Miami Metro Operations), hunt the shooter.  Mike doesn't like that, especially as his former girlfriend, Lieutenant Rita Secada (Paolo Nunez), is head of AMMO.  Even worse, Mike's longtime partner, Det. Lt. Marcus Burnett (Martin Lawrence), has retired and wants to stay that way.  But when things get worse, will the Bad Boys be forced to unite for one last ride?

I still laugh at the fact that the film that became 1995's Bad Boys was originally written for actor-comedians, Dana Carvey and Jon Lovitz.  Bad Boys would go on to become a signature entry in the filmographies of both eventual Oscar-winning actor, Will Smith (King Richard), and Martin Lawrence, who would go on to star in such films as Big Momma's House (2000) and Wild Hogs (2007).  The duo eventually reunited for 2003's Bad Boys II.  Because the fourth entry in the Bad Boys series, Bad Boys: Ride or Die (2024), is about to be released, I decided to go back and watch and review the one film in the franchise that I had not seen in its entirety, Bad Boys for Life (2020).

A close friend told me that he thought Bad Boys for Life was bad.  I did find the first hour to be rather poorly developed.  After all, Lowrey and Burnett seem pretty slow in figuring out that the shootings of Lowrey and others are obviously related.  All these veteran cops and young, smart, new-school law enforcement are working on this case, and they are as clueless as can be.

However, in the film's second hour, directors Adil & Bilall make the most of their creative cohorts, especially their stunt coordinators, lighting department, and film editors in order to deliver a film that is fast-paced and slickly violent.  The filmmakers also bring out all of the colors and life in both the Miami and Mexican locations  Adil & Bilall do their best to summon the spirit of Michael Bay, the director of the first two films.  I wonder what he thought of the new directors' homage to his style.  I must say that Adil & Bilall eschew Bay's over-the-top theatrics for a slick visual, action style that is more focused on the characters than on sweeping shots and a deafening score and soundtrack.

In some ways, Bad Boys for Life is this series' best entry.  Yes, Martin Lawrence looks a little pudgy in the face, but his comic timing and humor eventual rev up.  Will Smith still looks lithesome and on the edge.  While it starts clunky, Bad Boys for Life doesn't show its age, but it does show that – surprisingly – there is still life in these cinematic bad boys.


7 of 10
B+
★★★½ out of 4 stars

Saturday, June 1, 2024


NOTES:
2021 Image Awards (NAACP):  1 win: “Outstanding Motion Picture” and 1 nomination: “Outstanding Actor in a Motion Picture” (Will Smith)


The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

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Review: "BAD BOYS" Has Had a Surprisingly Long Life

TRASH IN MY EYE No. 113 (of 2003) by Leroy Douresseaux

Bad Boys (1995)
Running time:  119 minutes (1 hour, 59 minutes)
MPAA – R for intense violent action and pervasive strong language
DIRECTOR:  Michael Bay
WRITERS:  Michael Barrie, Jim Mulholland, and Doug Richardson; from a story by George Gallo
PRODUCERS:  Jerry Bruckheimer and Don Simpson
CINEMATOGRAPHER:  Howard Atherton
EDITOR:  Christian Wagner
COMPOSER:  Mark Mancina


ACTION/COMEDY/THRILLER/CRIME

Starring:  Martin Lawrence, Will Smith, Tea Leoni, Joe Pantoliano, Tcheky Karyo, Theresa Randle, Marg Helgenberger, Nestor Serrano, Julio Oscar Mechoso, Saverio Guerra, Michael Imperioli, and Karen Alexander

As usual, a cog in the Hollywood system had written an action/comedy for Jon Lovitz and Dana Carvey, two funny white men.  Perhaps, the white studio bosses never thought of persons of colors playing the parts and playing them not only well, but also better than the actors of the default skin color.  By happy accident, two tremendously talented comic actors, who also happened to be men of color inherited the parts, and, thus was born Bad Boys.  Lord knows, we can never again think of Lovitz and Carvey, two milky-white Americans, as proper for these roles, not that there’s anything wrong with one’s skin color being that white.

Bad Boys is a 1995 American buddy-cop film and action-comedy directed by Michael Bay.  Bad Boys focuses on two savvy, Black detectives who try to protect a witness to murder while also investigating the theft of heroin from their police precinct’s evidence room.

Marcus Burnett (Martin Lawrence) and Mike Lowrey (Will Smith) are two hip detectives; at least they seem cooler than their Miami PD colleagues, but they can take the heat that comes with their job.  As the film begins, they’ve already made a major heroin bust, but a gang of well-equipped thieves breaks into the precinct’s evidence room and steals the dope.  Obviously, the raid is an inside job, so the precinct takes the blame.  Burnett and Lowrey’s Captain Howard (Joe Pantoliano) feels the heat and returns it to the boys, putting the onus on them to find the dope.  Making matters more complicated, they get saddled with protecting Julie Mott (Tea Leoni) a murder witness somehow connected to the smack thieves.

According to stories from the set of Bad Boys, director Michael Bay, Lawrence, and Smith hated the script, so they ad-libbed a lot of the dialogue.  This was Bay’s first feature film, but he’d made a name for himself directing music videos for Tina Turner and “Wilson Phillips” (among others) and commercials for Nike and Budweiser (among others).  Bay brings all the visual flair and clichés you could expect from music videos: quick-cut editing, dark alleyways full of steam, sexy chicks, and hot cars.  He mixed in car chases, tremendous explosions, cartoonish violence, and gunfights with hundreds of rounds of ammunition.  Smith and Lawrence brought the comedy and the hip sensibility to play the characters so over the top that you’d think they were heroes right out of a comic book.  It works to an extent.  Bad Boys is a very funny, exciting, and visually agile action movie.

If anything, it’ll be remembered for its African-American leads, unusual for an cop buddy movie/action flick.  Beyond that, Bay introduced his over the top visual style that he would bring all his heart-pounding, action vehicles:  slow motion camera buzzing around a posing action stud, panoramic shots of the sky, narrow escapes from devastating fire balls, etc.  Bad Boys is pleasant and fun, nothing important, but it stands out in the white bread world of Hollywood action romps.  Certainly, Lawrence and Smith are more believable as renegade cops than say, Josh Hartnett or Ben Affleck.

6 of 10
B
★★★ out of 4 stars

Edited:  Friday, June 28, 2024


The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Thursday, April 18, 2024

Review: "MEA CULPA" May Be Tyler Perry's Craziest Movie... Yet

TRASH IN MY EYE No. 19 of 2024 (No. 1963) by Leroy Douresseaux

Mea Culpa (2024)
Running time:  120 minutes (2 hours)
MPA – R for strong sexual content, graphic nudity, language, some violence and drug use
WRITER/DIRECTOR:  Tyler Perry
PRODUCERS:  Will Areu, Tyler Perry, Angi Bones, and Kelly Rowland
CINEMATOGRAPHER:  Cody Burmester (D.o.P.)
EDITOR:  Larry Sexton
COMPOSERS:  Amanda Delores and Patricia Jones

DRAMA/THRILLER

Starring:  Kelly Rowland, Trevante Rhodes, Nick Sagar, Sean Sagar, RonReaco Lee, Shannon Thornton, Kerry O'Malley, Arianna Barron, Connor Weil, Maria Gabriela Gonzalez, Paul Ryden, Ava Hill, and Angela Robinson

SUMMARY OF THE REVIEW:
--Tyler Perry's Mea Culpa could be titled Tyler Perry's I Want to Screw My Client

--The first half of the film is a slow-burn (slightly dull) romantic thriller; the second half is an explosion of WTF moments

--Despite poorly developed and under-utilized characters and middling dialogue, Mea Culpa is a typical shameless Tyler Perry guilty pleasure – that I found somewhat pleasurable.


Mea Culpa is a 2024 drama and legal thriller from writer-director Tyler Perry.  The film is a “Netflix Original,” Perry's fourth for the streamer (as of this writing), and it began streaming on Netflix February 23, 2024.  Mea Culpa follows an ambitious criminal defense attorney who takes on the case of an artist accused of murder, which only further complicates her own dysfunctional marriage.

Mea Culpa introduces Chicago-based defense attorney, Mea Harper (Kelly Rowland).  She and her husband,  Kal Harper (Sean Sagar), are having marital difficulties, made worse by Kal's overbearing and interfering white mother, Azalia (Kerry O'Malley).  Forced to financially support the two of them because of Kal's professional and personal problems, Mea decides to take on the defense of an accused murderer.  Acclaimed portrait painter, Zyair Malloy (Trevante Rhodes), has been charged with the murder of his girlfriend, Hydie (Maria Gabriela Gonzalez).  Her body is missing, but there is enough blood evidence in Zyair's loft, where he lives and paints, to get him charged with murder.

The problem is that Mea's brother-in-law and Kal's older brother, Raymond “Ray” Harper (Nick Sagar), is the assistant district attorney who is prosecuting Zyair's murder case.  Also complicating matters is that Zyair does not respect boundaries and wants to f**k Mea.  Eventually, Mea will have to admit “mea culpa,” but that might not save her from the myriad conspiracies that surround Zyair Malloy and this case.

Mea culpa is a Latin phrase that means “my fault” or “my mistake,” and it is also an acknowledgment of having done wrong, a wrong that could have been avoided.  It's my fault that I love Tyler Perry's work so much because otherwise, I would not have watched Mea Culpa.  Make no mistake, however; loving Tyler Perry films, no matter how crazy they are, is not a wrong.  Mea Culpa may be Perry's craziest non-Madea film to date, being even wackier than Temptations: Confessions of a Marriage Counselor (2013).

Mea Culpa is quite enjoyable, especially the second hour of the film.  Critics tend to fault Perry's screenwriting, but the plot for Mea Culpa isn't any more nonsensical than a host of legal and erotic thrillers from the past five decades.  I'm thinking of Body Heat (1981), Presumed Innocent (1990), and Primal Fear (1996), to name a few.  If Mea Culpa had been released around a quarter-century ago, it would have been considered a clone of the classic erotic thriller, Basic Instinct (1992).

Where Perry's writing shows weakness is the dialogue and character development.  If the actors in this film seem average or mediocre to you, dear readers, I would bet it is because they are trying to build convincing characters while mouthing stiff, unimaginative dialogue.  The film's actual plot and action is not anywhere near as bland as the dialogue.  In fact, when this film finally explodes in the second half, even bad dialogue can't keep Mea Culpa's cheesy, shameless melodrama and violence from being its trashiest and most glorious self.  The shame of it is that there are some very interesting characters who are not fully realized and who would have made much the action in this film seem plausible, at the very least.  Perhaps, Mea Culpa should have been a miniseries instead of a film.

I must say that Mea Culpa may be Tyler Perry's most beautifully photographed film; kudos to director of photography, Cody Burmester.  The cinematography captures Kelly Rowland's unappreciated beauty, and when she gets nude, the camera celebrates her fineness.  Yes, Trevante Rhodes as Zyair Malloy is also fine, and the camera suggests that his big muscular body also comes with... an impressive endowment.  Yeah, the sex scene between Mea and Zyair is kinda funny, but they look so good pumping and bumping and grinding.

With Mea Culpa, Tyler Perry does unleash “strong sexual content, graphic nudity, language, some violence and drug use” as the “R” rating declares.  However, Perry's first almost NC-17 makes me love his work even more, and it makes me hope for future movies like Mea Culpa or even better.  I'll say “mea culpa” if I'm wrong and be happy about it.

6 of 10
B
★★★ out of 4 stars

Thursday, April 18, 2024


The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Thursday, February 15, 2024

Review: "SURROUNDED" Takes a Different Path to the Wild West

TRASH IN MY EYE No. 9 of 2024 (No. 1953) by Leroy Douresseaux

Surrounded (2023)
Running time:  101 minutes (1 hour, 41 minutes)
MPA – R for violence and language
DIRECTOR: Anthony Mandler
WRITERS:  Anthony Pagana and Justin Thomas & Andrew Pagana
PRODUCERS:  Jason Michael Berman, Aaron L. Gilbert, Derek Iger, Anthony Mandler, Ade O'Adesina, and Letitia Wright
CINEMATOGRAPHER:  Max Goldman (D.o.P.)
EDITOR:  Ron Patane
COMPOSER:  Robin Hannibal

WESTERN/DRAMA

Starring:  Letitia Wright, Jamie Bell, Jeffrey Donovan, Michael K. Williams, Kevin Wiggins, Brett Gelman, Luce Rains, Andrew Pagana, Augusta-Allen Jones, Herman Johansen, Keith Jardine, C.M Petrey, Austin Rising, and Tony Sedillo

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SUMMARY OF THE REVIEW:

--Letitia Wright can make audiences put aside her most famous role – that of Shuri in Marvel's “Black Panther” films – and accept her as a 19th soldier who can defend herself with a gun and take on any man trying to get the best of her.

--Although it lacks the epic scope of the great American Western films, Surrounded is riveting and intense.

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Surrounded is a 2023 Western drama film directed by Anthony Mandler and starring Letitia Wright, who is also one of the film's producers.  After debuting at the Sun Valley Film Festival in April 2023, MGM released the film digitally (VOD) on June 20, 2023.  Surrounded focuses on a former former Buffalo Soldier who travels west to lay claim on a gold mine, only to end up playing guard to a dangerous, captured outlaw.

Surrounded opens in the year 1870, five years after the end of the Civil War.  Mo Washington (Letitia Wright) is a former Buffalo Soldier.  [This was the nickname given to U. S. Army regiments that were primarily comprised of African-Americans and were formed during the 19th century to serve on the American frontier.]  Mo arrives in Brushwood Gulch, New Mexico, the last stop on the edge of the Wild West.

Mo has a secret.  He is actually a she.  Mo is a former slave, who after becoming a freedwoman, disguised herself and became a soldier.  After leaving the army, she travels west to take possession of a gold claim in the Territory of Colorado.  Mo books passage on a stagecoach, but some time after departure, the coach is attacked by a group of “road agents” (marauders) led by the infamous Thomas “Tommy” Walsh (Jamie Bell).

After a chaotic fight, Mo is left to guard the captured Tommy Walsh, who tries to convince her to set him free.  He has buried somewhere in the area the $120,000 that he and his gang stole during a recent bank robbery.  So many sinister figures want him – from members of his gang to bounty hunters and assorted bandits.  Now, Mo finds herself surrounded, and she must survive everyone who is coming for Walsh.  Most of all, she must survive Tommy's wily ways.

Surrounded is a surprisingly intense Western drama made all the more intense that the lead character is a Black woman pretending to be a Black man in a world that hates both.  Add racism and also racial elements and Surrounded is... surrounded by intensity.  This is an unusual scenario for an American Western film, but Cathay Williams was a real-life African-American woman who disguised herself as a man and served out west in the U.S. Army from 1866-68 during the Indian Wars.

Like the film's tone, Letitia Wright is intense – quietly so – as the no-nonsense and devout Mo Washington.  Wright makes everything in her performance seem genuine and convincing, from the way Mo dresses to her ability to wield large pistols.  Wright is best known for playing the role of Shuri, the Wakandan princess in Marvel Studios' Black Panther (2018) and Black Panther: Wakanda Forever (2022).  In Surrounded, however, Wright made me forget Shuri and accept her as 19th century Black woman who survives slavery, the tragic deaths of her parents, and her time as a Buffalo Soldier.

Surrounded is filled with good performances.  Fellow British actor, Jamie Bell (Billy Elliot), has excellent screen chemistry with Wright, and Bell is quiet good as a Western character, bringing complexity and eccentricity to the standard murderous Western outlaw and bank robber.  Surrounded is also the final film appearance of the Emmy Award-nominated actor, Michael K. Williams, who died in 2021.  Here, he makes the most of his small role as Will Clay, so much so that I wish that he had a bigger role in the film.

Surrounded is a surprisingly riveting film.  Early on, it seems as if it doesn't really have the energy to rise above being a mere historical drama and become a true Western film.  It does and eventually hits its stride, although I wish the film had focused on some of the interesting characters outside the Mo Washington-Tommy Walsh dynamic.  Surrounded is currently available to stream on Amazon Prime Video, Apple TV, and Vudu.

B+
7 of 10
★★★½ out of 4 stars

Thursday, February 15, 2024


The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved.  Contact this blog or site for reprint and syndication rights and fees.

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Friday, February 9, 2024

Review: "A MADEA HOMECOMING" Doesn't Come Out Quite Right

TRASH IN MY EYE No. 6 of 2024 (No. 1950) by Leroy Douresseaux

A Madea Homecoming (2022)
Running time:  105 minutes (1 hour, 45 minutes)
MPA – PG-13 for crude sexual content, language, and drug references throughout
WRITER/DIRECTOR:  Tyler Perry
PRODUCERS:  Will Areu and Mark E. Swinton
CINEMATOGRAPHER:  Taylor Randall (D.o.P.)
EDITOR:  Larry Sexton
COMPOSER:  Philip White

COMEDY/DRAMA

Starring:  Tyler Perry, Cassi Davis, David Mann, Tamela J. Mann, Gabrielle Dennis, Brendan O'Carroll, Jennifer Gibney, Brandon Black, Isha Blaaker, Candace Maxwell, Geneva Maccarone, and Amani Atkinson

A Madea Homecoming is a 2022 African-American comedy-drama from writer-director Tyler Perry.  It is the 12th film in the Madea film series.  The film is a Netflix original and was released to the streaming service on February 25, 2022.  In A Madea Homecoming, family drama erupts and secrets are revealed during the celebration of Madea's great-grandson's college graduation.

A Madea Homecoming opens in Atlanta, GeorgiaMabel “Madea” Simmons (Tyler Perry) is preparing for the arrival of her extended family.  Uncle Joe (Tyler Perry) is criticizing people, and Mr. Brown (David Mann) is about to set himself afire while preparing the barbecue pit.  It is a special time for Madea's daughter, Cora Simmons (Tamela J. Mann), because of the impending arrival of her daughters, Laura (Gabrielle Dennis) and Ellie (Candace Maxwell).  Laura's son, Timothy “Tim” Marshall (Brandon Black), is graduating from college.  He is traveling to Madea's house with his best friend and fellow graduate, Davi O'Malley (Isha Blaaker), for a large family dinner before graduation day.

But there are some surprises arriving, also.  Tim has a secret to tell his family.  Laura has a secret.  Laura's divorce attorney, Sylvia (Geneva Maccarone), has a secret.  Richard (Amani Atkinson), Laura's ex and Tim's father, has a secret to tell, although Madea doesn't want him at her house.  Davi has a secret.  Davi's great-aunt, Agnes Brown (Brendan O'Carroll), and Agnes' daughter and David's cousin, Cathy Brown (Jennifer Gibney), have a secret.  They're coming to Madea's, but they weren't invited.  And it isn't a secret that Betty Ann Murphy a.k.a. “Aunt Bam” (Cassi Davis) is usually high, and everyone else may have to get high to make it through the family drama that is about to erupt.

2019's A Madea Family Funeral was supposed to be the final film in the Madea film series, but I ain't complaining.  A Madea Homecoming is similar to A Madea Family Funeral in that it features a large cast of new extended family members that many of us didn't know that Madea had.  Unfortunately, the 2019 film is better put together than A Madea Homecoming.

First, it should be noted that A Madea Homecoming is a crossover with British-Irish sitcom, “Mrs. Brown's Boys,” which is headlined by the character, “Agnes Brown,” played by Irish actor, Brendan O'Carroll.  Agnes Brown has been called the “Irish Madea,” but because this is my first encounter with O'Carroll and his character, I can't say otherwise.  Truthfully, neither the Agnes nor Cathy characters really add that much to A Madea Homecoming, but they are a pleasant addition, at least.

A Madea Homecoming has many, many very funny moments, but the film seems too long and too much of a rehash of scandals that have appeared in earlier films in the series.  The main plot and subplot feel more flat and dry than lively and funny.  The most consistently funny part of this movie is Madea Beyoncé parody that runs over the end credits, and Madea in a blonde Beyoncé wig singing off-key with the “Marcella Band” is delightful.

When I reviewed A Madea Family Funeral in 2021, I said that if it were indeed the final Madea film, I could say that the series went out on a relatively high note.  Madea returns on an off-key note with A Madea Homecoming, and it isn't the final Madea film.  Coming sometime in the future is Madea's Destination Wedding.

5 of 10
C+
★★½ out of 4 stars

Friday, February 9, 2024


The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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