Okay, so the name alone had me watching it, I will admit. This was a fun and quirky indie film that I really enjoyed. It's about a guy named Jay who is, like the title suggests, through with white girls. He wants to date Black women, but there's two problems: 1) He tells himself Black women wouldn't be into him (our thoughts do create our experience) and 2)by most regular-ass Black folk's standards--he is weird. We see him struggle with a deeper issue, self-worth and fear of commitment as he does find someone just as weird and ticky as him. The film does give some sage advice: if you are weird and ticky, and find someone equally or compatible in kookiness--stay with them, especially if you have already been around the block. If it gets rocky, check yourself and hang in there...lol. Now, I wouldn't advise this for an abusive relationship by any means, but there are times when this advice is very sound.
Overall, I enjoyed this film, and it was a fun watch on a lazy Saturday afternoon on the netflix.
Sunday, May 24, 2009
Thursday, May 21, 2009
Hounddog (mmm...Not the T)
Every so often a screener finds itself on my desk, and I end up watching it. Well, this film was one of those situations. The film is about a young girl named Lewellen (Fanning) who lives a hard knock life in the South, inspired to sing by Elvis.
Here, we meet the downside of the Writer/Director. As one myself, what a W/D can learn from a movie like this is not being SO attached to the material at a critical point--there needed to be a shift from writer TO director in this movie. I say this because as writers we can get very attached to our material and want it all in, and may lack the objectivity to retool or cut out what isn't working or serving the overall story. This is the case with Hounddog. Note:SPOILERS do follow.
A great deal of time is spent setting up her family situation as well as her friendship with a little boy appropriately named Buddy. Her father, (Morse) shows her off to company, wanting her to sing Elvis for his new girlfriend. At one point I was like, "Okay, her ish is messed up!" Her father is emotionally and physically abusive, and it's not really clear if there is any inappropriate sexual behavior between them. She has her stern grandmother played by Piper Laurie (Carrie's mama in the Stephen King movie). Their relationship is interesting because it matures Lewellen in a very different way then the relationship with her drinking, abandoning father parentifies her.
Things look up when Elvis is rumored to come to town and Lewellen's gotta go. But with no money for a ticket how is it gonna happen? Buddy will get it for her, but it turns out his plan to get her the ticket gets her sexually violated by the teen aged milk deliverer.
Her only escape from all this is her relationship with Charles (Omilami) a Brotha that plays music and is a snake tamer. Here's where the film REALLY gets old and played out to me. Yes, I understand the setting is Jim Crow south, but here we have a situation where Charles' life (as he is shown) revolves around saving the poor little white girl, and helping her find her "god-given gift" AAAARGH! If I've seen it once, I've seen in ten million times. He takes her abuse and even is called the notorious n-word by her and yet he sees the bigger picture with her. His character isn't developed so that we even know how he knows this girl, or if he even has his own family or children--who, by the way would benefit more from the amount of time he spends with Lewellen. His character is developed like he is invisible, only to serve Lewellen. And to top it all off, he's the only one to genuinely care about this girl. I have definitely had my fill of this type of ish in the movie industry--both commercial and indie.
Oh, did I mention that her daddy got struck by lightening went from an ass to Forrest Gump's baby brother? Lol...I didn't? Well, he did. This was so odd to me, I had to research the effects of being struck by lightening. I definitely think the writer should have mentioned through dialogue that her daddy was going to be "slow" the rest of the movie.
*sigh*
Overall, the movie was not the "T". It could've definitely used another draft before production, or at least a tighter edit. It seemed long, and could've had the characters developed more.
Here, we meet the downside of the Writer/Director. As one myself, what a W/D can learn from a movie like this is not being SO attached to the material at a critical point--there needed to be a shift from writer TO director in this movie. I say this because as writers we can get very attached to our material and want it all in, and may lack the objectivity to retool or cut out what isn't working or serving the overall story. This is the case with Hounddog. Note:SPOILERS do follow.
A great deal of time is spent setting up her family situation as well as her friendship with a little boy appropriately named Buddy. Her father, (Morse) shows her off to company, wanting her to sing Elvis for his new girlfriend. At one point I was like, "Okay, her ish is messed up!" Her father is emotionally and physically abusive, and it's not really clear if there is any inappropriate sexual behavior between them. She has her stern grandmother played by Piper Laurie (Carrie's mama in the Stephen King movie). Their relationship is interesting because it matures Lewellen in a very different way then the relationship with her drinking, abandoning father parentifies her.
Things look up when Elvis is rumored to come to town and Lewellen's gotta go. But with no money for a ticket how is it gonna happen? Buddy will get it for her, but it turns out his plan to get her the ticket gets her sexually violated by the teen aged milk deliverer.
Her only escape from all this is her relationship with Charles (Omilami) a Brotha that plays music and is a snake tamer. Here's where the film REALLY gets old and played out to me. Yes, I understand the setting is Jim Crow south, but here we have a situation where Charles' life (as he is shown) revolves around saving the poor little white girl, and helping her find her "god-given gift" AAAARGH! If I've seen it once, I've seen in ten million times. He takes her abuse and even is called the notorious n-word by her and yet he sees the bigger picture with her. His character isn't developed so that we even know how he knows this girl, or if he even has his own family or children--who, by the way would benefit more from the amount of time he spends with Lewellen. His character is developed like he is invisible, only to serve Lewellen. And to top it all off, he's the only one to genuinely care about this girl. I have definitely had my fill of this type of ish in the movie industry--both commercial and indie.
Oh, did I mention that her daddy got struck by lightening went from an ass to Forrest Gump's baby brother? Lol...I didn't? Well, he did. This was so odd to me, I had to research the effects of being struck by lightening. I definitely think the writer should have mentioned through dialogue that her daddy was going to be "slow" the rest of the movie.
*sigh*
Overall, the movie was not the "T". It could've definitely used another draft before production, or at least a tighter edit. It seemed long, and could've had the characters developed more.
Sunshine Cleaning (Sweet T)
Well, here is a quirky lil' dramedy that I really liked. I love simple and emotional stories (which isn't everyone's bag), but this film had a lot of heart. It's the story of a used-to-be-the-ish-in-high-school woman (Adams) who is finding herself struggling with love, money and raising a son by herself. Add in a hustling dad (Arkin)--who is the White people's version of a "DVD dude in the Walmart parking lot", a goth/emo sister(I just learned that lingo from my 17-year-old niece, I'm so cool now), and a lover who was her old high school sweetheart, who is now married to another woman. The girl got problems!
And to top it all off, there's unresolved family drama that effects them all. What works in this film is that the performances are solid and believable, especially by Adams, Arkin and Blunt. Adams really pulls off a likable yet quirky lead character who is really trying to jump the hurdle of a mediocre life.
The characters have nice emotional arcs, and it's worth renting. Overall, it's a great girls-night-in movie, especially if watching movies is where you allow yourself to get teary-eyed. May not be your pick if you like Crank 4-type movies. Lol...until next time.
And to top it all off, there's unresolved family drama that effects them all. What works in this film is that the performances are solid and believable, especially by Adams, Arkin and Blunt. Adams really pulls off a likable yet quirky lead character who is really trying to jump the hurdle of a mediocre life.
The characters have nice emotional arcs, and it's worth renting. Overall, it's a great girls-night-in movie, especially if watching movies is where you allow yourself to get teary-eyed. May not be your pick if you like Crank 4-type movies. Lol...until next time.
Thursday, May 14, 2009
Obsessed (Not the 'T')
Okay...the question is simply, "Why?" Everybody loves a thriller, and ever since Fatal Attraction, we've had several attempts at re-creating it. The problem is, if a sufficient story isn't developed (back to the importance of quality writing) even fine-ass Idris Elba can't save it.
Here's another production problem: casting. Now, I will preface this with saying I do not enjoy Beyonce's acting. I have tried to suffer through it in several films and have come up with one consistent thread--she don't BRING IT (aware of improper english usage). What Beyone needs is what Fantasia has--the willingness to get UGLY, and as they say in church "Give up the Ghost". Because she doesn't go there as an actor, her performances come off as empty. She does know timing, and how to hit her marks, which is more technical--and as a technical performer in general, Beyonce is quite adept, but this calls for more.
Now, onto the story. This situation, as it's set-up is quite believable. Derek Charles (Elba) doesn't create any boundaries around his temporary assistant Lisa (Larter), and is on some level attracted to her. Big deal. The problem is when he doesn't handle these situations where she shows herself to be "a lot left of right on", this makes me question the character's sense. He wasn't set-up to be a dummy, so it's quite challenging to see him navigate this situation so backwards--unless the writer and director were both trying to get Black People to talk to the screen despite several attempts by the movie industry to ask for silence before the film.
Another BIG problem **ATTENTION SPOILER** when this crazy woman kidnaps Beyonce's baby, and this woman is not mopped up immediately, it lets me know two things: this was not written by a Black Person, or even a woman. If I'm wrong, please tell me (IMDB says David Loughery, who also penned Lakeview Terrace with Sam J). You really have to know your audience on this and a rewrite was in order. I'm gettin' hot just thinking about it now, lol.
Overall, this film is NOT the 'T'...we have a situation where the trailer sold the film, and the film could've done much better with recasting and more development.
Here's another production problem: casting. Now, I will preface this with saying I do not enjoy Beyonce's acting. I have tried to suffer through it in several films and have come up with one consistent thread--she don't BRING IT (aware of improper english usage). What Beyone needs is what Fantasia has--the willingness to get UGLY, and as they say in church "Give up the Ghost". Because she doesn't go there as an actor, her performances come off as empty. She does know timing, and how to hit her marks, which is more technical--and as a technical performer in general, Beyonce is quite adept, but this calls for more.
Now, onto the story. This situation, as it's set-up is quite believable. Derek Charles (Elba) doesn't create any boundaries around his temporary assistant Lisa (Larter), and is on some level attracted to her. Big deal. The problem is when he doesn't handle these situations where she shows herself to be "a lot left of right on", this makes me question the character's sense. He wasn't set-up to be a dummy, so it's quite challenging to see him navigate this situation so backwards--unless the writer and director were both trying to get Black People to talk to the screen despite several attempts by the movie industry to ask for silence before the film.
Another BIG problem **ATTENTION SPOILER** when this crazy woman kidnaps Beyonce's baby, and this woman is not mopped up immediately, it lets me know two things: this was not written by a Black Person, or even a woman. If I'm wrong, please tell me (IMDB says David Loughery, who also penned Lakeview Terrace with Sam J). You really have to know your audience on this and a rewrite was in order. I'm gettin' hot just thinking about it now, lol.
Overall, this film is NOT the 'T'...we have a situation where the trailer sold the film, and the film could've done much better with recasting and more development.
Sunday, May 10, 2009
Next Day Air (SO not the 'T')
Okay, here's what I expected: silliness, hijinks of some kind, and of course to be offended. Here's what I got: zzzzzzzzzz! The problem with this movie was not in the casting...Ms. Robi Reed can get anyone in anything. It's always fun to see Mike Epps, Mos Def and even Ms. Debbi Allen (whom I would've loved to have seen with her wooden staff from Fame).
The problem here is the writing. This film is neither a comedy nor a true action film, which it would've benefited if one genre were chosen. The film gets set-up with Donald Faison as the main character, but the film quickly becomes about the package itself, and we lose the focus of our characters.
The pacing here is extremely slow, as we end up waiting for somethng to happen or something to be funny. Then the questions hit, "what ever happened to so-and-so?" and "if the couch dude is so tough, where was he when the ish went down?"
I assume this script was written quickly (maybe too quickly) and got packaged really sweetly without a full evaluation of the pacing and character development.
Save your money, honey. Even my favorite Mos Def didn't make it worth it...brnk brnk. Another trailer getting us in the theater again...dangit!
The problem here is the writing. This film is neither a comedy nor a true action film, which it would've benefited if one genre were chosen. The film gets set-up with Donald Faison as the main character, but the film quickly becomes about the package itself, and we lose the focus of our characters.
The pacing here is extremely slow, as we end up waiting for somethng to happen or something to be funny. Then the questions hit, "what ever happened to so-and-so?" and "if the couch dude is so tough, where was he when the ish went down?"
I assume this script was written quickly (maybe too quickly) and got packaged really sweetly without a full evaluation of the pacing and character development.
Save your money, honey. Even my favorite Mos Def didn't make it worth it...brnk brnk. Another trailer getting us in the theater again...dangit!
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