Tag: Issa Rae

BARBIE – Review

And now the topper to one of this movie year’s biggest trends. Sure, we’ve had comic book superheroes, action tentpoles, and even a couple of flicks based on TV shows. But who knew that 2023’s box office would be “turbo-charged” by “toy stories”. No, I’m not speaking of Woody and Buzz. No, we started the year with a horror hit based on a phony toy that’s not named Chuckie, M3GAN. Then came the true story “spy-like” thriller about the creation of the video game TETRIS (I consider it a toy, so nyah). the stakes were raised considerably by another pixel powerhouse, THE SUPER MARIO BROTHERS MOVIE, followed by a new Transformers entry (also in that “action tentpole” category). And now, at last, “the queen” has arrived. Yes, the perennial princess of the toy department shelves comes to the big screen (after a slew of “straight-to-video” releases and a few TV shows), and she looks fabulous at age 64 (cue the Beatles ditty). Of course, she’s “pretty in pink”. (Imagine Ed McMahon or Nicholson in THE SHINING) Herrre’s BARBIE!

After a terrific nod to a cinema classic via a prologue narrated by Helen Mirren (you may have caught it in an early teaser), we’re whisked away to the wondrous realm of “Barbieland”. In the prettiest of the pink houses lives “stereotypical” Barbie (Margot Robbie), who is just beginning her day. After floating into her convertible, she cruises through the town to wave good morning to the other Barbies, even President Barbie (Issa Rae). Oh, and she’s greeted by the “spin-off” toys, Skipper, Midge, and the awkward Allan (Michael Cera). Finally, we’re at the beach for a visit from the adoring but dim Ken (Ryan Gosling), who’s thrilled to see Barbie but furious at his rival, another Ken (Simu Lui), along with assorted other Kens. But he still gets an invite to Barbie’s big nighttime “rager”. But the singing and dancing are nearly derailed when Barbie warbles a lyric questioning her mortality. This “glitch” continues into the next day, when Barbie endures several odd occurrences like “morning bad breathe” and, to everyone’s disgust, “flat feet” when she steps out of her stylish high heels. Confiding in her Barbie BFFs, they implore her to seek help from “weird” Barbie (Kate McKinnon). Her prognosis: Barbie’s “human” handler isn’t “playing” with her “correctly”. And so Barbie must venture into the “real world” and find her. The trip gets ‘trippier” when Ken “stows away” in her car. The duo is in for a wild journey as they deal with a woman named Gloria (America Ferrera) who works at the doll HQ Mattel. She’s a dream compared to her snarky pre-teen daughter Sasha (Ariana Greenblatt) and the excitable CEO (Will Ferrell). But all this pales to the radical “rewiring” of Ken himself, a personality change that threatens all the denizen dolls of Barbieland.

Could there be a more perfect casting choice than Robbie in the title role? Ten years ago she almost set movie screens afire as the “trophy wife” in THE WOLF OF WALL STREET, but she was intent on being more than “eye candy”. Robbie has forged an impressive movie resume, carefully juggling dramatic and comedic roles. In this story, she really gets to showcase those skills. Sure Barbie is bubbly and perky, but we see her confusion as the dark thoughts seem to engulf her. Robbie expresses that panic as she is overwhelmed by the chaos of the “real world”. She’s more than up to the challenge, bouncing from zany comedy to getting her first pangs of heartache. Perfectly balancing her pathos is the inspired comic performance of Gosling. He’s grabbed laughs before in CRAZY STUPID LOVE and LA LA LAND, but here he totally gives himself over to the buffoonish antics of the ultimate “himbo”, Ken. Yet, for all his goofy behavior, there’s a child-like charm to him. Gosling somehow holds on to that even after Ken has a much different reaction to “reality”.Speaking of that “setting”, Ferrera as Gloria is the story’s real dramatic “anchor” as the adult “human” who still has a sense of wonder about Barbie, but is hardened to the ways of society, highlighted in her rousing monologue about what the world expects of her gender (a riveting “throw down the gauntlet” moment). Greenblatt as her daughter Sasha makes her more than a cliched surly movie teen. Sure she’s wanting to “spread her wings”, but we see how Sasha still yearns to be on an adventure with Mom, even beginning to admire and respect her. The film also benefits from the supporting work of several comic vets. Ferrell is still a manic “man-child” as the exec, but he never “takes over” the tale with shrill slapstick and makes his character more than the “suit villain”. McKinnon makes great use of her loopy, off-kilter persona as the Barbie “who’s been played too much”, giving her a zany “sing-song” line delivery and using a near-marionette ‘floppy” body language and movement (almost like a certain scarecrow). Cera also has lots of fun with his nerdy screen image earning chuckles every time he’s awkwardly waving at the “first string toys”. I won’t spoil the identity of her role, but it’s terrific to see Rhea Perlman as a warm, nurturing mystery woman.

Huzzaah to director Greta Gerwig for delivering an impressive solo directing hat trick, building on her terrific work on LADY BIRD and LITTLE WOMEN to give us this intelligent fantasy farce that’s also a keen social satire. I must mention that she also co-wrote this with Noah Baumbach (a fabulous filmmaker himself and her spouse). Bravo for addressing the many criticisms and controversies swirling around the iconic toy over the last few decades, using them to lay out a clear message of female empowerment, while never lecturing. Rather than having Barbie and her pals dashing around and evading the “people” ala the TOY STORY flicks, they venture among with almost no secrecy, making the story a “switcheroo” on THE WIZARD OF OZ with a pinch of SPLASH. Plus it really has fun with the history of the toy franchise as we meet characters who never really “caught on” while making playful jabs at the “product powerhouse”. Oh, did I mention the eye-popping visual treats, some that come close to the spider-verses? Barbie’s “suburban subdivision” recalls so many of the “big box” playsets with her closet resembling a full-scale “fashion accessory” flat box. Yes, the fashions are great ‘call-backs” to the classic looks, especially that black and white striped one-piece swimsuit in the opening prologue. The pace is breezy and bouncy thanks to a wonderful soundtrack of pop standards and hilarious original tunes. Now some of the themes and subplots may go over the heads of the youngest viewers, but those with memories of lazy afternoons creating adventures for the characters will really get a real nostalgic euphoria along with subtle societal parody. Really this is a great time at the movies, perfect for the Summer. And to paraphrase the old ad line from Mattel, BARBIE…it’s swell!!

3.5 Out of 4

BARBIE is playing in theatres everywhere

Win Passes To The St. Louis Advance Screening Of BARBIE

Don’t miss out on the the pinkest movie of the year when BARBIE opens in theaters nationwide on July 21, 2023. But wait! To live in Barbie Land is to be a perfect being in a perfect place. Unless you have a full-on existential crisis. Or you’re a Ken.

The Advance Screening is on July 18, 7pm at The Alamo Drafthouse (6PM Suggested Arrival Time)

The screening will be filled on a first come first served basis, so we encourage you to arrive early. Seats will not be guaranteed. Rated PG-13

ENTER AT THE LINK: http://wbtickets.com/ZiiUT52641

From Oscar-nominated writer/director Greta Gerwig (“Little Women,” “Lady Bird”) comes “Barbie,” starring Oscar-nominees Margot Robbie (“Bombshell,” “I, Tonya”) and Ryan Gosling (“La La Land,” “Half Nelson”) as Barbie and Ken, alongside America Ferrera (“End of Watch,” the “How to Train Your Dragon” films), Kate McKinnon (“Bombshell,” “Yesterday”), Issa Rae (“The Photograph,” “Insecure”), Rhea Perlman (“I’ll See You in My Dreams,” “Matilda”), and Will Ferrell (the “Anchorman” films, “Talladega Nights”). The film also stars Michael Cera (“Scott Pilgrim vs. the World,” “Juno”), Ariana Greenblatt (“Avengers: Infinity War,” “65”), Ana Cruz Kayne (“Little Women”), Emma Mackey (“Emily,” “Sex Education”), Hari Nef (“Assassination Nation,” “Transparent”), Alexandra Shipp (the “X-Men” films), Kingsley Ben-Adir (“One Night in Miami,” “Peaky Blinders”), Simu Liu (“Shang-Chi and the Legend of the Ten Rings”), Ncuti Gatwa (“Sex Education”), Scott Evans (“Grace and Frankie”), Jamie Demetriou (“Cruella”), Connor Swindells (“Sex Education,” “Emma.”), Sharon Rooney (“Dumbo,” “Jerk”), Nicola Coughlan (“Bridgerton,” “Derry Girls”), Ritu Arya (“The Umbrella Academy”), Grammy Award winning singer/songwriter Dua Lipa and Oscar-winner Helen Mirren (“The Queen”).

Gerwig directed “Barbie” from a screenplay by Gerwig & Oscar nominee Noah Baumbach (“Marriage Story,” “The Squid and the Whale”), based on Barbie by Mattel. The film’s producers are Oscar nominees David Heyman (“Once Upon a Time…in Hollywood,” “Marriage Story,” “Gravity”), Robbie (“Birds of Prey,” “Promising Young Woman,” “I, Tonya”), Tom Ackerley (“Promising Young Woman,” “I, Tonya”) and Robbie Brenner (“Dallas Buyers Club”), with Gerwig, Baumbach, Ynon Kreiz, Richard Dickson, Michael Sharp, Josey McNamara, Courtenay Valenti, Toby Emmerich and Cate Adams serving as executive producers

https://www.warnerbros.com/movies/barbie

Gerwig’s creative team behind the camera included Oscar-nominated director of photography Rodrigo Prieto (“The Irishman,” “Silence,” “Brokeback Mountain”), Oscar nominated production designer Sarah Greenwood (“Beauty and the Beast,” “Anna Karenina”), Oscar-winning costume designer Jacqueline Durran (“Little Women,” “Anna Karenina”), editor Nick Houy (“Little Women,” “Lady Bird”), visual effects supervisor Glen Pratt (“Paddington 2,” “Beauty and the Beast”) and music supervisor George Drakoulias (“White Noise,” “Marriage Story”), with a score by Oscar winners Mark Ronson and Andrew Wyatt (“A Star Is Born”), who also contributed to numerous songs on the film’s soundtrack. The soundtrack includes an impressive roster of today’s hottest music artists, including Lizzo, Dua Lipa, Nicki Minaj & Ice Spice with Aqua, Charli XCX, KAROL G feat. Aldo Ranks, Tame Impala, Dominic Fike, HAIM, The Kid LAROI, Khalid, PinkPantheress, GAYLE, Ava Max, FIFTY FIFTY and more.

Warner Bros. Pictures Presents a Heyday Films Production, a Lucky Chap Entertainment Production, an NB/GG Pictures Production, a Mattel Production, “Barbie.”

© 2023 Warner Bros. Entertainment Inc. All Rights Reserved.

Photo Credit: Courtesy Warner Bros. Pictures

SPIDER-MAN: ACROSS THE SPIDER-VERSE – Review

Maybe the multiplex should seriously consider adding seat belts to their plush reclining chairs (maybe dump the seat warmers). An odd notion you might say, but with this weekend’s huge film release, well you may just agree. So, it’s a sequel and yes, we’ve gotten a few of those already in this summer movie season. And it’s a superhero flick, along with three other flicks this year. And it’s also animated, just like that ground-breaking, game-changing Oscar winner from five years ago. Back then some thought, that this was a “cash grab”, that Sony was trying to squeeze the last penny from their live-action franchise. Wow, were those folks proven wrong. Hey, heads up the much-rumored “super-hero fatigue”, because here’s the “cure”. It’s finally time to swing into SPIDER-MAN: ACROSS THE SPIDER-VERSE, which might leave you with a big “Stan Lee-sized” grin on your face!


They’re not “playing it safe’ this time, as this new entry actually begins far from the main setting of the last one. Over at Earth-65 we get some “backstory’ on their arachnid hero, er heroine, Gwen Stacy AKA Spider-Woman (voice by Hailee Steinfeld) whose worries aren’t drowned out by her pounding drum solo (right before she quits her band). Her dad, Police Captain George Stacy (Shea Wigham) is determined to arrest that masked vigilante. After a tragic accident, he nearly gets his wish until a strange portal opens out revealing two other “spider-beings”, chopper riding (with a “bun in the oven”), Jessica Drew (Issa Rae), and the brooding and buff Spider-Man of 2099, Miguel O’Hara (Oscar Isaac). They’re part of a team that protects the “Multiverse” and they quickly recruit Gwen. And then we’re suddenly back on Earth-1610, the home of Brooklyn’s defender Miles Morales AKA Spider-Man (Shamiek Moore). And this high school sophomore is late, as usual, for a meeting of his parents, Rio (Luna Lauren Velez) and soon-to-be-police-captain Jefferson (Brian Tyree Henry), with the school’s guidance counselor to map out a college plan. But Miles has to stop an ATM robbery at a bodega, Oh, but this isn’t an ordinary hood. He’s a former scientist who was transformed by the dimensional collider five years ago. He’s now a faceless white creature adorned with black dots that open up holes in distant points in nearby space. That’s why he calls himself the Spot (Jason Schwartzman). When he disappears into one of those holes, Miles thinks he’s defeated him. That is until he gets a most welcome unexpected visit from Gwen. It’s soon revealed that this is not a social call, because the Spot can now pop in on other realities and threatens the Multiverse. Thus begins a journey for the old friends as they travel to different worlds, meet other heroes, and face a pre-ordained destiny that could destroy all the countless realms of existence.

The stellar vocal cast returns with renewed vigor and confidence emboldened by a new incredible supporting ensemble. Moore once again carries the emotional heft of Miles, balancing his smooth swagger with a true vulnerability as he looks toward a very uncertain future. He’s half of the story’s soul, along with Steinfrld’s heartbreaking reprise of Gwen, as she believes her beloved papa is her fanatical foe. There’s a real affection for Miles as she’s torn between bonding with him and preventing him from repeating her mistakes. Velez and Henry are again warm and wonderful as the concerned but caring parents of Miles. As the other Spider-Woman, Rae is cool but stern as she mentors Gwen and tries to keep her on the right “path”. She’s the “good cop” who tries to balance the unyielding force that is O’Hara who Isaac gives a scary growl that hides his own tragic past. Of the other “spider-folk”, Daniel Kaluuya is very engaging as Hobi, a guitar-toting Spider-Punk from a totalitarian world who chafes at the rules of O’Hara, just another oppressive “man”. On the flip side, there’s Karan Soni as Spider-Man India who embraces the joys of service and web-swinging. There are many other great talents behind the microphone, but who wants to spoil some super-surprises?

Not me, that’s for sure (they’d take away my official Merry Marvel Marching Society fan club button from 1967). What I can write about is the incredible work of hundreds of gifted artists, spearheaded by the directing trio of Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson. How could they oversee and co-ordinate such an astounding variety of art styles (perhaps they pulled in extra clones from other dimensions)? Early sequences with Gwen have the look of delicate watercolors highlighted by an ever-changing pastel palette. The offsets the closer to our world surrounding Miles and his family, with locations that could be on any busy street corner. Then there’s the shading and tones of the individual character designs with the bright vibrant hues of Spider-Man India and the grungy, clip-and-paste graphic take on Hobi (he seems to have jumped off an early 1980s record jacket). This is multiplied a hundredfold as the “spider-world” expands with one character looking as though he leaped right from a comic book panel complete with pen and ink cross-hatching and melodramatic dialogue (comic fans will enjoy this “take” on a controversial storyline). Some reviewers have said that you can’t take in every visual flourish on two screenings. I like to think this would be the ultimate home video (with streaming services cutting back on content, discs are a solid future investment) as you can pause to savor every frame worthy of hanging in a gallery (and making for a gorgeous coffee-table “art of” hardcover). Of course, this would all be intoxicating eye candy without the clever and heartfelt script by Davis Callaham, Christopher Miller, and from the original, Phil Lord. They’ve elevated the “universal stakes” while still focusing in on the complexities of the Morales household (mainly the keeping of secrets). This is no mere rehash but instead an epic exploration of the superhero mythos, one that energizes the whole genre and the medium of animation art. Find the biggest theatre screen around in order to immerse yourself in the wit and wonders of SPIDER-MAN: ACROSS THE SPIDER-VERSE. I can almost hear “the man” cheering, “Excelsior!!”.

4 Out of 4

SPIDER-MAN: ACROSS THE SPIDER-VERSE is now playing in theatres everywhere

BARBIE The Movie Gets a Fun New Trailer

BARBIE THE MOVIE might be hitting theaters this summer, but today we have this first look at the new posters and second trailer for the film that’s sure to be a splash!

To live in Barbie Land is to be a perfect being in a perfect place. Unless you have a full-on existential crisis. Or you’re a Ken.

From Oscar-nominated writer/director Greta Gerwig (“Little Women,” “Lady Bird”) comes “Barbie,” starring Oscar-nominees Margot Robbie (“Bombshell,” “I, Tonya”) and Ryan Gosling (“La La Land,” “Half Nelson”) as Barbie and Ken, alongside America Ferrera (“End of Watch,” the “How to Train Your Dragon” films), Kate McKinnon (“Bombshell,” “Yesterday”), Michael Cera (“Scott Pilgrim vs. the World,” “Juno”), Ariana Greenblatt (“Avengers: Infinity War,” “65”), Issa Rae (“The Photograph,” “Insecure”), Rhea Perlman (“I’ll See You in My Dreams,” “Matilda”), and Will Ferrell (the “Anchorman” films, “Talladega Nights”). The film also stars Ana Cruz Kayne (“Little Women”), Emma Mackey (“Emily,” “Sex Education”), Hari Nef (“Assassination Nation,” “Transparent”), Alexandra Shipp (the “X-Men” films), Kingsley Ben-Adir (“One Night in Miami,” “Peaky Blinders”), Simu Liu (“Shang-Chi and the Legend of the Ten Rings”), Ncuti Gatwa (“Sex Education”), Scott Evans (“Grace and Frankie”), Jamie Demetriou (“Cruella”), Connor Swindells (“Sex Education,” “Emma.”), Sharon Rooney (“Dumbo,” “Jerk”), Nicola Coughlan (“Bridgerton,” “Derry Girls”), Ritu Arya (“The Umbrella Academy”), Grammy Award-winning singer/songwriter Dua Lipa and Oscar-winner Helen Mirren (“The Queen”).

Gerwig directed “Barbie” from a screenplay by Gerwig & Oscar nominee Noah Baumbach (“Marriage Story,” “The Squid and the Whale”), based on Barbie by Mattel. The film’s producers are Oscar nominee David Heyman (“Marriage Story,” “Gravity”), Robbie, Tom Ackerley and Robbie Brenner, with Michael Sharp, Josey McNamara, Ynon Kreiz, Courtenay Valenti, Toby Emmerich and Cate Adams serving as executive producers.

Gerwig’s creative team behind the camera included Oscar-nominated director of photography Rodrigo Prieto (“The Irishman,” “Silence,” “Brokeback Mountain”), six-time Oscar-nominated production designer Sarah Greenwood (“Beauty and the Beast,” “Anna Karenina”), editor Nick Houy (“Little Women,” “Lady Bird”), Oscar-winning costume designer Jacqueline Durran (“Little Women,” “Anna Karenina”), visual effects supervisor Glen Pratt (“Paddington 2,” “Beauty and the Beast”), music supervisor George Drakoulias (“White Noise,” “Marriage Story”) and Oscar-winning composer Alexandre Desplat (“The Shape of Water,” “The Grand Budapest Hotel”).

Warner Bros. Pictures Presents a Heyday Films Production, a LuckyChap Entertainment Production, a Mattel Production, “Barbie.” The film will be distributed worldwide by Warner Bros. Pictures and released in theaters only nationwide on July 21, 2023 and beginning internationally on July 19, 2023.

VENGEANCE (2022) – Review

(L to R) Ashton Kutcher as Quentin Sellers and B.J. Novak as Ben Manalowitz in VENGEANCE, written and directed by B.J. Novak and released by Focus Features. Credit: Patti Perret / Focus Features

As Summer begins its transformation into Fall, the studios are still offering virtual getaways at the local multiplex. This newest “travel tale’ also combines the popular theme of the “fish out of water” with a protagonist in very unfamiliar surroundings. Now, the movie marketing folks are hitting this aspect hard in the trailers and TV spots, making it appear to be an edgy modern spin on the cult fave TV sitcom “Green Acres” where a “city feller'” was flummoxed by the simple “country folk” (who often got the better of him). Oh but don’t be misled. There’s a lot more going on in this film since it comes from one of the busiest creative minds in the media today. And he stars in it, as an intellectual who’s never really felt a burning desire for VENGEANCE.

The story’s cerebral center is Ben Manalowitz (B.J. Novak), a writer/podcast journalist living in the Big Apple. Actually, the film’s opening sequence is far from NYC as we watch a young woman frantically texting on her cell phone as she crawls past several oil derricks on a remote dusty hill. But back to Ben. That same night, his unexpected “booty call” is interrupted by an early morning “unknown” caller. The distraught voice tells Ben that his “girlfriend” Abeline is dead and pleads with him to attend her funeral. The fact that Ben doesn’t recall her indeed complicates things even further. And he really doesn’t want to travel all the way to Texas. Oh, but this could end his “writer’s block”. Ben contacts his editor at the podcast communication company, Eloise (Issa Rae), and sells her on the idea of making his “journey” into an audio series highlighting the divide in the nation. She agrees to ship him the recording equipment. After several connecting flights Ben meets the “caller” at the airport: Abeline’s still distraught brother Ty Shaw (Boyd Holbrook), who drives him straight to the memorial. The photos of him with the “dearly departed” jog Ben’s memory. They “hooked up” a few times over the last couple of years, but she told everyone that he was her long-distance beau. Soon Ben meets the family who insists he stay at the Shaw house (and he can take Abeline’s room). At dinner, Ty tells Ben that they will track down those drug dealers responsible for his sister’s overdose death (“She never even took an Advil!”). But can the meek Manhatten writer really join Ty on his quest for vengeance?

In the lead role, Novak confidently hits all the required emotional ‘marks”. In the opening scenes he’s required to almost be the “straight man” to many of the “great unwashed” he encounters on his travels. But Ben subtly shifts, his journalistic curiosity “kicks in” and he’s a determined seeker of truth, even as he’s out of his element amidst the escalating violence. Though mainly known as a “master of snark”, Novak makes a compelling though unlikely screen hero. Also drawing us in is Ashton Kutcher as a most engaging and enigmatic ‘suspect”, Quentin Sellers, the smart and shady owner of the recording studio where Abilene Shaw pursued her dreams of performing. In their “interrogations” Quentin bobs and weaves like a fighter, never allowing Ben to “land a punch”. And Kutcher’s “trash-stash” just oozes evil. More straightforward is Holbrook as Ty, whose bravado masks his crippling grief, with a swaggering “good ole’ boy” way of seeking justice. And though he adds to the humor with his ignorance, he’s a protective partner to Ben. J-Smith-Cameron brings a lot of grit to her role as the wounded family matriarch Sharon, who opens her heart to Ben without revealing everything. Her mother, played by Louanne Stephens, is rougher ‘around the edges” as she tosses off bits of unfiltered wisdom to Ben. Lio Tipton is a sad specter as Abilene, who is haunting in the images and videos that inspire Ben. Ms. Rae makes for a great emotional and professional anchor for Novack as the boss who slowly begins to care about him more than the story. Kudos also to Dove Cameron as the kid sister who, like many of her age, only desires to be famous, no matter the reason.

And Mr. Novak does the “hat trick’ by also writing and directing this, his first feature film (after lots of TV work, most notably the US version of “The Office”). As with his acting work, director Novack “switches gears” going from boozy NYC nightlife to the eerie desolation of dusty Texas (actually New Mexico doubling here)., with the churning oil derricks belching fire into the dark night sky, giving it a Hellish glow. The humorous scenes are never overplayed with quick close-ups or choppy editing, allowing the tossed-off retorts to sneak in and build. But as the story progresses it begins to take on the tempo of the classic film noir, with Ben as the gumshoe that’s not intimidated by the boisterous “packing” yahoos. Unfortunately, the film’s final act becomes a bit too “talky” with characters delivering long soliloquies, hammering in a sometimes clever, sometimes obvious commentary on the current state of America. But the final denouncement should inspire some thought about the resolution and how it would affect the protagonists. So, though it’s not what the marketers are selling, VENGEANCE gives viewers more to ponder than the usual “city slicker” farces.

2.5 Out of 4

VENGEANCE is now playing in select theatres

Check Out The Trailer For B.J. Novak’s Quirky Comedy VENGEANCE Starring Issa Rae, Boyd Holbrook And Ashton Kutcher

(L to R) B.J. Novak as Ben Manalowitz and Boyd Holbrook as Ty Shaw in VENGEANCE, directed and written by B.J. Novak and released by Focus Features. Credit: Patti Perret/Focus Features

VENGEANCE, the directorial debut from writer and star B.J. Novak (“The Office”), is a darkly comic thriller about Ben Manalowitz, a journalist and podcaster who travels from New York City to West Texas to investigate the death of a girl he was hooking up with. 

With an ensemble cast that includes Issa Rae, Ashton Kutcher, Boyd Holbrook, J. Smith-Cameron, and Dove Cameron, Focus Features will release VENGEANCE in theaters on Friday, July 29th. Also written by B.J. Novak, the film is produced by Jason Blum, Adam Hendricks, Greg Gilreath.

Check out the trailer now and see VENGEANCE in theaters July 29.

It was announced earlier this month that VENGEANCE will be the Centerpiece Film at this year’s Tribeca Film Festival.

https://www.focusfeatures.com/vengeance

THE PHOTOGRAPH – Review

Stella Meghie directs her original story in a manner that attempts to blend arthouse sensibilities with mainstream romance – combining a soul-searching drama about two generations of women confronting and learning from their parents as they try to not just commit themselves to their careers and be open to the possibility of love. One half of the story follows Christina (Chanté Adams), a young photographer in Louisiana growing up in the late 1980s who feels the pull to pursue her career elsewhere. The other half follows a museum curator (Issa Rae) in present-day New York, who meets an up-and-coming journalist (Lakeith Stanfield) through a story that he’s researching. 

Despite the time jump, THE PHOTOGRAPH effortlessly slides between the two timelines, with some scenes slowly merging into one another in interesting ways. It’s this control over the story that shows Stella Meghie’s talent as a director, even if the material occasionally feels hollow or expected. The script (as well as actors Rae and Stanfield) struggles when tackling the modern romance, but it excels when focusing on the brooding, forbidden love in the flashbacks between Christina and her boyfriend Isaac (in a perfectly understated performance by Y’lan Noel).

Echoing Christina’s photography, Stella Meghie is most interested in the character’s reactions in each scene, soaking in the quiet pauses, soft laughter, or subtle glances. These scenes unfold in a beautiful fashion thanks to Mark Schwartztbard’s cinematography. He uses light and shadow to emphasize important turning points in the story – from a dark hurricane casting a shadow on a timid love affair to showing light peaking through the cracks and windows of a homemade darkroom, attempting to break through the rigid walls the characters have built around them.

The scope of the film feels a little restrained, despite Louisiana and New York both existing as a rich tapestry for potential scenes. Neither city plays much of a part, as so much of the story unfolds in buildings or houses. At many points, I wondered if this would make for a better stage play instead of a theatrical experience so that the energy and romance that was meant to be on-screen might be more present in an intimate setting. 

In the end, Robert Glasper’s brilliantly moody and romantic jazz score is leaned on heavily to carry the emotional beats, but it can only go so far to set the mood and convey the feelings that are too often spoken on-screen instead of felt. THE PHOTOGRAPH fails to excite the mind or the heart. Lakeith Stanfield and Issa Rae are both, naturally, standoffish, making for characters who might actually be better off focusing on their careers rather than love. Forget the spark, not even a match is in sight between the two of them. Perhaps the film’s message of “give love a chance” wouldn’t be as lost on the audience if it was more palpable on screen.

Overall score: 1.5 out of 4

The PHOTOGRAPH opens in theaters Feb. 14th

Win Free Passes To The St. Louis Advance Screening Of THE PHOTOGRAPH Tomorrow Night!

On Valentine’s Day, Issa Rae (HBO’s Insecure, Little) and LaKeith Stanfield (FX’s Atlanta, Sorry to Bother You) connect in a romance where a woman must learn from the secrets in her mother’s past if she is to move forward and allow herself to love and be loved. THE PHOTOGRAPH opens in Theaters February 14 but lucky St. Louisans will get a chance to see it in advance for free!

Enter for your chance to win two free passes to the St. Louis advance screening ofTHE PHOTOGRAPH. The theatrical sneak preview will be on February 12th at 7pm.

Leave your name and email address in our comments section below.

Watch an Intimate Conversation About Black Love and the Return of Black Romantic Cinema to the Big Screen with the Stars of THE PHOTOGRAPH

THE PHOTOGRAPH – In Theaters February 14

On Valentine’s Day, Issa Rae (HBO’s Insecure, Little) and LaKeith Stanfield (FX’s Atlanta, Sorry to Bother You) connect in a romance where a woman must learn from the secrets in her mother’s past if she is to move forward and allow herself to love and be loved.

When famed photographer Christina Eames unexpectedly dies, she leaves her estranged daughter Mae Morton (Rae) hurt, angry and full of questions. When a photograph tucked away in a safe-deposit box is found, Mae finds herself on a journey delving into her mother’s early life and ignites a powerful, unexpected romance with a rising-star journalist, Michael Block (Stanfield).

From writer-director Stella Meghie (The Weekend, Jean of the Joneses) from her original screenplay comes a sweeping love story about forgiveness and finding the courage to seek the truth, no matter where it may lead you.

The Photograph is produced by Will Packer, blockbuster producer of Girls Trip, the Ride Along franchise, and ten movies that have opened No. 1 at the U.S. box office, including Night School, No Good Deed and Think Like a Man, and by James Lopez, president of Will Packer Productions. The film is executive produced by Meghie, Erika Hampson (co-producer Late Night, Life Itself) and Rae.

The film also stars Chanté Adams (Roxanne Roxanne) as Mae’s young mother Christina, Y’lan Noel (HBO’s Insecure) as Christina’s secret love, and Rob Morgan (Mudbound) as Isaac Jefferson, a New Orleans fisherman with a mysterious connection to Mae’s mother.

Genre: Romance

Cast: Issa Rae, LaKeith Stanfield, Chanté Adams, Y’lan Noel, Rob Morgan, Lil Rel Howery and Courtney B. Vance

Director: Stella Meghie

Writer: Stella Meghie

Producers: Will Packer, James Lopez

Executive Producers: Stella Meghie, Erika Hampson, Issa Rae

LITTLE – Review

(from left) April Williams (Issa Rae) and little Jordan Sanders (Marsai Martin) in “Little,” co-written and directed by Tina Gordon.

In this weekend’s new comedy, several familiar elements are tossed in the movie blender hoping to come up with a frothy cool entertainment. You’ve heard the old phrase, “Be careful what you wish for”? Well, with this flick it’s “be careful what gets wished on you”. Just two months after a self-absorbed ambitious businesswoman of color got zapped with an unusual ability in WHAT MEN WANT, we’ve got another woman (though much more abrasive) getting a “Twilight Zone-style” upgrade. Well, makeover is more like it. An extreme one for certain. Perhaps in tribute to the passing last year of the multi-talented Penny Marshall, we’re seeing another variation of her greatest directing smash, BIG. Last week it inspired the number one box office hit SHAZAM!, in which a pre-teen lad transforms into an adult super being (but he’s still the kid inside). This time out, an adult woman wakes up as her pre-teen self (no magic word spoken, though). And her grown-up self is still inside a body that’s petite although the title is a “catchier” term, and a “hip flip” on the iconic 1988 comedy-drama: LITTLE.

The story really begins in the early 90s (hmm, SHAZAM! began with an earlier flashback). Over-achieving middle-schooler Jordan Sanders (Marsai Martin) is anxious about presenting her science project at the big class assembly. A “mean girl” sabotages it and JS ends up at the hospital, vowing to become a ruthless adult. Which we witness in the present day as the “grown-up” Jordan (Regina Hall) awakens in her plush penthouse home. She immediately calls up her overworked, abused assistant April (Issa Rae) to berate her and make sure she will have everything in order for her arrival at her software development company (JSI,natch’). Oh, but first Ms. S must dismiss her late night “snack”, the tasty toned Trevor (Luke James), who wants to be more than a “B-call”. After a fast ride in her flashy wheels, Jordan storms into her HQ and is stunned to see multi-millionaire media mogul Connor (Mikey Day) sitting at her desk (with his expensive sneakers propped up on the glass top). He needs to see a pitch for a new app from her and her team within the next 48 hours. After he leaves, the agitated Jordan is irked to see the donut truck guy’s nine-year-old daughter doing magic tricks for the patrons outside the JSI building. When Jordan orders the junior Copperfield to leave, she waves her wand, and points it at the lady, proclaiming, “You are mean. I wish you were little.” The next morning, Jordan is middle school-sized once more (Martin again). When her neighbors call child services, April rushes over to pretend to be her aunt (mom Jordan had to dash out of town) and take her to school. Crisis momentarily averted but the clock is ticking. Can they track down the “magic girl” and get her to reverse the “spell” before Connor’s deadline, otherwise JSI will be history?

This high concept comedy is fueled by an energetic engaging cast lead by screen (big and TV) vet Hall who goes for cartoon demon diva, the polar opposite of her acclaimed (several critics’ group awards) work in last year’s “indie” darling SUPPORT THE GIRLS. Hall is a shrieking sister of Scrooge in the opening sequence bouncing from home to office, terrorizing anyone in her path. Thankfully, by story’s end, she’s not done the whole Ebenezar turn-around, but Hall conveys that she’s on the “path”. Happily, her intensity is matched by the delightful Martin as her “little-self”. It’s through her efforts that we see more of the “mellowing” of Jordan, even learning to care about a trio of “uncool” kids who dream of triumph at the big talent show (JS knows it’s a set-up and works to intervene). But, Martin shows us that the adult JS is still there especially as she tries to put the moves on hunky teacher Mr. Marshall (the befuddled “beefcake” is played with charm, and unease, by Justin Hartley of the TV hit “This is Us”). Martin is quite the formidable force of nature who makes a great screen partner to the gifted Rae (also a TV star on “Insecure”), who can barely contain her joy in getting the “upper hand” on her tyrant boss (best shown in the school parking lot “throw-down”). Equally entertaining are the scenes of Rae’s April “cutting loose” on Jordan’s colossal closet (leopard, baby), her making creative choices (even “pitching”) and her hesitant office romance with the supportive Preston (Tone Bell another TV sitcom vet). Also enhancing the laughs are two “old pros” from the “trenches” of SNL. Day, from the current crew, is superb as the arrogant, clueless Connor, while former “cast member” Rachel Dratch delivers the laughs as “no nonsense” Child Protective Services Agent Bea . She’s (to quote one of her lines) so much more than “Okerrrr”.

Director Tina Gordon’s follow-up to 2013’s PEEPLES hammers the punchlines with confidence, even as the script (co-written by her and Tracy Oliver) sometimes veers off track on subplots with little “pay-off”. This is particularly true of the school sequences with her new trio of pals which includes a tired “makeover” montage and a weird stage performance that may be intended for the lead character to come “full circle”. Instead, it derails the office story momentum, making us question whether the big “deadline” was two days. This contributes to the typical comedy flick “lull” around the one hour mark, not helped by a pointless restaurant karioke contest betweem “little” JS and April (filled to the brim with slapstick as stale as the breadsticks used as microphones). Ditto to the big reveal with Trevor and it’s resolution. Because of the film’s tonal shifts and distracting “B” stories LITTLE comes up short, very short, to the body-switching flicks spawned by the Marshall/Hanks enduring BIG-hearted masterwork.

1.5 Out of 5