Tag: Vondie Curtis-Hall

THE SUPREMES AT EARL’S ALL-YOU-CAN-EAT – Review

Okay all you music biopic fans, just keep reading the title past the first two words. This should give you a hint that it’s not the “rags to riches” tale of the 60s talented titanic trio from Motown. Actually, this story is set quite a distance from Detroit. way down in North Carolina. And yes, much of the flashback sequences are set in the 1960s, but the title refers to a nickname given to three childhood friends. And if you’d guess that the ploy revolves around their “ups and downs”, romances and challenges, well you’re perhaps familiar with the novel this film is based upon…or you picked up the gist of it from the poster. So, get those tissues ready to wipe away the tears inspired by THE SUPREMES AT EARL’S ALL-YOU-CAN-EAT.

After a brief flash-forward, the film focused on three middle-aged women strolling toward the aforementioned eatery. Then it’s a whiplash-inducing flashback to the birth of the three. We then zoom ahead to 1968 as the free-spirited Odette (Kyanna Simone) cheers on best pal Clarice (Abigail Achiri) at her piano recital. Afterward, at Odette’s house, the duo discuss Clarice’s plans to become a big recording artist in NYC, post-high school graduation. But first, they’ll meet their beaus at the town gathering spot, Earl’s. Not so fast as Odette’s mama insists that they drop off a cooked chicken at the home of classmate Barbara Jean (Tati Gabrielle), whose mother has just passed away. The girls protest, but agree to a quick “side trip”. At Barbara Jean’s squalid shack, the girls are alarmed by her “handsy” stepdad and they whisk her away. Seeing the trio at his diner’s entrance, the owner, “Big Earl”, dubs them “The Supremes”. After telling him of BJ’s dire situation, Earl offers up his absent daughter’s (she’s in college) bedroom. All this occurs after Clarice meets up with her fella’ Richmond (Xavier Mills), who has a “roving eye”, and his pal, and prospective beau for Odette, the stoic, almost silent, James (Dijon Means). In the next few years, Odette and Clarice settle down with Richmond and James, while Barbara Jean is courted by the older Lester (Cleveland Berto) as she engages in a secret romance with the white busboy at Earl’s, Ray AKA “Chick” (Ryan Paynter). The film breaks up the flashbacks to the present day of 1998 as Clarise (Uzo Aduba) deals with the affairs of hubby Richmond (Russell Hornsby), Barbara Jean (Sanaa Lathan) drifts back into alcoholism due to the tragic loss of hubby Lester (Vondie Curtis-Hall), and the usually strong Odette (Aunjanue Ellis-Taylor) tries to keep a major health crisis secret from her pals and policeman hubby James (Mekhi Phifer). Can this lifelong friendship survive this very difficult time or will they disband like their musical namesake?

The film benefits greatly from its strong ensemble cast. Or should I say dual casts, as we have strong performances from both teenage and middle-aged versions of the characters? It’s established early on, that the main focus of the story (she is the narrator) is Odette played by the compelling Ellis-Taylor (so amazing in KING RICHARD and the underseen ORIGIN). This matriarch is truly a force of nature, not to be crossed, as Ellis-Taylor owns the role, showing both her grit and compassion, and allowing her vulnerability in the final act as she deals with a scary diagnosis. And those traits are echoed by Simone, whether she’s ranting over potential BF James (and his silence) or standing up to BJ’s abusive stepdad (a very tense moment). Aduba also nails the most complex character “arc” as she goes from denial (over her hubby’s infidelity) to finding the strength to face her fears head-on. Much of that is set up very well by the buttoned-up Achirir. Lathan as Barbara Jean also must save herself from that Egyptian river as she plunges into the bottle, but fights to admit her addiction. She’s almost in a constant daze, more of a numb hangover until her pals deliver a much-needed “wake-up call”. Equally forceful is the work by Gabrielle who goes from a mousy “doormat” to a confident woman facing so many difficult choices and skirting danger in a romance that could prove fatal. It helps that she has sizzling chemistry with the smoldering Paynter as that “forbidden fruit”. And though they don’t get as much screen time the other men are also splendid though Curtis-Hall’s time is very brief, and Hornsby doesn’t get the chance to expose the inner motivations of his “serial cheating”. Plus it’s great to see Julian McMahon as another 1998 version of a pivotal character.


Director Tina Mabry keeps the pace rolling along despite the many “bumps in the road” via the screenplay adaption of the Edward Kelsey Moore book she co-wrote with Gina Prince-Bythewood. The different calamities and upheavals come so fast and furious that the film feels like a mini-series shoehorned into its close to two-hour runtime. It strives to be a mix of FRIED GREEN TOMATOES, WAITING TO EXHALE, and any number of senior girl group “sisterhood is power” features (just as THE FABULOUS FOUR is leaving the multiplex). The subplots need a bit of breathing room. There’s an attempt to “lighten the mood” by stopping the plot for clunky comedy bits involving snobby classmate Veronica (just like the one from Riverdale) and the self-absorbed cartoonish second wife (and widow) of Earl, Minnie, who even snares the mid-credits scene. The eras are well recreated in fashion and settings (furniture and autos), though racial tensions of 68’s are reduced to a cliche truck-drivin’ redneck who avoids any brutal epitaphs. This is a shame because, as I mentioned earlier, the cast is so good, but they can’t work miracles with several overwrought and mawkish sequences. Perhaps the streaming option works best for the sometimes soap-opera “basic cable TV” histrionics that permeate throughout THE SUPREMES AT EARL’S ALL-YOU-CAN-EAT.

2.5 Out of 4

THE SUPREMES AT EARL’S ALL-YOU-CAN-EAT streams exclusively on Hulu beginning on Friday, August 23, 2024

THE NIGHT HOUSE – Review

Rebecca Hall in the film THE NIGHT HOUSE. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

Okay, we know. Last Friday was the thirteenth, the day that the studio generally releases a spooky flick to chill the bones (and get butts in the seats). And the thriller sequel DON’T BREATHE 2 was unleashed. But that doesn’t mean that the following Friday can’t get one too. And what better place to encounter some “unfriendly spirits” than a creeky ole’ haunted mansion. That’s the reasoning behind the new fright flick, except…This spectral showcase is nearly brand new. Still, there are lots of strange stuff happening when the sun goes down at THE NIGHT HOUSE.


As the story starts, we’re viewing shaky home videos and wedding photos of the happy couple who occupied the newly built home tucked away in the woods on the banks of a tranquil lake. “Occupied’ is the proper term as the two-story lovenest is the site of a tender goodbye, as a friend tries to console recently widowed Beth (Rebecca Hall) after the memorial service for late hubby Owen (Evan Joingkeit). But people mourn in very different ways. As soon as her pal’s car pulls away, Beth dumps her food tray (a pan wrapped in foil, perhaps a lasagna) into the trash. Then it’s an uneasy overnight alone she’s awakened by odd noises and visions. The next morning Beth is surprised to see the gate to the dock swinging open. Luckily a concerned neighbor, Mel (Vondie Curtis-Hall) volunteers to help out and cover the canoe with a tarp. Her best pal Claire (Sarah Goldberg) is stunned when she returns (a little too early) to her job as a speech teacher at the local high school (a brusk meeting with a pushy parent does not go well). The nighttime weirdness continues as Beth begins sleepwalking. As she packs away Owen’s stuff she comes across obscure books about mazes and architectural “trickery” (he had done most of the building work on their home). Soon Beth is drawn to the area surrounding her home and discovers another, smaller version of the house that Owen built in a hidden spot in the forest. This raises “red flags” with both Mel and Claire as Beth begins getting night texts from Owen’s old number. Is he trying to tell her something? Perhaps warn her? And what of the handgun, the one that Owen used to end it all, that seems to move from one packing box to another?

Everything here depends on the performance of Hall as Beth, who’s basically our surrogate eyes, witnessing all the strangeness for us (and reacting to images and sounds that may not really exist). Hall elicits our sympathy in the first act as she navigates her new journey into widowhood. She has the expected vulnerability, but Hall surprises us by revealing Beth’s simmering anger, mostly directed at her hubby, and a bit at herself for not picking up on the “signs”. And just as she appears to give in to the terrors of the darkness, she fights back by diving deep into Owen’s shadowy past with a fervent zeal. The talented Hall has expertly balanced her career between intimate “indies’ like this (CHRISTINE is a stunner) and studio blockbusters, more recently as the big ape’s aide in GODZILLA VS. KONG, and even dipped her toes in the MCU with IRON MAN 3. Goldberg, best known as the flighty actress/girlfriend of HBO’s “Barry”, is very effective as Beth’s concerned and often puzzled BFF. And Curtis-Hall brings great warmth to his role as the neighbor pal who just may know more than he says but does his best to steer Beth away from a most deadly and dark path. Also of note is Stacy Martin, a bewildered bookseller somehow sucked into the secret life of beth’s secretive spouse.

A veteran of horror features and shorts, David Bruckner, directs with a deft hand, eschewing the loud noise “jump-scares’ so overused in many genre flicks. The quiet nighttime scenes build in intensity as he cleverly uses the angles of doorways and columns to suggest sinister silhouettes. There’s some gruesome imagery, but he never goes in for shock close-ups and doesn’t dive into gory details. An overall feeling of dread seeps into nearly every scene, even in the bright daylight, as the looming trees almost lean in to swallow up Beth. Unfortunately the script “goes off the rails” in the far too confusing third act, exploring parallel dimensions and spirit possessions, leading to a final denouncement that falls flat. leaving us with more queries as the end credits begin to roll. But Hall is a powerful and capable “horror heroine”, and her work more than merits a harrowing couple of evening hours in THE NIGHT HOUSE.

3 Out of 4

THE NIGHT HOUSE opens in theatres everywhere on 8/20/21