EPIX Announces "The 4%: Film's Gender Problem" Documenary Series

EPIX to Air “THE 4%: FILM’S GENDER PROBLEM” – An Original Series of 6 Short Documentaries with First Person Insights About Gender Inequality in Hollywood Debuts March 8, on International Women’s Day 2016

Produced by Alex Gibney’s Jigsaw Productions, Directed by Caroline Suh and Featuring Interviews with Jill Soloway, Paul Feig, Toni Collette, Anjelica Huston, Catherine Hardwicke, Judd Apatow, Amy Heckerling, Julie Delpy, Lake Bell, Mira Nair, Amanda Peet, Patricia Clarkson, Mo’Nique, Anne Sweeney, James Franco, Christine Vachon, Sam Taylor-Johnson, Kristin Wiig and more…

Informed by Research Conducted by USC Annenberg Professor, Dr. Stacy L. Smith

NEW YORK--(BUSINESS WIRE)--Premium TV network EPIX® announced today that THE 4%: FILM’S GENDER PROBLEM, a series of 6 original short films designed to explore the issues around the current gender gap in Hollywood, has completed production. The 6 shorts will air on the network and across all EPIX platforms on International Women’s Day – March 8, 2016 – and run throughout the month, coinciding with Women’s History Month. The first short will be presented at the 2016 Sundance Film Festival’s “Women at Sundance Brunch” on January 25, 2016.

Produced by Alex Gibney’s award-winning Jigsaw Productions (Going Clear: Scientology and the Prison of Belief, Steve Jobs: The Man in the Machine, Taxi To the Darkside, Enron: Smartest Men In the Room), the series spotlights directors and creative personalities – both women and men – who share first-person insights, questions and anecdotes about the role of women in Hollywood.

Participants include: Judd Apatow, Joe Arcidiacono, Lake Bell, Amy Berg, Patricia Clarkson, Toni Collette, Jonathan Dayton, Julie Delpy, Valerie Faris, Paul Feig, America Ferrera, James Franco, Donna Gigliotti, Geoffrey Gilmore, Debra Granik, Catherine Hardwicke, Mary Harron, Amy Heckerling, Dawn Hudson, Anjelica Huston, Vicky Jenson, Sam Taylor-Johnson, Rebecca Keegan, Jon Kilik, Ellen Kuras, Mimi Leder, Franklin Leonard, Tina Mabry, Victoria Mahoney, Michael Mann, Lori McCreary, Mo’Nique, Michael Moore, Rachel Morrison, Mira Nair, Amanda Peet, Kimberly Peirce, Keri Putnam, Pamela Romanowsky, Cathy Schulman, A.O. Scott, Melissa Silverstein, Dr. Stacy L. Smith, Jill Soloway, Anne Sweeney, Anne Thompson, Rosemarie Troche, Christine Vachon, Mandy Walker and Kristen Wiig.

The series is informed by research conducted by USC Annenberg’s Dr. Stacy L. Smith, a renowned expert in the field, and which was supported by Women in Film Los Angeles and Sundance Institute. The series also has the support of the Geena Davis Institute on Gender In Media and Meryl Streep.

Even though it is widely recognized that female directors are strikingly under-represented in Hollywood, the numbers still manage to surprise. According to a multi-year study led by Dr. Stacy L. Smith and conducted by the USC Annenberg Media, Diversity and Social Change Initiative, across 1,300 top-grossing films from 2002 to 2014, only 4.1% of all directors were female. This calculates into a gender ratio of 23.3 male directors to every 1 female director.

Each film will focus on a different theme, with segments varying in tone – from thoughtful, to controversial, to funny, sometimes all at once.

Mark S. Greenberg, President and CEO, EPIX, said, “EPIX has supported Stacy’s research for years and these shorts offer a richer, more authentic portrayal about the role of women and girls in media today. Support for this project has also brought together the talented Alex Gibney, and a prestigious list of some of the most gifted artists and creatives from the worlds of entertainment and the arts. Our objective is to help provide a forum for the discussion of ideas and potential solutions, as we collectively work towards closing the gap that exists today.”

Dr. Stacy L. Smith, the Initiative’s Founder and Director and lead researcher on the investigation, said, “The series offers an opportunity for a national audience to hear from the entertainment industry directly about the issues women face both as filmmakers and in other creative roles. My research is clear: females face a very real fiscal cliff as they pursue work at the highest echelons of this industry. I am proud that my research is associated with a team and a network that cares about female filmmakers and creating systemic change.”

According to research from Dr. Stacy L. Smith:

    In the 100 top films of 2014, only 2 women worked as directors.
    Across 700 films and 779 directors from 2007 to 2014, only 3 were Black or African American female directors.
    Women were only 11% of writers and less than 20% of producers across the 100 top-grossing films of 2014.
    Only 30% of all on-screen speaking characters in 700 top-grossing films from 2007 to 2014 were girls or women.
    A total of 21 of the 100 top films of 2014 featured a female lead or roughly equal co-lead.
    Less than a quarter of all speaking characters were female in the top animated films of 2014.
    Only 22% of speaking characters in top action/adventure films of 2014 were female.
    34% of characters in top 2014 comedies were female.

Other data on female directors shows:

    Only four women have been nominated for a Best Director Oscar® in the past 85 years, with only one winner among them.

“THE 4%: FILM’S GENDER PROBLEM points to the fact there is an undeniably gaping disparity in Hollywood. It’s one that many – including those in Hollywood and at the ACLU and EEOC – believe needs to change. What better way to draw attention to the issue than to have some of the business' most recognizable voices come together in support of more diversity in making movies,” notes director Caroline Suh. “I’m very happy that the project found a partner in Jigsaw, a company known for its activism in exploring human rights violations and the abuse of power. Jigsaw is an amazing group of diverse yet like-minded people whom I’ve loved working with. Further pleased to be working with the support of EPIX, led by Mark Greenberg, who has been committed to these issues for a long time. There’s also a great team of executives and production people who have rallied around the cause.”

THE 4%: FILM’S GENDER PROBLEM is a series of EPIX Original short documentary films produced by Jigsaw Productions. Caroline Suh is the director and Erika Frankel is the producer. Executive Producers are Stacey Offman, Laura Michalchyshyn, Lynne Kirby, Caroline Suh, Betsy West and Alex Gibney. Jocelyn Diaz, Ross Bernard and Jill Burkhart are Executive Producers for EPIX.


About USC Annenberg Media, Diversity, & Social Change Initiative
Dr. Stacy L. Smith is the Founder and Director of the Media, Diversity, and Social Change Initiative at the Annenberg School for Communication & Journalism at the University of Southern California. Dr. Smith's work examines gender and race on screen and behind the camera in cinematic content as well as barriers and opportunities facing women and people of color in the entertainment industry. She also conducts economic analyses related to diversity and the financial performance of films. Dr. Smith has written more than 100 journal articles, book chapters, and reports on content patterns and effects of the media. In terms of the popular press, Dr. Smith’s research has been written about in The New York Times, Los Angeles Times, fivethirtyeight.com, The Atlantic, The Huffington Post, Newsweek, The Hollywood Reporter, Variety, Slate.com, Salon.com, The Boston Globe, NPR, and USA Today, to name a few. She has a co-edited essay in Maria Shriver’s book, A Woman’s Nation Changes Everything (2009). Dr. Smith’s most recent research reports include a landmark study with Sundance Institute and Women in Film Los Angeles, a study of 700 top-grossing films conducted at USC Annenberg, and multiple investigations with the Geena Davis Institute on Gender in Media. Her work is also generously supported by EPIX, The Harnisch Foundation, LUNAFEST, The Jacquelyn and Gregory Zehner Foundation, and other individuals. To learn more, visit http://annenberg.usc.edu/mdsci or follow on Twitter @MDSCInitiative.

Jigsaw Productions is helmed by Oscar® and Emmy® Award-winning filmmaker Alex Gibney. Jigsaw has produced some of the most acclaimed documentary films in recent years, including the Academy and Emmy Award-winning Taxi to the Dark Side, the Oscar-nominated Enron: The Smartest Guys in the Room, the multiple Emmy Award-winning Mea Maxima Culpa: Silence in the House of God, Showtime’s Emmy-winning History of the Eagles, the Sundance-premiering We Steal Secrets: The Story of Wikileaks, and the explosive film about Lance Armstrong’s long fall from grace, The Armstrong Lie. More recent Jigsaw releases include the controversial and three-time Emmy winner Going Clear: Scientology and the Prison of Belief, one of the most watched documentaries in HBO’s history, the Peabody Award-winning Mr. Dynamite: The Rise of James Brown, the Emmy-nominated two-part series Sinatra: All or Nothing At All for HBO, and Steve Jobs: The Man in the Machine for CNN Films, in theaters now. Television projects currently in production include: The New Yorker Presents for Amazon, which adapts the venerable The New Yorker magazine to the screen; Cooked, a four-part food docu-series based on the award-winning Michael Pollan book of the same name for Netflix; and the four-part Parched: The Water Wars for National Geographic.

About EPIX
EPIX is a premium movie and original programming entertainment network delivering the latest movie releases, classic film franchises, original documentaries, comedy and music events on TV, on demand, online and on digital devices. Launched in October 2009, EPIX has pioneered the development and proliferation of “TV Everywhere.” It was the first premium network to provide multi-platform access to its content online at EPIX.com and to launch on Xbox, PlayStation®, Android phones and tablets, and Roku® players. EPIX is also available across Chromecast, Apple® iPhones® and iPads®, Android TV and more and is the only premium service providing all its programming on all platforms, delivering more movies than any other premium network, with thousands of titles available for streaming.

EPIX is a joint venture between Viacom Inc., its Paramount Pictures unit, Lionsgate and Metro-Goldwyn-Mayer Studios Inc. (MGM). Through relationships with cable, satellite and telco partners, EPIX is available to over 50 million homes nationwide. For more information about EPIX, go to www.EPIX.com. Follow EPIX on Twitter @EpixHD (http://www.twitter.com/EpixHD) and on Facebook (http://www.facebook.com/EPIX), YouTube (http://youtube.com/EPIX), Instagram (http://instagram.com/EPIX), Google+ (http://plus.google.com/+EPIX), Pinterest (http://pinterest.com/EPIX) and Vine (https://vine.co/EPIX).

----------------------

Review: Supporting Actresses Shine on "Beerfest" (Happy B'day, Cloris Leachman)

TRASH IN MY EYE No. 20 (of 2007) by Leroy Douresseaux

Beerfest (2006)
Running time:  110 minutes (1 hour, 50 minutes)
MPAA – R for pervasive crude and sexual content, language, nudity, and substance abuse
DIRECTOR:  Jay Chandrasekhar
WRITERS:  Broken Lizard (Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, and Erik Stolhanske)
PRODUCERS:  Bill Gerber and Richard Perello
CINEMATOGRAPHER:  Frank G. DeMarco (D.o.P.)
EDITOR:  Lee Haxall
COMPOSER:  Nathan Barr

COMEDY

Starring:  Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, Erik Stolhanske, Will Forte, Ralf Moeller, Nat Faxon, Gunter Schlierkamp, and Mo’Nique with Jurgen Prochnow and Cloris Leachman

The subject of this movie review is Beerfest, a 2006 comedy directed by Jay Chandrasekhar.  The film stars the comedy troupe, Broken Lizard, of which Chandrasekhar is a member.  Beerfest focuses on two brothers who discover a secret, underground beer-drinking tournament in Germany.

When German-American brothers, Todd (Erik Stolhanske) and Jan Wolfhouse (Paul Soter), travel to Germany to spread their grandfather Johan’s ashes at Oktoberfest, they stumble upon a secret, centuries old underground beer drinking competition called “Beerfest.”  They also discover long lost German relatives, the von Wolfhausens, who hold an old grudge against their American relatives over a lost beer recipe.  Led by the family patriarch, Baron von Wolfhausen (Jurgen Prochnow), the von Wolfhausens humiliate Todd and Jan, and sneer at their chances of ever winning Beerfest, this Olympics of beer drinking.  The rude Germans even sneer at Todd and Jan’s grandmother, Great Gam Gam (Cloris Leachman).

Todd and Jan return to American and prepare for another Beerfest showdown the following year.  The brothers recruit three friends to join their team:  the one-man bear-drinking machine, Phil Krundel aka “Landfill” (Kevin Heffernan); the nerdy lab tech, Charlie Finklestein aka “Fink” (Steve Lemme); and Barry Badrinath (Jay Chandrasekhar), a talented skills player who has fallen to street-level prostitution.   The quintet’s year of training, however, is marred by tragedy and hardships, and the five beer-chugging friends begin to doubt they’ll ever win Beerfest.

Beerfest is the fourth feature film from the five-man sketch comedy troupe, Broken Lizard, which is comprised of Kevin Heffernan, Steve Lemme, Paul Soter, Erik Stolhanske, and Jay Chandrasekhar.  Chandrasekhar directs the Broken Lizard films (including Super Troopers and Club Dread), and also directed the 2005 The Dukes of Hazzard film.  With Chandrasekhar at the helm, Beerfest looks like the other Broken Lizard films.  There are scenes in Beerfest that are as funny as anything in Super Troopers (what I consider to be their best feature).  However, whereas Super Trooper was smooth, Beerfest is uneven, though not as uneven as Club Dread.

Beerfest is truly a ribald comedy, and in some ways it reminds me of the bawdiest Mel Brooks movies.  Still, there’s lots of Beerfest that amounts to little more than simple, immature, juvenile humor.  Luckily, the film is blessed with a great supporting cast.  Jurgen Prochnow is fine as the spicy menace, Baron von Wolfhausen, and Mo’Nique throws herself fully into the role of the duplicitous and randy Cherry; her sex scene with Chandrasekhar is priceless.  Cloris Leachman’s turn as Todd and Jan’s Great Gam Gam, is a testament to her skill as both a comedienne and an actress, and lovers of comedy must and should not miss her performance.

Beerfest isn’t great, but it has great moments of laugh-out-loud and laugh-till-you-cry comedy, and tolerating the missteps is worth such hilarity.

5 of 10
B-

Sunday, January 28, 2007

Updated:  Wednesday, April 30, 2014

The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Review: "Shadowboxer" is Bat-Shit-Crazy (Happy B'day, Helen Mirren)

TRASH IN MY EYE No. 253 (of 2006) by Leroy Douresseaux


Shadowboxer (2005)
Opening date: July 21, 2006
Running time: 94 minutes (1 hour, 34 minutes)
MPAA – R for strong graphic violence and sexuality, nudity, language, and some drug use
DIRECTOR: Lee Daniels
WRITER: William Lipz
PRODUCERS: Lisa Cortes, Lee Daniels, Damon Dash, Brook Lenfest, and Dave Robinson
CINEMATOGRAPHER: M. David Mullen
EDITOR: William Chang and Brian A. Kates

CRIME/DRAMA/THRILLER

Starring: Cuba Gooding, Jr., Helen Mirren, Stephen Dorff, Vanessa Ferlito, Joseph Gordon-Levitt, Macy Gray, Cullen Flynn Clancy, Tomy Dunster, and Mo’Nique

The subject of this movie review is Shadowboxer, a 2005 crime thriller directed by Lee Daniels. After the film’s theatrical release in the summer of 2006, two of its stars would go on to win Academy Awards, Helen Mirren and Mo’Nique, and one had already won an Oscar, Cuba Gooding, Jr.

Clayton (Stephen Dorff), a nasty crime lord, hires the assassin Rose (Helen Mirren) and her stepson/partner/longtime lover, Mikey (Cuba Gooding, Jr.), to kill his wife, Vickie (Vanessa Ferlito), whom he believes is cheating on him. However, during the hit, Rose, suffering from cancer and on her last job, discovers that Vickie is pregnant and hesitates. Vickie immediately goes into labor and delivers a son. Rose takes mother and newborn and flees with Mikey to a new life in a pastoral suburb. Soon, the baby is seven-year old Anthony (Cullen Flynn Clancy), and the past is about to catch up with this unconventional family.

Shadowboxer is an audacious, unconventional thriller. Director Lee Daniels and writer William Lipz create a crime thriller than can masquerade as a family melodrama. This flick, however, has an awkward pace. Sometimes it is slow, and other times it is a meditative tale that shadowboxes with being philosophical – philosophy that it delivers either through imagery or dialogue. (Mikey religiously practices shadow boxing.) Shadowboxer’s overarching plot is a crime thriller tale full of cold, ruthless murderers, thugs, criminals, and assorted lowlifes, but it often comes across as low budget thriller with most of the actors merely posing rather than acting. The bad guys and badasses come across as stock characters, or maybe the direction they received for their performances was too artsy.

Shadowboxer doesn’t have any great or even really good performances, but this strange off-kilter flick spends the second half builds into a story of an unconventional family coming to grips with itself. The fact that the family members can be a workable nuclear family (even though this merger wasn’t meant to be) only makes seeing things work out that much more desirable. Rooting for this desperate, but loving family makes Shadowboxer’s narrative, pacing, and structural problems all less important.

6 of 10
B

Wednesday, December 20, 2006

Kevin Hart Shameless in Shameless "Soul Plane"

TRASH IN MY EYE No. 85 (of 2004) by Leroy Douresseaux


Soul Plane (2004)
Running time: 86 minutes (1 hour, 26 minutes)
MPAA – R for strong sexual content, language and some drug use
DIRECTOR: Jessy Terrero
WRITERS: Bo Zenga and Chuck Wilson
PRODUCERS: David Scott Rubin and Jessy Terrero
CINEMATOGRAPHER: Jonathan Sela
EDITOR: Michael R. Miller
COMPOSERS: Christopher Lennertz and RZA

COMEDY

Starring: Tom Arnold, Kevin Hart, Method Man, Snoop Dogg, K.D. Aubert, Godfrey, Brian Hooks, D.L. Hughley, Arielle Kebbel, Mo’Nique, Ryan Pinkston, Missi Pyle, Sofia Vergara, Gary Anthony Williams, Karl Malone, Li’l John, and John Witherspoon

The subject of this movie review is Soul Plane, a 2004 jiggaboo comedy. Kevin Hart stars as a young man who starts his own Black-centric airline, and the story focuses on the maiden voyage of the sole plane in his non-existent fleet.

That white writers (usually from upper middle class backgrounds) wrote sketch comedy making fun of black culture used to piss me off. Why the hell couldn’t Hollywood just hire black writers, I rhetorically asked, to write about blacks since white film and TV executives felt that only whites could write about whites. Well, if the best that black writers and filmmakers can do is Soul Plane, never let a nigga touch another sheet of paper.

When Nashawn Wade (Kevin Hart) wins a $100 million settlement for negligence from an airline, he decides to start his own airline: NWA. Lest you confuse yourself, this NWA is not that N.W.A.; for the sake of this movie the acronym stands for “Nashawn Wade Airline.” In flight meals can be anything from Cristal and filet mignon to Colt .45 and Popeye’s fried chicken. The airline’s one plane is purple and rolls on dubs, and the stewardesses are big booty ho’s in Daisy Dukes. When his cousin (badly played by rapper Method Man) hires an ex-con (Snoop Dogg) to fly the plane, you know there’s going to be trouble and hilarity ensues.

Soul Plane is a poorly made collection of stereotypes, blaxtiploitation, riffs on hip hop culture, deplorable acting, and feeble musical tracks. Except for a few moments, the film is painfully unfunny. In fact, 9.5 of every ten minutes of this film is not funny, although the few good scenes are both shocking, painfully embarrassing, and outrageously hilarious – kind of like Scary Movie 3, but with way fewer yucks. Frankly, it’s more saddening than bad.

The cast is either extraordinarily untalented or just misused. Kevin Hart is a Sambo version of Chris Tucker, and his performance is like a frantic and desperate crackhead trying to be funny. Mo’Nique isn’t in the movie enough, and Tom Arnold (practically the lone salvation of this film) may have his name at the front of the credits, but this is (quite unfortunately) not his film.

1 of 10
D-

Mo'Nique and Academy President to Announce Oscar Nominations

Press release:

Mo'Nique To Join Academy President Tom Sherak For Oscar® Nominations

Beverly Hills, CA (January 4, 2011) –Beverly Hills, CA — Nominations for the 83rd Academy Awards® will be announced on Tuesday, January 25, by Academy of Motion Picture Arts and Sciences President Tom Sherak and Oscar-winning actress and Academy member Mo’Nique.

Sherak and Mo’Nique will unveil the nominations in 10 of the 24 categories at a 5:30 a.m. news conference at the Academy’s Samuel Goldwyn Theater in Beverly Hills, where hundreds of media representatives from around the world will be gathered. Nominations information for all categories will be distributed simultaneously to news media in attendance and via the Internet on the official Academy Awards website, www.oscar.com.

Last year Mo’Nique received her first Oscar nomination and win for her supporting performance in “Precious: Based on the Novel ‘Push’ by Sapphire.” She currently hosts her own late-night talk show, "The Mo'Nique Show," on BET.

Academy Awards for outstanding film achievements of 2010 will be presented on Sunday, February 27, 2011, at the Kodak Theatre at Hollywood & Highland Center®, and televised live on the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide.

Review: "Phat Girlz" Makes a Joyful Noise (Happy B'day, Mo'Nique)

TRASH IN MY EYE No. 83 (of 2006) by Leroy Douresseaux

Phat Girlz (2006)
Running time: 99 minutes (1 hour, 39 minutes)
MPAA – PG-13 for sexual content and language, including some crude sexual references
WRITER/DIRECTOR: Nnegest Likké
PRODUCERS: Steven Imes, Robert F. Newmyer, and Steven J. Wolfe
CINEMATOGRAPHERS: John L. Demps, Jr. and Dean Lent
EDITOR: Zach Arnold

COMEDY with elements of drama, fantasy, and romance

Starring: Mo’Nique, Jimmy Jean-Louis, Kendra C. Johnson, Joyful Drake, Godfrey, Dayo Ade, Felix Pire, Jack Noseworthy, and Eric Roberts

Actress/comedian Mo’Nique has her biggest headlining role to date in the new film, Phat Girlz, in which she plays a phat girl or big girl who is struggling to find love in an America where skinny girls with “hot bodies” get all the attention and where many treat overweight women like refuse.

Jazmin Biltmore (Mo’Nique) is an aspiring fashion designer with a smart mouth, working at a clothing store during the day and designing fashions for plus-size women at night. However, Jazmin has low self-esteem and yearns for the kind of man she never really believes she’ll get. Her closest friend and coworker, Stacey (Kendra C. Johnson), is also a bit on the heavy side and also yearning for a lover. Meanwhile, Jazmin’s cousin, Mia (Joyful Drake), with whom she grew up, is a skinny girl who gets all the attention. That changes when Jazmin wins a holiday for three at a resort hotel, where the Jazmin, Stacey, and Mia meet a trio of Nigerian doctors. The doctors take an immediate liking to the plus size Jazmin and Stacey. One of the doctors, Tunde (Jimmy Jean-Louis), falls madly in love with Jazmin. Jazmin, however, has serious issues, and that endangers her happiness, her career dreams, and perhaps a shot at the man of her dreams – a man not turned off by her weight.

Phat Girlz is plainly and simply a film that is meant to make fat women (plus size, big girls, heavy girls, etc.) feel good about themselves. Embodied by the bold Mo’Nique, Jazmin fights back and is unwilling to take insults from skinny people, especially skinny women. The film is basically a romance novel for overweight women turned into an emotionally charged, super-duper, feel-good film for big women. Phat Girlz is heavy on comedy, and watching Mo’Nique, literally and figuratively, throw her weight around (as she often does in her stage act and did in her late TV series, “The Parkers”) is fun. Eventually, the film does dissolve into a melodrama full of hysterics; then, it turns into a pure fantasy about the big girl who gets everything she wants because she persevered.

That’s nice, for the most part. Technically, writer/director Nnegest Likké does a credible job helming the film, although Phat Girlz wears its low budget heart on its sleeves. The photography is ultra low grade; I’ve seen cheapo rap music videos from regional rappers with more polish. But in the end, Phat Girlz is the movie candy for which plus size women have been waiting a long time. It’s a call to arms and a hearty pat on the back that doesn’t necessarily demonize skinny people – just the ones who demonize phat girlz.

5 of 10
B-

Thursday, April 20, 2006

--------------------

Review: John Singleton's "Baby Boy" Returns to Singleton's Cinematic Roots

TRASH IN MY EYE No. 23 (of 2001) by Leroy Douresseaux

Baby Boy (2001)
Running time: 130 minutes (2 hours, 10 minutes)

MPAA – R for strong sexuality, language, violence and some drug use
WRITER/PRODUCER/DIRECTOR: John Singleton
CINEMATOGRAPHER: Charles E. Mills (D.o.P.)
EDITOR: Bruce Cannon

DRAMA with elements of crime and romance

Starring: Tyrese, Taraji P. Henson, Omar Gooding, Tamara LeSeon Bass, Candy Ann Brown, A.J. Johnson, Ving Rhames, Snoop Dogg, Mo’Nique, Angell Conwell, Kareem J. Grimes, Kaylan Bolton and Kylan Bolton

Jody (Tyrese Gibson) is a 20-year-old black man living with his mother (Candy Ann Brown). He is the father of two children by two different women. The relationship with one of the baby mama’s, Yvette (Taraji P. Henson) is the romantic focus of the film. Jody’s mother has an openly sexual relationship with Melvin (Ving Rhames), himself a former banger; he is a muscular Mandingo and Jody’s mother doesn’t have to call Tyrone when she needs some good, strong lovin.’ B’leive ‘dat!

Jody’s homey, Sweet Pea (Omar Gooding) is lost and also unemployed; he is desperate for meaning in and a purpose for his life. As he relationship with Yvette deteriorates, her old flame, a recently released convict named Rodney (rapper Snoop Dogg) shows up, literally gunning for Jody’s life.

Directed by John Singleton (Shaft), Baby Boy is more a slice of social studies than entertainment. It belongs to Singleton’s South Central Los Angeles milieu that he introduced in Boyz N the Hood, but it is thematically similar to the Boyz follow up, Poetic Justice.

The film opens with Jody dreaming that he’s an adult still in the womb; it is a visually jarring set piece that conveys the troubled state of Jody’s mind. It’s not long before we also realize that Jody’s life is frozen. He going nowhere, spending his days hustling, watching television, and involved in sexual escapades with many women.

He resents his mother’s relationship with Melvin, but Melvin is very familiar with the type of “li’l nigga” that Jody is because Melvin was himself once of a similar type. Jody has a twisted view of his relationship with his baby mamas. He tells Yvette that he lies to her about his philandering because he loves her too much to hurt her with the truth that he is a man whore. He uses the other women for sex because they’re, in his words, “tricks,” but he really loves Yvette because she is the mother of his son. His other baby mama, Peanut (Tamara LaSeon Bass), a girl whose own mother seems to be well to do, is less tolerant of Jody and dismisses him. In fact, when his relationship with Yvette collapses, Jody tries to seduce Peanut, but she quickly lets him know that she intends on treating him like an on-call sex toy. For Jody, Peanut treating him like an object jars Jody.

The film has only two characters as fathers – Jody and Melvin; in fact, fathers are conspicuously absent from this film. Melvin is estranged from his own children; his eldest son informs Jody off screen that Melvin beat his mother. Jody isn’t much better; his children are merely vestiges of his fornicating rather than the result of some kind of manhood. Jody’s own father is rarely spoken of, and Jody could have been hatched from an egg for all the knowledge of being a human father he obviously does not possess.

One of the themes here seems imply that Jody can’t be a father because he never had one to show him what it means to be a father and a man. That was Singleton’s dominant theme in Boyz, much to the delight of conservative i.e. Republican critics and fans of the movie. However, if a boy who did not know his own father himself grows to be a bad father, the reason is not necessarily because he didn’t have a dad.

Jody is selfish, spoiled, and manipulative. It’s difficult to tell what part his mother played in his personality, as there isn’t much back-story to her other than that she threw Jody’s older brother out of the house. Someone killed him, and Jody believes his mother throwing the brother out led to that. We also learn that mom has had lots of boyfriends.

As stated earlier, this film is more social studies than entertainment. Singleton seems to be saying to his audience, see how these people are. Or it may be that it is easy for him to make a movie about a subject with which he is very familiar. The film aims at making some kind of point, but Singleton stumbles to a tacked on and predictable ending. Maybe, the film’s resolution is “real” or “how it is on the streets,” but this is drama and it demands some kind of structure and purpose.

Singleton doesn’t have to provide pat answers to solve social “problems.” There are no easy answers to social issues, but the demand for resolutions comes with the territory of making socially relevant films. Singleton overly relies on the visceral impact of profanity-laden dialogue and animalistic, confrontational sex. He’s onto something, having tackled an important issue, but he reduces his movie to a series of blunt, angry scenes. Maybe, he doesn’t know the power and danger of the subject with which he plays. He certainly doesn’t realize the dramatic potential of his subject. He wastes Snoop Dogg’s Rodney character, not to speak of under utilized Ving Rhames.

Boyz in the Hood had a good story that was universal in both its appeals and its themes. Singleton hasn’t been able to duplicate that quality of story since then. He has an idea of how to make really good films, but it’s a shame we have to keep waiting for his arrival as a really good filmmaker. He’ll become one when he takes a social issue and makes a film with a good story that clearly conveys its message to the audience.

Powerful and forceful, Baby boy is a diamond in the rough despite it structural shortcomings. There is enough good there that makes it worthy of considerable critical analysis. It’s a bold, brazen, adventurous movie. While stopping short of being great, it has more substance than most films today, so Baby Boy is worth your time.

6 of 10
B

-------------------------

Will Mo'Nique Cash In?

Fiancial news journalist Lynnette Khalfani-Cox penned this article for AOL Black Voices Money about the financial benefits actress Mo'Nique stands to reap in the wake of her best supporting actress Oscar Sunday night.

In recent years, actors have earned high-paying gigs following both Oscar wins and nominations.  I don't know if actresses benefit as much as actors do.  And winning an Oscar has not always meant better roles - F. Murray Abraham, anyone?

"The Hurt Locker" Puts a Hurt on BAFTAs

“The Hurt Locker” sweep British Academy of Film and Television Arts Awards

The ensemble drama about a bomb-disposal unit in Iraq, The Hurt Locker, dominated the British Academy of Film and Television Arts (BAFTA) awards. It won six of the eight categories for which it was nominated including the top prizes: best picture, director and original screenplay. It beat out the favorite, Avatar, in nearly all categories in which both movies went head to head. Avatar, which recently won the top prizes at the Golden Globes, only won two BAFTA awards, for visual effects and production design.

Fish Tank won the award for best British film.

The Hurt Locker’s director, Kathryn Bigelow became the first woman to win for the BAFTA Award for best director. Ms. Bigelow dedicated her award to "never abandoning the need to find a resolution for peace

Not all the major prizes went back to Hollywood. Colin Firth (A Single Man) beat out Jeff Bridges, the heavy Oscar favorite for Crazy Heart, as best actor. Carey Mulligan won best actress for her role as a young ingénue in the British film, An Education.

Two actors who were expected to win and who are Oscar favorites did indeed win. Mo'Nique won supporting actress for Precious: Based on the Novel “Push” by Sapphire, and Christoph Waltz for supporting actor in Inglourious Basterds.

Kristen Stewart of Twilight and New Moon won the “Orange Rising Star Award,” the only category to be decided by public vote.

Go to The Envelope for a full report.  Go here for a full list of winners.