Tag: Lakeith Stanfield

DIE MY LOVE – Review

Just as the end of the year family holiday preparations are beginning, moviegoers are getting another flick about the dark side of motherhood (something to think about as you await her never-dry turkey). Think of these as the flip-side to those Hallmark cable movie staples. So, last year we saw Amy Adams howling at the moon as NIGHT BITCH. And just a few weeks ago, I endured (that’s right, though many of my fellow critics are embracing it) Rose Byrne careening close to the edge in IF I HAD LEGS I’D KICK YOU. Now for the first full weekend of November, an Oscar-winning actress who’s been a movie MIA for the last couple of years is returning in a flick with a mixed-message title (or is it somewhat passive-aggressive) title, DIE MY LOVE (I wonder if they toyed with a title riff on the Everly Brothers classic and called it “Dye, Dye, Love”).

After several seconds of a black screen with ambient sounds, the story begins as longtime couple Grace (Jennifer Lawrence) and Jackson (Robert Pattinson) enter what will be their new home. Actually he’s been there before, since it was owned by his late uncle, but she’s a tad “under-whelmed” by the rickety, weather-beaten shack in the middle of rural Montana. Nonetheless, they soon turn it into their family home with the arrival of a baby boy. Ah, but we then get a flashback as pregnant Grace is hosting a big holiday dinner for her in-law, including Jackson’s doting mother Pam (Sissy Spacek) and his addled papa Harry (Nick Nolte), who somehow connects with Grace. The story springs ahead as Jackson begins taking jobs that keep him away from her and the baby . This sends Grace down a road of despair and delusion. She’s certain Jackson’s cheating on her, since their passion has cooled. Is that why Grace likes to crawl around like a cat in the tall grass? Or is it the reason she joins Pam on her midnight sleepwalking strolls? And is the mysterious man on a motorcycle, Karl (LaKeith Stanfield) real or a “player” in her fevered fantasy dream state? Can Jackson get his own act together to guide Grace away from the abyss of possible madness?

Though the two leads get fairly equal billing in all the marketing, this film serves as a reminder that Ms. Lawrence is one of our most compelling and adventurous actresses. Once again, she’s “without a net” as the complex Grace who elects our sympathy just before showing “her claws” (listen to how she verbally assaults that poor cashier). What a handful, though Lawrence conveys her deep almost fanatical devotion to her child (mama Grizzly, indeed), while seeming to endanger herself frequently (always eyeing Pam’s rifle). Her Grace is sad and scary. Let’s hope it’s not another two years until Lawrence “graces” the big screen. Thankfully, she has chemistry to spare with Pattinson, who brings more humanity to Jackson than’s there in the script. He’s not as complicated as Grace, but Pattinson draws us in to see the shift from the beer-swilling “good ole’ boy” to the husband struggling to understand his spouse. Happily, these current film stars share a few scenes with a couple of veteran actors who made their “mark” nearly fifty years ago. Spacek is a caring and giving “Earth mother”, who is one of the few elders who notices something is “off” with Grace and embraces her as a way of destroying the “demons”. But she’s also “fragile” after the loss of her own love, played by the raspy, often menacing Mr. Nolte. Harry isn’t around for the story’s big catastrophic turns, but Nolte projects a pride that shines through even as he struggles to make it past his mental “fog”, which is parted by the concern and compassion of Grace. He’s not given much dialogue, but Stanfield says so much with his dark, brooding eyes, which is like gasoline to the still smouldering embers of passion in Grace’s libido until he gets tangled in her mania.

This exceptional cast is guided by director/co-screenwriter (joining Alice Birch and Edna Walsh in adapting the book by Ariana Harwicz) Lynne Ramsay, whose 2011 horror/drama WE NEED TO TALK ABOUT KEVIN is far too relevant. She keeps the characters operating in an almost dream-like state, perhaps to reflect Grace’s slowly cracking psyche. This puts us at a distance as the timeline is shifted haphazardly (that family flashback doesn’t fir with the first act). I was reminded of another “artsy” drama in which Lawrence was a tortured (in all ways) lead, the baffling MOTHER. Like that “experiment” we’re subjected to a near constant feeling of danger as Grace makes bizarre choices that often leave her naked and bloody. In that way, Jackson is seemingly an “after thought”, showing up to try to “clean up the mess”. And it’s so messy, sometimes scuttling any incident into the very real challenges of postpartum depression (Grace juggles that with her cluttered “head space”). This makes for frustration for the folks around the couple along with us. And, once again, good intentions are part of the road to Hell and Hellish cinema. Even though Lawrence is still a most watchable talent, her bravado can’t work its magic on DIE MY LOVE.

2 Out of 4

DIE MY LOVE is now playing in select theatres

ROOFMAN – Review

Channing Tatum and Kirsten Dunst star in Paramount Pictures’ “ROOFMAN.”

This weekend sees the release of a most unusual true-crime story. Yes, it’s got the standard details of a lawbreaker’s plans and motives (yup, filthy loot), but it’s more than that ole DRAGNET cliché of “Just the facts”. No, it takes lots of twists and turns, even making a detour into comedy (often slapstick) and romance (thanks to the sprightly pairing of the two leads). But don’t let its title mislead you, because the fella’ here known as the ROOFMAN is certainly not a spandex-clad “superguy”, though he’s not a super villain either. Mostly…

The film opens with the title guy doing his “thing”. Former US Army Reservist Jeffrey Manchester (Channing Tatum) scopes out a busy suburban McDonald’s as it closes for the night. After the workers depart, he heads to the roof and bashes a big hole so that he can drop in. From there, it’s a waiting game until the morning crew arrives. Jeff springs out wearing all black (including a ski mask) and brandishes his rifle. After the manager gives him the cash from the safe, Jeff instructs them to grab their coats and head to the walk-in cooler. But the manager doesn’t have one, so Jeff gives him his black jacket (he’s also dubbed the “gentleman robber”), then dashes away (and calls 911 to get his victims rescued from the cold). From there, the story backtracks to Jeff struggling to make ends meet for his wife, pre-teen daughter, and twin toddler sons. Taking inspiration from his Army pal Steve’s (LaKeith Stanfield) illicit schemes (phony IDs and passports), Jeff begins his retail and restaurant robbery spree. But the law catches up to him. Due to the whole “locking folks in freezers” MO, Jeff is convicted of armed kidnapping and given a hefty sentence. He quickly learns that his spouse has cut out contact with him (Jeff is quite a “girl daddy”). Using his observation skills from the service, he slips out of prison, and contacts his pal Steve, who tells him that he’s too “hot” and to contact him in a month about setting Jeff up with a new identity. What to do over those thirty days? A nearby Toys ‘R’ Us shop may be the answer. Near closing time, Jeff hides via the bathroom ceiling tile. He emerges after the store is closed, disables the security video system, and uses the space behind the bicycle display as his daytime hideaway. He also sets up video baby monitors throughout the store. One day, Jeff is aware of a sweet single mother on the staff. He sees Leigh (Kirsten Dunst) plead with her prickly boss Mitch (Peter Dinkledge) to let her take some discarded, unsellable items for her church’s toy drive. Mitch refuses, so Jeff figures out a way to exit and re-enter the store during the day. He shows up at the church to drop off his bag of goodies, but a member insists that he join the service. He spots Leigh in the choir, and at the post-service spaghetti lunch, Jeff (calling himself John) strikes up a conversation. A romance quickly ensues. But can he dodge her questions and the police? And what will happen when Steve returns? Will Jeff flee or pursue a new life with Leigh?

Once again, Tatum proves that he’s much more than his superb dancing skills as he ramps up the charm (and “rizz”) as the “man on the lam”. Actually, his Jeff/John just entrances almost everyone he meets, and even some of those crime victims, as he deftly sidesteps inquiries and contemplates his next move. But Tatum also shows us this man’s inner conflict and heartbreak over losing contact with his kids. Fortunately, he enjoys a surrogate fam via his relationship with Leigh, given a bouncy sweetness by the still endearing Ms. Dunst. It’s nice to see her step away from her recent somber, dramatic roles, although Dunst can certainly bring the tears in the emotional third act. A big entertaining asset is the great Dinkledge, who makes Mitch a very funny “retail dictator” as he glowers at his “slacking underlings”. Stanfield brings a dangerous, tough energy to the no-nonsense Steve. It’s a shame that the bubble Juno Temple (so great in “Ted Lasso”) doesn’t have more to do as his ditzy beautician GF. On the other side of the law is the inspired pairing of Ben Mendelsohn and Uzo Aduba as the affable Pastor John (at Leigh’s church) and his nurturing wife Eileen (going against the notion of Hollywood deriding the ministry). And stand-up comic Jimmy O. Yang delivers some laughs as a frazzled used car salesman.

Like Dunst, this is much lighter fare for director Derek Cianfrance, perhaps best known for THE PLACE BEYOND THE PINES and BLUE VALENTINE. He displays a real flair for breezy comic set pieces, especially when Jeff becomes the nighttime ruler of “toyland” as he wastes the pre-dawn hours tossing teddy bears and scarfing peanut M&Ms (better than all the jars of baby food). Ditto for the initial dating of him and Leigh. But it eases into a few clichés, especially with her two daughters. The pre-teen is sweet and adorable, while the sixteen-year-old is the usual surly, snarky “demon spawn” overused in so many shows. I suppose this is there for conflict so that Jeff has to “work” to win them all over. This precludes a lull in the pacing, as the movie “spins its wheels” as Jeff gets a new set of wheels. Really, the film could have used a good fifteen or twenty-minute trim on the ole’ editing bay (well, probably all computers now). This leads up to the very sobering and sad finale, in which Jeff reverts to his criminal ways. The film doesn’t give him a “pass” since he’s really a good guy with Leigh and her kids. He “fesses up” that he’s a bad guy even after the filmmakers work diligently to make him the hangdog hero that we “root for”. No, he’s a criminal who takes the hard-earned money of others while waving a weapon. And if not for the high-caliber cast, this might have been another made-for-cable-TV bit of fluff. However, fans of Mr. Tatum and Ms. Dunst may enjoy and be moved by the true-life modern fable of the ROOFMAN. Oh, and be sure and stay for the end credits, which include lots of footage of the real folks.

2.5 Out of 4

ROOFMAN is now playing in theaters everywhere

Channing Tatum, Kirsten Dunst, LaKeith Stanfield And Peter Dinklage Star In First Trailer For ROOFMAN

Channing Tatum stars in Paramount Pictures’ “ROOFMAN.”

Watch the first trailer for director Derek Cianfrance’s ROOFMAN.

Based on an unbelievable true story, Roofman follows Jeffrey Manchester (Channing Tatum), a former Army Ranger and struggling father who turns to robbing McDonald’s restaurants by cutting holes in their roofs, earning him the nickname: Roofman.

After escaping prison, he secretly lives inside a Toys “R” Us for six months, surviving undetected while planning his next move. But when he falls for Leigh (Kirsten Dunst), a divorced mom drawn to his undeniable charm, his double life begins to unravel, setting off a compelling and suspenseful game of cat and mouse as his past closes in.

One of this geek’s favorite filmmakers, Cianfrance’s other superb films include BLUE VALENTINE, THE PLACE BEYOND THE PINES, THE LIGHT BETWEEN OCEANS and he was also the co-story writer for SOUND OF METAL, which received a best original screenplay nod at the 93rd Oscars.

ROOFMAN’s cast includes Channing Tatum, Kirsten Dunst, Ben Mendelsohn, LaKeith Stanfield, Juno Temple, Melonie Diaz, Uzo Aduba, Lily Collias, Jimmy O. Yang and Peter Dinklage.

ROOFMAN opens in theaters on October 10.

https://www.roofmanmovie.com

Channing Tatum stars in Paramount Pictures’ “ROOFMAN.”

THE BOOK OF CLARENCE – Review

Pontius Pilate (James McAvoy) and Clarence (LaKeith Stanfield) in THE BOOK OF CLARENCE. Courtesy of Sony

Director/writer Jeymes Samuel seems to have been inspired by those Hollywood’s long tradition of epic Biblical movies, like BEN HUR and THE ROBE to try his own version of those big-screen extravaganzas mixing Bible stories with adventure and action for THE BOOK OF CLARENCE – but with a big comic twist. With a plenty of humor, some social commentary and with a mostly Black cast playing the Jewish population of “Lower Jerusalem” in 33 A.D., Jeymes Samuel aimed to create a new, entertaining version of this venerable movie genre. The result is a movie with one foot in something like BEN HUR crossed with Monty Python’s LIFE OF BRIAN, with a touch of Mel Brooks’ HISTORY OF THE WORLD PART 1. THE BOOK OF CLARENCE is a cinematic creation that teeters precariously and unevenly between the wisecracking and the reverent, sometimes making head-spinning switches from one to the other.

Often, THE BOOK OF CLARENCE does hit the mark on comedy, and even on social commentary. It also often hits the mark on the touching and gentle faith-inspired moments. It is in putting those two together in one movie where this movie hits rough patches.

THE BOOK OF CLARENCE both honors the classic Hollywood Biblical epic and sometimes mocks it, a film with both faith and low comedy. It opens with wonderfully-ornate classic Hollywood titles to introduce its chapters, and the film has high-quality production values, with fine sets and costumes, so that it evokes the epics that inspired it. Further, it has an excellent cast, led by the gifted LaKeith Stanfield as Clarence, and including Benedict Cumberbatch and James McAvoy.

Clearly, Jeymes Samuel comes at this production from a place of sincere faith but just as clearly he wants the audience to have fun, laugh, and be entertained. But the humor, which tends to low-brow, and the serious, which leans to sentimental or touching, don’t often mesh in this movie. Low comedy in the style of Mel Brooks is hilarious and fine on its own, but it doesn’t work in every movie story, especially one that strays into the sentimental or touching. The two just clash here.

It is an ambitious project and a tough balancing act to pull off, and Samuel deserves credit to the attempt, even if the mix of humor and faith doesn’t always work, sometimes whip-lashing from a serious scene to a joke with head-spinning speed. with a movie that seems often off-balance. Still, for the right audience, one willing to ignore that uneven tone and whiplash shifts, THE BOOK OF CLARENCE’s underlying sincerity might come through.

Like in LIFE OF BRIAN, this story is set in Jerusalem in the time of Jesus, and the central character, Clarence (LaKeith Stanfield), is someone who is continually mistaken for Jesus. But in this case, it is not an accidental case of mistaken identity. No, Clarence is a con-man, a non-believer who deliberately creates that confusion, with faked miracles and the aim of gathering donations from a crowd of followers.

Like BEN HUR, there is a chariot race, in this case the opening scene where Clarence and his buddy  Elijah (RJ Cyler) attempt to win a chariot race to win a big cash prize, bankrolled by a local tough guy called Jedediah the Terrible (Eric Kofi-Abrefa), They lose, leaving Clarence in debt to this loan shark.

But this 33 A.D. Jerusalem is full of Messiahs, something that makes the Romans rulers nervous, fearing it is a lead-up to rebellion. Clarence is an ambitious young man, hoping to be “somebody” and struggling under the ruling Romans’ thumb like everyone else and a host of personal problems. Ironically, he loses that opening-scene chariot race to the fiercely independent woman (Anna Diop) he is secretly in love with, who also happens to be the sister of that loan shark to whom he now owes money. Clarence is also the twin brother of Jesus’ apostle Thomas (also Stanfield), who looks down on his never-do-well twin, while Clarence resents his brother for abandoning their sick mother (Marianne Jean-Baptiste) when he left to follow Jesus, leaving Clarence to nurse her back to health.

Director Jeymes Samuel clearly knows the Gospels well but has no problem playing around with the Jesus story to suit his film. Clarence lives in economically depressed “lower Jerusalem” and the residents of Jerusalem are played by a mostly Black cast, while the Romans are played by white actors. Although we see what appears to be Hebrew writing on the signs and walls, there is no mention of Jews or Judaism.

The humor tends to be low-brow and sometimes even slapstick, like when Clarence meets Jesus’ mother Mary (Alfre Woodward) and pointedly quizzes her about being a virgin, resulting in a slapstick scene. That style of comedy is hard to integrate with more serious or reverent scenes. Some serious scenes are touching but others are melodramatic or too pat, which also does not help matters.

The film is filled with familiar Biblical figures. Nicholas Pinnock plays Jesus, while David Oyelowo plays a hyper-critical John the Baptist and Omar Sy plays a superhero type Barabbas, who becomes Clarence’s pal. James McAvoy plays a chilling Pontius Pilate, rounding up all those roving Messiahs, while Benedict Cumberbatch plays a beggar covered in dirt and rags, who gets a makeover and a bath, transforming him into the Renaissance image of Jesus, with the expected adoration results.

BOOK OF CLARENCE has plenty of problems, including not quite being able to decide if it wants to be a comedy or a more serious film about faith and belief. But in a movie world of re-makes, re-boots, sequels and prequels, one has to give Samuel credit for doing something fresh.

In a movie world of re-makes, re-boots, sequels and prequels, I want to give Samuels credit for doing something fresh. But if you come to THE BOOK OF CLARENCE looking for a revival of the classic Hollywood Biblical epic, you may be disappointed. If you come for comedy and action only, you also may be disappointed. However, for some audiences, more willing to just go with the movie’s shifts of tone and style and embrace it for the quirky, faith-based thing it is, THE BOOK OF CLARENCE may be just the funny, inspiring, quietly reverent film they are looking for. It isn’t everyone but there may be an audience for this sincere cinematic if offbeat effort.

THE BOOK OF CLARENCE opens Friday, Jan. 12, in theaters.

RATING: 2 out of 4 stars

Win Passes To The St. Louis Advance Screening Of THE BOOK OF CLARENCE

From visionary filmmaker Jeymes Samuel, The Book of Clarence is a bold new take on the timeless Hollywood era Biblical epic. Streetwise but struggling, Clarence (LaKeith Stanfield) is trying to find a better life for himself and his family, make himself worthy to the woman he loves, and prove that he’s not a nobody. Captivated by the power and glory of the rising Messiah and His apostles, he risks everything to carve his own path to a divine life, a journey through which he finds redemption and faith, power and knowledge. The Book of Clarence Official Soundtrack features new music by Jeymes Samuel, JAY-Z, Lil Wayne, Kid Cudi and more.

The film stars LaKeith Stanfield, Omar Sy, Anna Diop, RJ Cyler, David Oyelowo, Micheal Ward, Alfre Woodard, Teyana Taylor, Caleb McLaughlin, Eric Kofi-Abrefa, Marianne Jean-Baptiste with James McAvoy and Benedict Cumberbatch.

https://www.thebookofclarence.movie/

The St. Louis advance screening is Thursday, January 4 at 7pm at the AMC Esquire 7.

Please arrive early as seating is not guaranteed.

Enter at the link: https://events.sonypictures.com/screenings/unsecured/main/screeningInfo.jsf?code=PBBD9ZDVS1

Rated PG-13.

Clarence (LaKeith Stanfield), Barabbas (Omar Sy) and Elijah (R.J. Cyler) in THE BOOK OF CLARENCE.

HAUNTED MANSION – Review

And the Summer of product adaptations and remakes continues! Last weekend BARBIE just about blew the doors off the box office and the multiplex in a virtual tsunami of pink perfection. Hey, if a toy can revive the ticket sale doldrums, why not a flick based on a ride from the Disney theme parks? After all, those Caribbean Pirates spurred quite a profitable “tentpole” for the studio. But then there were costly flops like TOMORROWLAND and who remembers THE COUNTRY BEARS (maybe they just needed that “nose candy”). Well, this concept was exploited nearly twenty years ago, so this is also, technically, a remake (without any of the main human characters from the first time). Perhaps the modest success of the other remake a few months ago, THE LITTLE MERMAID, is lifting the “ahem” spirits of the mouse house. So, even though Halloween is months away, are filmgoers in the mood for some scares and laughs in a return stay at the HAUNTED MANSION?


This time out, the story starts with a flashback as we’re on hand for a “meet cute” between research scientist Ben (LaKeith Stanfield) and Alyssa (Charity Jordan) at a New Orleans house party. Then the tale returns to the present day as a now single, and boozy Ben makes a meager living by guiding Big Easy visitors on paranormal tours of the town. Meanwhile, way out of town, a single mother, Gabbie (Rosario Dawson), and her skittish, awkward pre-teen son Travis (Chase Dillon) have taken possession of a big dusty old mansion, hoping to transform it into a quaint “bed and breakfast”. Ah, but it seems that the current undead occupants will have none of that. The duo races to a nearby motel, but the ghosts are “attached” (like gum on the bottom of a shoe). Back in the city, Ben is approached by a local priest named Kent (Owen Wilson). He’s heard that Ben had invented a special camera that captures spectral images when he worked at a big tech lab. With the promise of quick cash, Ben agrees to visit the place. After dismissing their claims, the spirits convince him. To “cleanse” the place, Ben will need “back-up. He and Kent assemble a “dream time”, enlisting a local psychic, Harriet (Tiffany Hadish), and a loopy college historian. Professor Davis (Danny DeVito). But can their combined talents thwart the supernatural forces tormenting the mother and her son?

Unlike the 2003 edition, which seemed to be fashioned as a “star vehicle” for the now (at the time) “family-friendly” Eddie Murphy, the studio has “spread the wealth’ to give us an all-star cast, even tossing in a couple of Oscar-winners (one very recent). Stanfield has opted to try some lighter fare, and he tries to get us invested in the now burnt-out Ben. He puts in an effort, but his story arc is too downbeat. It seems the writers wanted to spark a romance with Dawson’s Gabby, but the dynamic genre staple is giving less to do and spends most of the story looking for his son while fleeing the whispy creeps. Wilson is always entertaining as a motor-mouthed hustler, though the motivations for Keith aren’t too clear. Ditto for the ever-entrancing DeVito who is a cannonball of history trivia bouncing from room to room in panic over meeting his “research subjects”. Haddish conveys a haughty regal demeanor as Harriet when she’s not throwing in a bit of sassy shade as she calculates her cut of this “job”. Oh, the awarded actors include a confined (we mostly just see her face) Jamie Lee Curtis as Madame Leota, the guide in the globe, connecting her to “this side”. And the other pal of Oscar, well I don’t want to spoil it, but as the “hatbox Ghost”, you can barely recognize this “joker” (hint).

Rather than going with an “effects” filmmaker, or an Animator (like Rob Minkoff who helmed the first one), the studio has handed the reins (after “flirting” with Guillermo del Toro) to social satirist Justin Simien (DEAR WHITE PEOPLE, the feature and series), who scores with a couple of nifty spook-filled set pieces, even evoking moments from classic paranormal tales. Unfortunately, even with these comic vets, many of the jokes fall flat. dragging down the pace making the end result a very long wait between the clever nods to the enduring ride (my favorite in the Florida locale). Despite the talented screenwriter behind the 2016 GHOSTBUSTERS all-women reboot (which I will continue to defend), it only inspires a few chuckles as it slowly marches to the big otherworldly “throw-down”. It may be due to some odd choices, especially in the early first meeting between Ben and Gabby, witching from wonky profile close-ups to a truly awkward “hand-held” ending. Plus it’s set in modern times, so why does Gabby dress like an early 60s office clerk while her son could be playing one of Andy Hardy’s school buddies? It just takes us out of the story, True, the scary stuff is toned down for the ‘wee ones, but they may be fast asleep long before many of them appear. I enjoy old creeky houses, but not creeky storytelling which is the real downfall of this HAUNTED MANSION.

2 Out of 4

HAUNTED MANSION is now playing in theatres everywhere

Win Passes To The St. Louis Advance Screening Of Disney’s HAUNTED MANSION

WAMG has your passes to see early Disney’s frighteningly fun adventure “Haunted Mansion.” The film opens in theaters on July 28.  

Directed by Justin Simien, the film features an all-star cast ensemble cast including LaKeith Stanfield, Tiffany Haddish, Owen Wilson, Danny DeVito, Rosario Dawson, Chase W. Dillon and Daniel Levy, with Jamie Lee Curtis and Jared Leto as The Hatbox Ghost.

Inspired by the classic theme park attraction, “Haunted Mansion” is about a woman and her son who enlist a motley crew of so-called spiritual experts to help rid their home of supernatural squatters. The film’s producers are Dan Lin and Jonathan Eirich, with Nick Reynolds and Tom Peitzman serving as executive producers.

Get Tickets now: https://www.fandango.com/haunted-mansion-2023-228958/movie-overview

The advance screening is Tuesday, July 25th, 7pm at AMC Esquire 7.

Note: We suggest a 5:30PM – 6PM arrival to secure seats.

Seats will not be guaranteed.

Enter at the link below.

https://gofobo.com/WAMGHauntedMansion

(L-R): Owen Wilson as Father Kent, Rosario Dawson as Gabbie, LaKeith Stanfield as Ben, Tiffany Haddish as Harriet, and Danny DeVito as Bruce in Disney’s HAUNTED MANSION. Photo courtesy of Disney. © 2023 Disney Enterprises, Inc. All Rights Reserved.

Lindsay Lamb as The Bride in Disney’s HAUNTED MANSION. Photo courtesy of Disney. © 2023 Disney Enterprises, Inc. All Rights Reserved.

Look Alive Mortals! Check Out The Teaser For Disney’s HAUNTED MANSION – Appearing In Theaters July 28

Look alive, foolish mortals! WAMG is dying for you to view the teaser trailer and poster for Disney’s comically creepy adventure “Haunted Mansion,” which will appear in theaters on July 28. 

Directed by award-winning filmmaker Justin Simien, the film features an all-star ensemble cast including LaKeith Stanfield, Tiffany Haddish, Owen Wilson, Danny DeVito, Rosario Dawson, Chase W. Dillon and Dan Levy, with Jamie Lee Curtis and Jared Leto as The Hatbox Ghost.

Director Simien says, “As a lifelong fan of the Haunted Mansion attraction, I’m beyond excited to share the teaser trailer for our new film adaptation featuring an incredible cast. Our team has worked tirelessly to create a scary, funny and cinematic otherworldly adventure for both new and die-hard fans to enjoy! I can’t wait for audiences to experience this big screen version of the iconic Disney attraction.”

Inspired by the classic theme park attraction, “Haunted Mansion” is about a woman and her son who enlist a motley crew of so-called spiritual experts to help rid their home of supernatural squatters. The film’s producers are Dan Lin and Jonathan Eirich, with Nick Reynolds and Tom Peitzman serving as executive producers

THE HARDER THEY FALL (2021) – Review

THE HARDER THEY FALL (C: L-R): REGINA KING as TRUDY SMITH, ZAZIE BEETZ as MARY FIELDS. CR: DAVID LEE/NETFLIX © 2021

What say we saddle up and mosey’ down to the ole’ multiplex, pardner’? Or something like that since we’ve got an opportunity to take in a true cinematic rarity. Several decades ago the Western (or as the Variety “trade paper’ called them “Oaters”) was a staple at the local “Bijou”, just like comedies, musicals, romances, and horror flicks. And TV “rode alongside’ with the genre encompassing over half of network primetime fare. Oh, but now…(cue the tumbleweeds). Sure, there have been modern Westerns like the recent LET HIM GO and CRY MACHO, but they’re pretty much set in modern times (yes, I know Clint’s last entry was a 1980s story). No, this new one takes place near the tail end of the 19th century and its cast is mainly black (I’d say African-American but many of the actors hail from foreign lands), But this isn’t a first as it follows in the “boot-steps’ of ADIOS AMIGO, BUCK AND THE PREACHER, and POSSE (that’s nearly 30 years ago). And before you ask, this isn’t a remake of Bogie’s last flick, though it’s also called THE HARDER THEY FALL. Giddeyup’!

This “sagebrush saga’ opens with a flashback, showing us a decade-old attack on a frontier family by notorious outlaw Rufus Buck (Idris Elba). The tale jumps forward as a survivor (no, he didn’t become Batman or even the Lone Ranger), Nat Love (Jonathan Majors) exacts his revenge on one of the Buck gang in a deserted church. Meanwhile two members of the “Love crew”, “crack” rifle “shot” Bill Pickett (Edi Gathegi) and cocky confident “quick draw” kid Jim Beckworth (RJ Cyler) ambush the “Vermillion Gang” (they wear colored hoods now closer to pink) and relieve them of their stolen bank loot, which was intended for the Buck gang, though he’s “rotting” in jail. Or is he? Far away a locomotive is stopped and bordered by “Treacherous” Trudy Smith (Regina King) and “fast-draw” killer Cherokee Bill (LaKeth Stanfield). And what is the train’s treasure? Cash? Gold? No, it’s their boss, Buck himself who was being transported to another “facility” (it seems that the gang has an unlikely ally high up in the government). Meanwhile, Nat visits a high-class saloon, after checking his gunbelt with the tough bouncer/ bodyguard “Cuffee” (Danielle Deadwyler) and reunites with its owner, and “lost flame”, “Stagecoach” Marie (Zazie Beets). Later, the saloon hosts another reunion as Love is approached by famed lawman Bass Reeves (Delroy Lindo), who delivers the news of Buck’s escape. The next morning the two are joined by Pickett and Beckworth on the trail to Redwood City, where, much to Love’s surprise, they are joined by Mary and Cuffee. Over in their destination, Buck re-establishes himself as the town’s “kingpin”, tossing off the law, acting Sheriff Wiley (Deon Cole), and levying a hefty “protection tax” (to make up for the earlier “ripoff”) on its poor citizens. When Love’s crew arrives, Mary insists that she go into town “incognito” to “scope out” the situation. When things go awry, Nat and his gang are caught in a jam. Do they become outlaws to rescue Mary? Either way, the Buck Gang could triumph and make the town a stronghold for the lawless. Sounds like a “showdown” is a-comin’!

An excellent ensemble helps make the West very wild indeed. Heading up the forces of good (well, not as bad as the other “sidewinders”) as Love is the very compelling Major (so great in the recent Disney+ streaming show “Loki”) who proves to be one confident cowbo…er…man. His Love is an excellent leader who backs up his six-gun skills while somehow being several steps ahead of anyone else. His fighting and romantic partner is played with equal part allure and danger by the radiant Beetz (there’s a lady worthy of their “ride into Hell”). Lindo is filed with righteous gravitas as the somber Reeves. Luckily the mood is lightened somewhat by the comic sparring of Gathegi as the usually pessimistic Bill and Cyler’s full of motor-mouthed swagger Jim. Rounding out the “heroic six” is Deadwyler whose Cuffee has a fierce sense of loyalty to offset her often awkward social skills. They’re all “put through the wringer” by the enigmatic Elba as the hulking Buck who quietly hovers over his victims, waiting to strike with unbridled fury, like a simmering powderkeg. King as Trudy seems to be his good “right hand” as she does his bidding while barely suppressing a sadistic smile. Her cohort Cherokee Bill as portrayed by Stanfield is a cold, dead-eyed one-man army, whose banal stare is almost as deadly as his trigger finger (and it’s so itchy). Cole also provides a bit of levity as the ineffectual Wiley whose bellowing bark is much more painful than his bite (even with those shiny gold choppers).

Director Jeymes Samuel, helming the script he co-wrote with Boaz Yakin, brings a lot of kinetic energy to this “horse opera”, mixing the visuals of Sergio Leone with some of the ultra-violent snark of Tarantino (if only his THE HATEFUL EIGHT had this sense of style and brevity). Samuel takes all that we love about the genre and makes it feel somewhat fresh. And there’s a nice sense of history as he uses the names of real Western icons for this fictional fable (I only knew about Reeves via the recent HBO sequel to “The Watchmen”). Yes, some of the humor is hammered into a pulp (the color of a very unfriendly town) and a few scenes seem too weird for the time period (a saloon entertainer painted blue ala’ Mystique from the X-Men would not have “played” well with thirsty cowpokes). Oh, and the carnage of the final “throwdown” is more than a bit mind and backside numbing. However, the cast seems to be having a terrific time ( no matter how old we get, playing “cowboy’ is a blast), and the art direction is top-notch from the saloons and side shops to the wardrobe. Any fans of SILVERADO and THE MAGNIFICENT SEVEN should get that same rawhide rush from watching the “souped-up”, hip hop, shoot-em-up’ spectacle of THE HARDER THEY FALL. And when they topple, look out for those popping “blood squibs”.

3 Out of 4

THE HARDER THEY FALL is now playing in select theatres and is streaming exclusively on Netflix

JUDAS AND THE BLACK MESSIAH – Review

History class is in session once again at the multiplex (although like most schools, you can participate virtually). Last month we were treated to a bit of a primer (or in the film biz, a prequel) with ONE NIGHT IN MIAMI. This weekend’s new release jumps ahead only five years or so, but it may resonate even more since February is Black History Month. And it can also be considered a sequel, or really a “companion piece” to one of the most critically praised films of last year, since they both share a historical figure (or would “bookends” be the right term). And, as the title suggests, this is a near-biblical true fable of deception, ambition, and murder. But its setting is not the Holy Land many centuries past, but in the brutal Windy City streets just over fifty years ago, the home of JUDAS AND THE BLACK MESSIAH.

After a brief late 1980s prologue, the story quickly shifts in reverse, 20 years to profile a barely out-of-high school hustler/conman named Bill O’Neal (LaKeith Stanfield). His latest “scam”, posing as a federal agent (FBI this time) to shake down a guy at a local bar and grab the keys to his new convertible. But that night his luck runs out as the cops arrive just blocks away from his “raid”. In the station’s interrogation room Bill is confronted by a real “G-Man”, ambitious FBI agent Roy Mitchell (Jesse Plemons). Roy’s boss, the very top “cop”, J. Edgar Hoover (Martin Sheen) is determined to stop the “urban agitators”, so Mitchell has an idea. After telling O’Neal that’s he’s looking at 18 months for Grand Theft Auto plus an additional five years for impersonating an officer, Roy offers a deal. Those charges can “go away” if Bill joins the Black Panthers and informs them of the operations of the head of its local chapter, Fred Hampton (Daniel Kaluuya). With his back against the wall, he reluctantly agrees. Due to his auto skills, O’Neal could apply to become Hampton’s personal driver, since the police would pull him over for constant harassment if Fred was behind the wheel. The story cuts to scenes of the enigmatic Hampton as he helps to provide free meals to needy kids, and works to unite other disenfranchised groups (the Young Patriots, the Crowns, the SDS, and others) to fight police brutality and corruption. Aside from the authorities, Hampton’s fiery speeches also attract the attention of a politically active college student, Deborah Johnson (Dominique Fishback), and the two become romantically involved. As the tensions mount, Hoover puts more pressure on Mitchell to stop Hampton’s rise to fame. It all then comes down to O’Neal. Can he set up his mentor before he’s found out and silenced for good?

A strong talented cast brings this piece of history to vibrant life starting with the character at the top of the title. Stanfield instills a real emotional complexity into O’Neal, showing us a most conflicted “traitor”. His Bill is on the road to a career of quick cons until his avarice turns him into a silver ball in a deadly pinball game, bouncing from the feds to the Panthers, always struggling to stay in play. While attending an early Hampton speech, Stanfield silently shows us a man in turmoil, caught up in the passion, but trying to push his emotions down. Later O’Neal makes the mistake of believing that he matters to his contacts and that they will embrace him into their ranks (he yearns for a legit badge). But his “wake-up call” will leave his soul forever crushed. As for the second part of the title, Kaluuya is convincingly magnetic as Hampton, with a fiery charisma that fills up any space, from an auditorium to the tiny Panther back office. He doesn’t win all of the audience (an early speech inspires many “walk-offs’), but his Hampton doesn’t want to “sugarcoat” his tone to win more converts. With his eyes constantly surveying the situation, Kaluuya shows us that Hampton knows that danger is always everywhere and that his time is precious. Luckily Fishback’s Johnson helps reveal more of his human side as she challenges him at first,  but then becomes the tender emotional support he doesn’t know he desperately needs. She clings to him with that same sense of mortality that drives Hampton’s every waking moment. Then there’s the devil, the tempter Mitchell who is played with silky passive-aggressive calculation by Plemons. At first, dangling the promise of freedom before Bill, then rewarding him with cash and cars, only to snatch it away when Bill’s well of intel begins to run dry. Plemon’s fed is truly a smiling “cobra’, but he barely holds a candle to the seething hatred of his master Hoover who is given venomous life by the inspired (he’s been involved in so many social movements and protests) casting of Sheen. There are no little “winks” to J.Edgar’s rumored private “kinks”, rather the focus is on the controlling puppet-master he became during that turbulent time. A scene in which he shows his true colors to Mitchell, spewing his twisted fear of “race-mixing” is “squirm-inducing” and chilling in his cold-blooded delivery.

Director Shake King, working from the screenplay he co-wrote with Kenneth and Keith Lucas along with Will Berson give the story an immediacy as though the events are unfolding just around the corner (perhaps due to the BLM protests just a few months ago). The streets of Chicago become a deadly maze as each turn holds a new threat for the main characters. Tension is always in the air, giving great power to the scenes of sudden violence. And in those pre-cellphone video days, the efforts of the police are more brazen. Officers make no effort to hide the gas can as they storm the Panthers’ HQ before setting it ablaze. The “bookend” I mentioned earlier is last year’s THE TRIAL OF THE CHICAGO 7, in which Hampton also appears. Here it is referenced via a sketch of a gagged and shackled Bobby Seale. This film builds on that atmosphere of fear and oppression building to a sickening crescendo with that final early-morning raid turned execution. The pacing is tight thanks to the sharp editing of Kristen Sprague. The only moment that seemed a bit wonky was Hampton’s fairly quick embrace by the mainly white (that Confederate flag is prominent) ex-Southerners, the Young Patriots, though it certainly took more time than the film could spare (the old “the enemy of my enemy is my friend” adage). But the late 60s are faithfully re-created from fashions to autos and hairstyles as the storytelling crackles with energy. Though we’re only a couple of months in, I’m certain that many “best of the year” lists will have a spot for JUDAS AND THE BLACK MESSIAH.

3.5 out of 4

JUDAS AND THE BLACK MESSIAH opens in select theatres and streams for a limited time exclusively on HBO Max beginning Friday, February 12, 2021