Negromancer News Bits and Bites from June 25th to 30th, 2017 - Update #30

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 COMICS-FILM - From TheWrap:  Rosario Dawson out and Alice Braga as "Dr. Cecilia Reyes" in Fox's "New Mutants."

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MOVIES - From ShadowandAct:  Producers Craig Zadan and Neil Meron are developing an HBO biopic about pioneering African-American filmmaker, Oscar Micheaux.  Tyler Perry is attached to star as Micheaux.

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POLITICS - From RSN:  Pediatrician Mai-Khanh Tran will attempt to unseat a 12-term, U.S. House Republican (and a powerful one at that) next year.

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MOVIES - From Variety:  Michelle Rodriguez is ready to leave "The Fast and the Furious" franchise.  The actress, who plays Letty Ortiz, wants more opportunities for women in the film series.

From YahooFinance:  "The Fate of the Furious" director F. Gary Gray responds to Michelle Rodriguez.

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MOVIES - From YahooMovies:  Halle Berry said that her 2002 best actress Oscar win (for 2001's "Monsters Ball") meant nothing for diversity.

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OBIT - From Deadline:  The children's author Michael Bond has died at the age of 91, Tuesday, June 27, 2017.  Bond was best known as the creator of Paddington Bear.  The character first appeared in the 1958 book, "A Bear Called Paddington."

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COMICS-FILM - From ShadowandAct:  The return of Marvel Comics character, Blade, to the big or small screen?  Someday... says Marvel chief.

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MOVIES - From Variety:  Gwendoline Christie (Star Wars' "Captain Phasma") will join Steve Carell in director Robert Zemeckis' still untitled drama.

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OBIT - From Variety:  The Swedish actor Michael Nyqvist has died at the age 56, Tuesday, June 27, 2017.  He played a rapist in "The Girl with the Dragon Tattoo" and the villain "Mission: Impossible - Ghost Protocol."

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MOVIES - From ThePlaylist:  Lena Dunham and Jenni Konner, her writing partner from the HBO series, "Girls," are in talks to write the American remake on the hit foreign film, "Toni Erdmann."

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MOVIES - From YahooMovies:  Marvel Studios boss, Kevin Feige, empathizes with Lucasfilm over the "young Han Solo" film director shakeup.

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COMICS-FILM - From LATimes:  Inside the deal the brought Spider-Man to the Marvel cinematic universe.

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TELEVISION - From ShadowandAct:  HBO is developing a TV series from Ray Bradbury's seminal novel, "Fahrenheit 451," with Michael B. Jordan in the lead.  Actress Laura Harrier will play the wife of Jordan's character ("Guy Montag").

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CULTURE - From BuzzFlash:  How to reverse the demise of the United States.

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TELEVISION - From ScreenDaily:  Kevin Bacon says that he is working on a reboot of his cult film, "Tremors," as a TV series for Syfy.

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MOVIES - From TheWrap:  Sissy Spacek came to fame and earned an Oscar nomination for her starring role in the film, "Carrie" (1976), adapted from a Stephen King novel.  Spacek is returning to the world of Stephen King in Hulu's upcoming series, "Castle Rock."

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MOVIES - From THR:  Warner Bros. is developing a sequel to Ben Affleck's hit film, "The Accountant" (2016).

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COMICS-FILM - From YahooMovies:  Highlights from the "Spider-Man: Homecoming" press conference.

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COMICS-FILM - From YahooTV:  ABC has announced Friday, September 29, 2017 as the premiere date for "Marvel's Inhumans."

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STAR TREK - From Esquire:  One of the changes that "Star Trek Discovery" will make to rules established by Star Trek creator, Gene Roddenberry, is that Starfleet members will be in direct conflict with one another.  The first episode of this new series will air in October 2017.

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BLM - From WashPost:  A Black off-duty police officer tried to help stop a crime, and a White cop shot him.  Once again, the controversy is in the St. Louis area.

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BOX OFFICE - From BoxOfficeMojo:  The winner of the 6/23 to 6/25/2017 weekend box office is "Transformers: The Last Knight" with an estimated take of $45.3 million.

From TheWrap:  "The Big Sick" and "The Beguiled" open big at indie box office.

From GoldDerby:  "Wonder Woman" is now the highest grossing live-action film by a woman director.  It's global box office total is at just over $635 million dollars (and counting), which surpasses the the previous record holder, Mamma Mia! (2008), which grossed just under $610 million globally and was directed by Phyllida Lloyd.

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COMICS-FILM - From TheWrap:  The upcoming "Spider-Man: Homecoming" is receiving glowing reviews.  The film will open nationwide on July 7th, 2017.

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TELEVISION - From Variety:  There is another project being adapted for TV from George R.R. Martin, whose fantasy novel series, "A Song of Fire and Ice," became the Emmy-winning, HBO television series, "Game of Thrones."  Now, Syfy is developing Martin's novella, "Nightflyers," as a pilot for a TV series.

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POLITICS - From RSN:  President Trump and the Congressional Republicans are trying to pass the American Health Care Act (AHCA) or BCRA (Better Care Restoration Act) to repeal the Affordable Care Act (ACA) also known as "Obamacare."  President Obama says the AHCA/BCRA will do us harm.

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ECO - From TheNewYorker:  The race to solar-power Africa.

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CULTURE - From Newsweek:  Most U.S. terrorists are of the right-wing variety, not Muslim.

TRAILERS:

From YouTube:  This is the debut trailer for "The Greatest Showman," which stars Hugh Jackman as P.T. Barnum and also features Michelle Williams, Zendaya, and Zac Efron, among others.

Review: Can't Do Without "The Help" Movie

TRASH IN MY EYE No. 103 (of 2011) by Leroy Douresseaux

The Help (2011)
Running time: 146 minutes (2 hours, 26 minutes)
MPAA – PG-13 for thematic material
DIRECTOR: Tate Taylor
WRITER: Tate Taylor (based upon the novel by Kathryn Stockett)
PRODUCERS: Michael Barnathan, Chris Columbus, and Brunson Green
CINEMATOGRAPHER: Stephen Goldblatt (D.o.P.)
EDITOR: Hughes Winborne
COMPOSER: Thomas Newman

DRAMA with elements of comedy

Starring: Emma Stone, Viola Davis, Bryce Dallas Howard, Octavia Spencer, Jessica Chastain, Ahna O’Reilly, Allison Janney, Anna Camp, Eleanor and Emma Henry (twins), Chris Lowell, Cicely Tyson, Mike Vogel, Sissy Spacek, Brian Kerwin, Aunjanue Ellis, Leslie Jordan, Nelsan Ellis, and David Oyelowo

The Help is a 2011 historical drama that is based on the 2009 bestselling novel, The Help, from author Kathryn Stockett. Set in Mississippi during the 1960s, the film focuses on an aspiring author who decides to write a book detailing the experiences of the Black women who work as maids in the homes of White families.

After graduating from Ole Miss, Eugenia “Skeeter” Phelan (Emma Stone) returns to her hometown of Jackson, Mississippi. She takes a job at a local newspaper writing a “homemaker hints” advice column. However, Skeeter’s mother, Charlotte (Allison Janney), wants her daughter to (1) be a southern society girl and (2) find a husband. Skeeter reconnects with her vacuous childhood friends who are all now young mothers and form a clique led by the snooty Hilly Holbrook (Bryce Dallas Howard).

Two things change Skeeter’s life. She does not believe her mother’s story about why Constantine Bates (Cicely Tyson), the beloved black maid who raised Skeeter, left the family. Skeeter also becomes uncomfortable with the attitude of her friends towards “the help,” the African-American maids who cook and clean for white folks, as well as parent their bosses’ children. Hilly becomes obsessed with the notion that the help not use their bosses’ bathrooms, so she launches the “Home Help Sanitation Initiative” a law that would require that homes have separate bathrooms for the help.

In response, Skeeter approaches Aibileen Clark (Viola Davis), the maid of her friend, Elizabeth Leefolt (Ahna O’Reilly), and asks her if she would mind being interviewed about her life spent taking care of other people’s homes. Reluctant at first, Aibileen consents and is also able to convince another maid, the sassy Minny Jackson (Octavia Spencer), to contribute. As the women forge an unlikely friendship, they get caught in a turbulent time of change and the Civil Rights Movement.

Writer/director Tate Taylor often plays upon the proverbial “quiet dignity” of the Black maids, but his film comes on like a locomotive, because behind the quiet dignity is steely determination. This movie has such power to convey its messages and its ideas that I sometimes felt physically unprepared for the emotional toll it had on me – whether those emotions were happy or sad. I say that The Help is well-written and directed and has a number of exceptional performances because of its ability to convey with authenticity story, character, and setting.

As for the performances: Jessica Chastain is a scene-stealer as Celia Foote, the naïve young wife with child-bearing issues. Chastain crafts Celia as a struggle between the strength underneath and the soft-hearted nature that is the candy-coating. Bryce Dallas Howard is white-hot evil as the snotty racist, Hilly Holbrook, but she frequently and subtly reveals the character’s humanity at surprising moments.

Sadly, I see Viola Davis and Octavia Spencer’s bravura performances getting lost during the movie critics and film industry awards season. Emma Stone’s Skeeter is The Help’s bridge between the two separate worlds of Black and White, and she is a player on all sides of a class conflict. However, Viola Davis’ Aibileen Clark is this movie’s true anchor. Not only does Davis give a great performance, but she also embodies in Aibileen the toughness that makes an oppressed people both survive the evil ruling class and have the true grit to fight that evil.

Octavia Spencer’s Minny Jackson is simply one of those great supporting characters whose fight and spunk define the central conflict in a movie. At the end of the day, she’s not going to take anything from anyone that is the wrong thing, and The Help is about getting to what is the right thing. While Emma Stone gives a good performance, it is easy to see how she gets lost in a sea of superb performances, although Skeeter is the most important player – the central character that connects the disparate parts.

If I had to point to the one thing that makes The Help a grand film, it is that the emotions are genuine; they feel real. Writer/director Tate Taylor and his cast create a series of moments and scenes that come together to weave a narrative, one which comes to life with a sense of authenticity. When Aibileen talks about her son’s tragedy; when Minny fights her husband and employers; when Aibileen has to step to the side while grocery shopping; when Celia Foote yearns for a child; when Skeeter angrily explains to her mother the wrong done to Constantine, it all feels real. It is as if The Help were a true story. In a way, it is a true story, one told with fictional characters from a real time and place. That is why The Help is a bona fide standout in a field of fantasias and made-up stuff movies.

9 of 10
A+

Tuesday, December 13, 2011

Viola Davis Justified! "The Help" Skips Past $100 Million Mark

“The Help” Surpasses $100M at Domestic Box Office

DreamWorks Pictures and Participant Media’s Empowering Film Engages Audiences Nationwide

BURBANK, Calif.--(BUSINESS WIRE)--DreamWorks Pictures announced today that its inspiring film “The Help” has surpassed the $100 million mark at the domestic box office. “The Help,” directed and written for the screen by Tate Taylor, is based on the New York Times best-selling novel by Kathryn Stockett.

Ever since opening in the U.S. on August 10th, “The Help” has been a strong contender for the top spot on the domestic box office chart and has resonated with audiences around the country, sparking conversation and comments across all media platforms from such notables as Oprah, Scott Fujita, Tyler Perry, Russell Simmons, Katy Perry, Diane Sawyer, Jason Whitlock, Jackie Jackson and others.

Commenting on the widespread popularity of the film, Director Tate Taylor says, “We never imagined this film, which began its journey inspired by the enthusiasm of a small group of Mississippi friends, would ever even get made. Now to have it seen and embraced by so many people is just beyond our wildest dreams.”

Adds Dave Hollis, Executive Vice President, Motion Picture Sales & Distribution, Walt Disney Studios Motion Pictures, “This achievement is a testament to an amazing ensemble cast and a wonderfully told story that has played well to men and women, young and old, resonating in a cross-section of all theaters be they urban, upscale or heartland. The viral power of word-of-mouth has us hopeful that we’ll continue to see ‘The Help’ exposed to as broad an audience as possible in the coming months.”

“The Help” stars Emma Stone (“Easy A”) as Skeeter, Academy Award®–nominated Viola Davis (“Doubt”) as Aibileen and Octavia Spencer as Minny—three very different, extraordinary women in Mississippi during the 1960s, who build an unlikely friendship around a secret writing project that breaks societal rules and puts them all at risk. Also starring Bryce Dallas Howard (“Hereafter”), Allison Janney (“Juno”), Academy Award®–winner Sissy Spacek (“In the Bedroom,” “Coal Miner’s Daughter”) and Jessica Chastain (“Tree of Life”), “The Help” is deeply moving, filled with poignancy, humor and hope—a timeless and universal story about the ability to create change.

Rounding out the cast are Ahna O’Reilly (“Forgetting Sarah Marshall”), Cicely Tyson (“Sounder,” “Fried Green Tomatoes”), Chris Lowell (“Up in the Air”), Mike Vogel (“Blue Valentine”), Aunjanue Ellis (“Ray”) and Mary Steenburgen (“Did You Hear About the Morgans?).

From DreamWorks Pictures and Reliance Entertainment, in association with Participant Media and Imagenation Abu Dhabi, “The Help” was produced by Brunson Green, Chris Columbus and Michael Barnathan.

“The Help” is distributed by Walt Disney Studios Motion Pictures.

Review: North Country is the Legal Thriller as a Gritty Drama

TRASH IN MY EYE No. 44 (of 2006) by Leroy Douresseaux

North Country (2005)
Running time: 126 minutes (2 hours, 6 minutes)
MPAA – R for sequences involving sexual harassment including violence and dialogue, and for language)
DIRECTOR: Nick Caro
WRITER: Michael Seitzman (from the book Class Action: The Landmark Case that Changed Sexual Harassment Law by Clara Bingham and Laura Leedy Gansler)
PRODUCER: Nick Wechsler
CINEMATOGRAPHER: Chris Menges
EDITOR: David Coulson
Academy Award nominee

DRAMA

Starring: Charlize Theron, Frances McDormand, Sean Bean, Richard Jenkins, Jeremy Renner, Michelle Monaghan, Woody Harrelson, Sissy Spacek, Thomas Curtis, and Elle Peterson

Josey Aimes (Charlize Theron) was stuck in a failed marriage, but this last time her husband beat her is the last time, she tells herself. Josey takes her two children, Karen (Elle Peterson) and Sammy (Thomas Curtis), and returns to her Northern Minnesota home, where she moves in with her parents, Hank (Richard Jenkins) and Alice Aimes (Sissy Spacek). Hank still carries an old grudge with his daughter Josey because Sammy was born out of wedlock when Josey was a teenager.

Encouraged by Glory (Frances McDormand), an old friend, Josey takes a job in the area’s predominant source of employment, the iron mines, where her father also works. However, times are tough, and jobs are scarce. The iron mines are traditionally a man’s job, and the men don’t want women there taking jobs from other men. Hank considers his daughter’s presence a threat to him and one more embarrassment on his family. The male workers let their feelings be known by making the mines an exceedingly tough place to work, and they do that through various forms of harassment – in particular sexual harassment.

Josey speaks out against the hideous treatment she and the other women face, but the mine’s owners, management, and fellow workers, including the other women, meet her with resistance. Her difficulties and the scorn she faces affects her relationship with her children, especially her sensitive teenage son, Sammy, who must not only deal with his mother’s sudden infamy, but also with embarrassing details of Josey’s past that she hoped he’d never have to know. When Bill White (Woody Harrelson) a local lawyer and former hometown hero takes Josey’s case on as a potential class action lawsuit, they’re forced to go it alone until dark secrets from the past come forward and open the eyes of those who should have supported Josey all along.

North Country is based upon and is a fictional account of the first successful sexual harassment lawsuit, Jenson vs. Eveleth Mines, which began in the 80’s and was settled in 1998. The courtroom scenes are TV movie quality (complete with the 11th hour miracle), but resonate when Charlize Theron is on the stand. While North Country certainly has compelling subject matter, the script seems to cherry pick scenes that go for maximum emotional impact or shock value. There is nothing subtle here, or new for that matter: men angry that there space and manhood have been challenged; assorted rednecks, cowardly women who won’t stand up for themselves, the pissed-off teenage son, the evil mine owner, the self-righteous and judgmental townsfolk, etc.

However, North Country takes a hard look at how honorable people keep quiet and let wrong go unchallenged for fear of drawing unpleasant attention to themselves. That’s why it would have been nice if the film focused less on giving the lead actress scenes she can chew up to get the attention of award voters and more on developing the other characters. Even the worst characters in this movie come across as interesting with something to say – their side of the story. Sometimes the villainy in North Country is just too thick, even if the villainous actions are not only in the realm of possibility, but actually happen in the real world. Fleshing out the “bad guys” would have so enriched the narrative, giving its central message and ideas some real, forceful impact.

Charlize Theron is so beautiful that a movie’s makeup department has to pile on the ugly to make her look plain. That worked in Monster, the 2003 film that earned her an Oscar, but here, her beauty shows through. She’s the working class babe – a diamond in coal dust. Sometimes, those good looks seem out of place, but when Theron takes an average script and believes in it, she can improve a movie. It’s OK that sometimes what the audience is supposed to think about Josey’s trials and tribulations seem plastered on a big signpost for the audience to see because Charlize looks good even when she’s hamming. Here, she’s mixes drama with a flair for the melodramatic.

North Country viscerally the film plays its subject matter. Director Nick Caro (Whale Rider) might be dealing in stereotypes, but she’s also dealing in truth. The way Caro portrays small town ignorance and bigotry gives her film sharp teeth and a razor-sharp edge. The meanness of a small town populace that capriciously picks its outcasts; the meanness of women who should be sympathetic to other women; and the meanness of co-workers who go overboard in their harassment of fellow workers take a limp courtroom drama with shoddy supporting character development and propel it to truth. Caro and screenwriter Michael Seitzman may often rely on old dramatic relationship formulas – the kind of relationship dynamics that sell soap operas. Still, North Country is an honest drama that takes no prisoners in depicting cowardice and evil. That is enough to take the edge off its faults.

7 of 10
B+

NOTES:
2006 Academy Awards: 2 nominations: best actress (Charlize Theron) and best supporting actress (Frances McDormand)


2006 BAFTA Awards: 2 nominations: best actress (Charlize Theron) and best supporting actress (McDormand)


2006 Golden Globes: 2 nominations: motion picture actor-drama (Charlize Theron) and supporting actress in a motion picture (Frances McDormand)

Saturday, February 25, 2006