My Take on the Movies - THE SENTINEL

The Sentinel (2006) represents the directorial debut of actor Clark Johnson (Disappearing Acts - 2000). This thriller, which opened in Bay Area theaters this weekend, is based on a novel by Gerald Petievich, and is intriguing to the nth power. The screenplay is by George Nolfi (Ocean’s Twelve - 2004).

The film stars Michael Douglas and Kiefer Sutherland as Secret Service agents defending U.S. President Ballentine (David Rasche of Just Married - 2003) against a threatened assassination plot. The lovely Kim Basinger (The Door in the Floor - 2004) plays First Lady Sarah Ballentine, who has secrets of her own.

Integral to the story itself is the animosity between former friends, Agents Garrison and Breckinridge (Douglas and Sutherland). Integral, as well, is the mutual respect that remains, despite the mistrust. A mole is providing information to terrorists, and the agents’ reciprocal high esteem becomes crucial when a witch hunt is instituted within the top security levels.

This is a modern-day cloak-and-dagger film, in which the cloaks are replaced by black suits, and the daggers are replaced by tech nines. So many of the participants are similarly clad (even the bad guys) that it is difficult at times to visually tell one from another. If that can be considered a drawback, it might be the only one the film possesses.

Douglas (despite his age and weathered countenance) is intense and very believable in this role as a well- trained, incredibly intelligent G-man, who exhibits some minor character flaws. Each actor in the film plays his or her part to perfection, no matter how small. The suspense-driven plot is tightly woven, and the development of the main characters is superb.

Interestingly enough, director Clark Johnson plays a cameo role as a Secret Service agent. His wife is played by Gloria Reuben (Numb3rs). Other noteworthy players are Eva Longoria (Desperate Housewives) as agent Jill Marin, Martin Donovan (CSI and Law and Order) as agent William Montrose, and award-winning actor Chuck Shamata (Cinderella Man - 2005) as Secret Service Director Overbrook. Confidential informant Xavier Walter is played by Raynor Scheine (The Rookie - 2002).

The film is riveting, and explosive in all senses of the word. There are the obligatory chase scenes, but even the chases are of a more cerebral nature, displaying superior levels of competency of both pursuers and the pursued. The film shows off the ultratech nature of the new and improved security forces “keeping us safe from terror.”

This is a thinking person’s film, and one which I quite thoroughly enjoyed. I must say, however, that Hollywood has not quite escaped the typecasting that often allows us to guess the identities of the bad guys before the entire plot is revealed. I won’t hold that against them in this case, and if you like suspense, I highly recommend that you see this fascinating film!

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[© 04/21/2006]

 My Take on the Movies
A Mini-Review of
PHAT GIRLZ
By: A. L. "Toni" Anderson

Phat Girlz is the hilarious 2006 film starring Mo’Nique of The Parkers. Apparently P.H.A.T. in this case is an acronym for pretty, hot and thick, an apt description of Jazmin Biltmore (Mo’Nique) and her full-figured homegirl, Stacey (Kendra C. Johnson, who has appeared in episodes of The Shield and Strong Medicine). The film is written and directed by Nnegest Likké of Oakland, and represents her directorial debut.

Jazmin is a queen-sized retail fashion clerk who is constantly discouraged by the lack of attractive clothing in her size, and motivated by her “shrinking” wardrobe. She is a plus-size hottie living in a size 6 world, a Rubenesque diva with a goal to design a fashion line expressly for the big sisters. Unfortunately, her plans are thwarted by her store manager Dick (Jack Noseworthy of CSI: Crime Scene Investigation) and by the denial of a requested loan from First Plantation Bank, if you can believe that!

Her luck apparently changes when she wins a weekend for three at a 5-star hotel in Palm Springs. There she is introduced to a culture that does not glorify the perfect sculpted body of her roommate cousin Mia (Joyful Drake of Beauty Shop - 2005). The harbinger of this good news is Tunde (Jimmy Jean-Louis of Hollywood Homicide - 2003), a doctor from Nigeria who is in the U.S. on a medical conference. His two like-minded doctor friends are played by comedian Godfrey (Johnson Family Vacation - 2004) as Akibo, and Dayo Ade (Scrubs) as Godwin.

Phat Girlz is a traditional love story in the truest sense. There are steamy sex scenes, good romantic dialogue, and eventually, real understanding. (Not to mention at least one super-fine brother!) We are allowed to see genuine relationships develop over time, not just between men and women, but between family members and friends.

The viewer is presented with a smorgasbord of food, clothes, language, and dance. It is a quality (if abbreviated) education in Nigerian culture. Any transgressions should be overlooked, in favor of the real glimpses of Lagos that go far beyond what we are taught to expect of Africa.

Although Phat Girlz is primarily a comedy, the viewer comes away with much more than just a lifted spirit. The film evokes laughter in abundance, but it also evokes compassion, and a sense of having found something previously lost.

One message which hits home is that we should not judge human beings by their appearance, but accept them for who they are. Still, I observed far more bare flab and stretch marks (onscreen and off) than were pleasing to me. I have to say that there was more than enough of everything else to make up for it. I highly recommend seeing Phat Girlz — at least once!

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[© 04/08/2006]

My Take on the Movies - ATL

Atlanta rapper Tip “T.I.” Harris (You Don’t Know Me!) makes his film debut as Rashad Swann in the 2006 film ATL, a drama illustrating a small slice of the life of four inner city high school seniors, trying to make it in their limited and sometimes violent world. The original story is written by Antwone Fisher (of the 2002 movie entitled Antwone Fisher), and the film is directed by Chris Robinson in his premiere outing. Among the several producers of this film are Will Smith and Tionne “T-Boz” Watkins.

The central quartet is rounded out by Albert Daniels as Brooklyn, Jackie Long (Playas Ball - 2003) as Esquire, and Jason Weaver (Drumline - 2002) as Teddy. On the surface they are just another group of guys, but underneath each has his own unique qualities. Those qualities shine through at the crucial, defining moment. The four friends face all of the typical issues confronting many of today’s teenagers—substandard schools, broken homes, deceitful girlfriends—and manage to survive with their friendship intact.

The film also stars Evan Naess (son of singer Diana Ross) as Rashad’s brother, Ant. This is apparently his debut as well, although he looks awfully familiar… Playing major roles are Antwan André Patton (better known as “Big Boi” of OutKast), Mykelti Williamson (Waiting to Exhale - 1995), Keith David (Barbershop - 2002) who is the narrator of City Confidential since the death of Paul Winfield, and neophyte Lauren London as Rashad’s love interest. Veteran actress Lonette McKee (Malcolm X – 1992) has a small cameo.

The score features original music by T.I. and Aaron Zigman, but in fact many genres of music are featured, from traditional jazz standards to disco, to R&B. Although one might find himself singing along, there really is not much musical continuity.

The dialogue is less than sparkling, and at some times is practically unintelligible. This southern-fried story contains elements of Boyz in the Hood (1991) and Rollbounce (2005), but is not quite as gritty as the former, and not nearly as engaging as the latter. There is really not much of substance here despite the big build-up, but there are some decent jokes. That is, assuming one hasn’t heard them all before.

T.I. is actually quite credible in the lead role, although it is difficult to imagine him as a teenager. The more seasoned actors, of course, do what they do. Hey, this is not Shakespeare! Don’t look for any Oscar performances, but it is a pleasurable hour and a half. Due to sex and violence, you may not want to take the kiddies.

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[© 03/31/2006] By: A. L. "Toni" Anderson

My Take on the Movies - LUCKY NUMBER S7EVIN

Josh Hartnett (Sin City - 2005) is S7evin, an apparent victim of mistaken identity, in the 2006 film Lucky Number S7evin. S7evin is full of action, from its gripping opening scenes to its surprising conclusion. The film was written by Jason Smilovic and directed by Paul McGuigan.

Despite the name, the number seven is apparently anything but lucky, for nearly everyone involved. The sole exception might be “world-class” assassin Good Cat a.k.a. Mr. Smith (Bruce Willis). Good Cat is a master of the Kansas City Shuffle, a diversionary tactic wherein “while everybody looks right, you go left.” The film makes so many left turns that it is close to impossible to figure out which direction to look.

The narrative portion of the film begins with a tale that is more than twenty years old, a tale of lucky numbers, and hot tips, and of hard lessons. The recipient of this tale is Nick Fisher (Sam Jaeger of CSI: Crime Scene Investigation), who is somehow central to the plot of the movie, without even being around.

The major players in this twisted crime drama are “The Boss” (Morgan Freeman) and “The Rabbi” (Sir Ben Kingsley of Schindler’s List - 1993). Lucy Liu (Charlie’s Angels – 2000/2003) is Nick’s neighbor who develops an intense interest in S7evin. There are so many characters in and out of the plot that it is next to impossible to keep track of them all. Some of the minor characters are played by Danny Aiello (Do the Right Thing - 1989) Mykelti Williamson (ATL - 2006), and Stanley Tucci (Road to Perdition - 2002) as Detective Brikowski.

The film has an eerie feel, not improved in the least by the dozens of very quirky patterns of wallpaper in the rooms where S7evin spends his time. The paper is so wild that it takes the viewer’s eye away from the ball so to speak, in effect creating a diversion of its own. Repeated flashbacks are cut into the main action with such frequency and speed that it is sometimes difficult for the mind to keep track. Add to that the sarcastic, off-beat repartee exchanged between various characters, and the total effect is to make sure that one never knows what is what!

The film is full of inconsistencies—a bloody nose that disappears and then reappears within the space of seconds, hair that alternately sticks up and lays down and sticks up again, during a short walk down a hallway. Good Cat admonishes his protégé to “make it look like it ain’t what it is” and that is exactly what has been accomplished. I am not certain of exactly what I saw, but I do know that I am not interested enough to see it again. As much as I am impressed by Morgan Freeman, it would take more than his presence to make this odd film worthwhile.

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[© 04/07/2006] By: A. L. "Toni" Anderson

 My Take on the Movies
A Mini-Review of
INSIDE MAN
By: A. L. "Toni" Anderson

Academy Award winner Denzel Washington stars in Inside Man (2006), the latest, very highly anticipated Spike Lee Joint. The film can be classified as part heist, part mystery, and all riveting. It is the fourth project on which these two wizards of the modern film world have collaborated. The musical score is once again composed by the acclaimed New Orleans native, trumpeter Terence Blanchard.

Detective Keith Frazier (Washington) is a wise-ass brother with a less-than-perfect home life. He is under suspicion at work for a check cashing scheme, but when the Manhattan Trust Bank is literally taken over by Dalton Russell (Clive Owen) and crew, Frazier is the man. He deftly matches wits with the criminal mastermind in rapid-fire, point-counterpoint fashion. The stakes are high, but Frazier is down for the challenge.

Madeleine White (Jodie Foster), whose function is never clearly defined, is called in for her “special skills” by the bank’s CEO Arthur Case (Christopher Plummer), and suddenly one wonders “what is really going on!?” There are more twists than a salted pretzel, and the balance of power keeps shifting as the tables are turned and turned again. Both the audience and Detective Frazier are kept guessing until the somewhat surprising conclusion.

The cast is capably rounded out with major roles played by Willem Dafoe (Spiderman I and II) and Chiwetel Ejiofor (Four Brothers) and lesser roles by Peter Gerety (Syriana) as an NYPD captain, Cassandra Freeman (Numb3rs) as Frazier’s girlfriend Sylvia, and newcomer Carlos Andrés Gómez.

The dialogue is witty, for starters, and the multi-layered plot is unveiled in small slices, as it should be in any good thriller. The evidence of Denzel’s talent becomes more apparent with each successive performance, and here he is at the top of his game. Lee’s directorial talents are likewise improving with time and experience, although he still clings to certain of his trademark devices. The film’s action is constant, sometimes moving so quickly that a momentary blink may cause one to miss something crucial.

The social commentary that is so much a part of all of Lee’s work since the beginning is evident, but more subtly exhibited than in past works. Lee is never short on opinions, but he has become adept at displaying them in a less blatant manner.

Inside Man works on many levels, and it is certainly worth the price of admission. Judging by reactions in the packed theater where I saw the film, I’d say Spike has a hit on his hands. I could easily see this film again, just Denzel and me, alone in the dark!

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Don’t miss Cathy Hughes’s interview with Spike Lee, currently being shown on TV One’s One on One.

[© 03/25/2006] By: A. L. "Toni" Anderson

My Take on the Movies - V FOR VENDETTA

V for Vendetta (2005) began this weekend in East Bay theaters. It stars Hugo Weaving (The Matrix and The Lord of the Rings) as “V”, Natalie Portman (Star Wars I, II, and III) as Evey, Stephen Rea as Inspector Finch (who spends the entire film hunting V), and Stephen Fry as Gordon “Daddy” Dietrich. The film is from a comic book novel by Alan Moore and David Lloyd, and is directed by James McTeigue.

The film contains elements of Zorro, The Count of Monte Cristo, and The Phantom of the Opera, yet it has the feel of the old Batman television series. This is not so surprising, given it is a presentation of DC Comics. The overall theme of the movie is revenge, as its title implies, but the pattern and the reason for the revenge are a little slow in being revealed.

We are first introduced to “V” wearing a Guy Fawkes mask, rescuing Evey from a trio of depraved police officers. The historical Guy Fawkes was one of a group of revolutionaries who attempted to blow up the British House of Parliament in 1605. V’s own original target is the Old Bailey, London’s famous criminal courthouse. Although the plot of the movie is rooted in history, its presentation is somewhat futuristic in spots. There are scenes that recall the horrors of the Jewish Holocaust, juxtaposed with headlines of modern day medical experimentation, retinal scans for identification, biological warfare, and the recent demise of the United States.

V has so many diverse influences that it is impossible to keep track of them all. The film is all over the map, with its Shakespearean quotations, Tchaikovsky’s and Beethoven’s music, and outdoor settings reminiscent of Jack the Ripper’s famous reign. It contains references to the Boston Tea Party and Faust’s pact with the devil. At one point the story goes off on a tangent about the British government’s intolerance for homosexuality. It is a map that is difficult at times to follow.

Like the original Guy Fawkes, V’s ultimate goal is the overthrow of a government which has become repressive, censorious, corrupt, and blind to the interests of its subjects. During one of his soliloquies, V expresses the noble opinion that “An idea can still change the world.” V is the representation of an idea that is designed to change a world gone mad.

The symbol “V” stands for the hero’s mark, the Roman V on a prisoner’s door, the date of the planned destruction (November 5), Beethoven’s Fifth Symphony, and a whole list of “v” words, not the least of which is “violence.” The film is replete with symbolism, not all of which is entirely comprehensible.

I have to say that I don’t know quite what to make of the movie. It is certainly very fast-paced, visually stimulating, and even has elements of a love story. There is a lot more here than initially meets the eye. What does it all mean? That is one question I cannot hope to answer.

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[© 03/18/2006] By: A. L. “Toni” Anderson

My Take on the Movies - THE SHAGGY DOG

As a surprise for my grandson, I ventured out in the rain to see Walt Disney’s latest remake of The Shaggy Dog (2006). This film stars Tim Allen of Home Improvements fame in the title role and Kristin Davis (Sex and the City) as his long-suffering wife.

Shaggy’s human alter-ego this time around is Deputy District Attorney Dave Douglas. His most media-worthy case is prosecuting animal rights activist Justin Forrester (Joshua Leonard of CSI: Miami), who has been charged with arson. The alleged target is a laboratory which is allegedly engaged in illicit genetic engineering. This updated version (the original starring Fred MacMurray was released in 1959) is directed by Brian Robbins (director of 2004’s The Perfect Score).

In the original Shaggy, the transformation of the son is effected by virtue of a magic spell. In the 2006 version, the transformation of the father to a four-legged creature is due to the wonders of DNA splicing. How much more au courant can one be?

As expected, Tim Allen’s facial expressions and the gyrations accompanying his frequent transformations are a hoot for the kiddies. Cat chases, barking chimpanzees, and strangely mutated animals of all sorts similarly bring bursts of laughter. Add to that the pre-teen and teen angst of thespian son Josh (Spencer Breslin of The Cat in the Hat - 2003) and animal rights protester daughter Carly (Zena Grey of In Good Company - 2004), and you’ve got good entertainment for the under-13 set.

The film features Danny Glover as Ken Hollister, Douglas’s boss and mentor, and Robert Downey Jr. as the evil genius Dr. Kozak. Other notables are Jane Curtin as Judge Claire Whitaker and Philip Baker Hall as Lance Strictland, CEO of the laboratory.

In my opinion, the original version was much cuter, and more entertaining. There are a few good laughs, and not much else. Rent the original instead, if you can still find it. Your kids will thank you.

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[© 03/11/2006] By: A. L. “Toni” Anderson

My Take on the Movies - BLOCK PARTY

Dave Chappelle’s Block Party (2005) is the film of a 2004 concert which Chappelle sponsored in Brooklyn, New York. He managed to put together at one place and at the same time many of his favorite musicians and rappers. As advertisements for the film declare: “This is the concert [he] always wanted to see.” The film was inspired by the Wattstax film of 1973, on a somewhat smaller scale.

Several of the opening scenes show Chappelle walking the streets of Dayton, Ohio, trying to drum up support for his block party. He offers free transportation, free hotel accommodations, and of course free entry into the show. Not surprisingly, several of the people we meet early in the film actually do attend the concert, despite the less-than-optimal conditions. On the one hand, the price is right. On the other, they say you get what you get what you pay for, and in this case, that appears to be true.

As the name suggests, the concert takes place on the block, at the intersection of Downing and Quincy in Bed-Stuy. The rain does not prevent shoulder-to-shoulder attendees from dancing and singing to performances by Common, Kanye West, The Roots, Erykah Badu, Mos Def, Jill Scott, Dead Prez, Talib Kweli, and The Fugees, who had not performed together in nearly ten years. The credits list too many stars of the hip hop world to name here, and far more than one might actually recognize.

The concert performances are interspersed by comedic routines by Chappelle and a serendipitous visitation by the Central State University (Ohio) marching band, whom he just happened to meet three days before. Some of the musical performances are rousing, if not edited to distinct advantage, and a few of the comic interludes are amusing, if you like Chappelle’s style of humor. There is a call-and-response exchange between Chappelle and Mos Def that is sort of cute. Otherwise, Dave Chappelle is much the same in the film as he is on his television show—sometimes corny, and nearly always irreverent.

There are also interviews with the local yokels—a colorful couple whose home is an eyesore called “The Broken Angel,” Lil Cease of the Junior Mafia, and the director of a local day care center where The Notorious BIG attended as a child. No spectacular revelations here.

In short, I have seen more lively concerts, heard better jokes, and probably conducted better interviews myself. You might want to give this one a pass!

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[© 03/05/2006] By: A. L. “Toni” Anderson

My Take on the Movies - MADEA'S FAMILY REUNION

I caught Madea’s Family Reunion (2006) on the first day of its release. I was initially reluctant because I do not care for the “preachy” nature of Perry’s films, nor do I care for their rowdy humor and their predictability. Having said that, I must admit that there was less of each than I had expected.

The film was written and directed by Tyler Perry, and once again, Perry plays the roles of Madea, her brother Joe, and her grandson Brian. As always, Madea attempts to solve the many problems of her offspring, and of her other family members.

Madea’s granddaughter Lisa (Rochelle Aytes of White Chicks - 2004) is engaged to a successful investment banker (Blair Underwood). Unfortunately, Lisa is not as ecstatic over the engagement as is her mom, Victoria (Lynn Whitfield). Lisa’s sister Vanessa (Lisa Arrindell of A Lesson Before Dying - 1999) also does not appear very content, and here is where the predictable part comes in. Frankie (Boris Kodjoe of The Gospel - 2005) shows an intense interest in her, and one thing leads to another, naturally.

The story unfolds in Atlanta, where the weather and the scenery are always gorgeous. The same can be said for the women, and the men. The most beautiful part of the movie, however, is the seamless meshing of music and poetry. Several of the original songs are written by Perry, and they are performed to perfection by artists such as Johnny Gill. Maya Angelou appears as one of Madea’s relatives, and recites a moving poem of her own.

The film deals with such issues as abuse, molestation, and embezzlement, but none of the issues is actually resolved in a satisfactory way. There is quite a bit of violence, and given that it is often combined with hilarity, one can only hope that children do not take from it that violence is acceptable.

At the reunion where all manner of vices are in evidence, the family matriarch asks the question, “Is this what we have paid for?” The response is the obligatory (but movingly delivered) lecture on our collective history and the current state of our youth and our family values. One could almost say that this is the entire point of the film.

Visible roles in the movie are played by Cicely Tyson, Mablean Ephriam (Divorce Court), Keke Palmer (Barbershop 2 - 2004), Jenifer Lewis (The Cookout - 2004), Tangi Miller (Too Legit - 2001), and Henry Simmons (Something New - 2006). The performances are all quite adequate; nothing greater seems to be required in the circumstances.

Although this is not my favorite genre of film, I do recommend that you go and see it. I can guarantee you that most everyone you know will!

[© 02/24/2006] By: A. L. “Toni” Anderson

My Take on the Movies
A Mini-Review of
SOMETHING NEW
By: A. L. "Toni" Anderson

Something New (2006) is billed as a cute romantic comedy, and that is exactly what it is. Sanaa Lathan (who starred opposite Denzel Washington in 2003’s Out of Time and with Omar Epps in 1999’s Love and Basketball) is Kenya McQueen, a Black Upwardly Mobile Professional. Like 42.4 percent (the film’s working title) of Black females, she cannot seem to find a mate who meets all of her requirements. With no love in her waking life, she dreams about getting married. By contrast, her baby brother Nelson (Donald Faison) is finding too many potential mates, and changes women the way Imelda Marcos must have changed shoes.

Kenya’s best girlfriends (played by Golden Brooks, Taraji P. Henson, and Wendy Raquel Robinson) are all professional women who have dating problems of their own. The four of them talk about nothing but finding and keeping an IBM (Ideal Black Man). With no other prospects in sight, Kenya’s girls try to convince her to get back together with her ex, Tony, who soon calls to invite her to his own wedding.

Enter blind date Brian Kelly (Simon Baker of 2005’s Land of the Dead and The Ring Two), who meets none of Kenya’s requirements, and in addition, is White. To make matters worse, he turns out to be a “landscape architect” who agrees to work for her. To his credit, he turns her jungle-like backyard into a suburban paradise. Against all odds, Kenya and Brian become lovers, but she is not fully comfortable with the concept.

What makes Brian’s job even more difficult is the entry of Mark (Blair Underwood of both City of Angels and L.A. Law, but who certainly needs no introduction). He is the mentor of Kenya’s brother, and is also very upwardly mobile. He is smart, fine, and best of all, he is Black. Case closed, apparently!

The film also features Mike Epps, Alfre Woodard, and comedienne Sommore. It is directed by Sanaa Hamri, in her second directorial effort.

In true romantic comedy form, everybody meets someone and falls in love, and then lives happily ever after. The stuff of dreams, literally, if you like that kind of thing.

There are no sterling performances here, and perhaps that is as it should be. There are also no surprises. There are some laughs, and perhaps even some words of wisdom. If you are trying to kill a lazy Sunday afternoon, this is a film that fills the bill.

[© 02/06/2006]

My Take on the Movies
A Mini-Review of
FREEDOMLAND
By: A. L. “Toni” Anderson

Freedomland (2006) opened in theaters this weekend. It stars Samuel L. Jackson, who first captured our attention as “Gator” in the 1991 film Jungle Fever. He has come a long way since those days, having developed immensely as an actor. That development is evident here. The previews of the movie looked exciting and action-packed, and if you are looking for action-packed excitement, the movie will not disappoint.

The film is directed by Joe Roth, and is adapted from a novel by Richard Price (author of Clockers). It tells a gripping tale of a missing 4-year-old boy (Marlon Sherman), whose mother claims to be a recovering drug addict. Julianne Moore (whose role here is oddly reminiscent of her role in The Forgotten), plays the boy’s bedraggled mother, Brenda Martin, who seems inordinately disturbed from the moment she appears onscreen.

The account takes place in Armstrong Housing, territory of 22-year veteran Detective Lorenzo Council (Jackson) and his partner, Bobby Boyle (William Forsythe of Blue Streak). The mostly-Black housing project abuts a densely wooded area, which in turn abuts the suburban city of mostly-White Gannon. This geography precipitates a charged relationship between the project residents and the Gannon P.D. In a strange twist of fate, we learn that Brenda’s brother, Danny Martin (Ron Eldard of T.V.’s Blind Justice), is a member of the Gannon P.D.

Several mini-dramas are played out within the larger drama. There is the relationship between Lorenzo and his incarcerated son, Jason (Dorian Missick of The Manchurian Candidate). There is the disintegrated family dynamic between Brenda and brother Danny. There is the oddly maternalistic union between Felicia (Aunjanue Ellis of Ray) and boyfriend Billy (Anthony Mackie of Million Dollar Baby), whose character emerges from the shadows to play a key role in the overall scheme.

Another dimension is added by the appearance of “Friends of Kent,” an organization specializing in tracking missing children. The Friends’ intense leader is Karen (Edie Falco of The Sopranos). Her assistant, Marie, is portrayed by LaTanya Richardson Jackson of The Fighting Temptations, a notable actress in her own right and wife of Samuel L. (Other films where the Jacksons have appeared together are 1992’s Juice and 1995’s Losing Isaiah.)

The search for Cody leads Detective Council and the Friends of Kent to Freedomland Village (which gives the film its name), a long-abandoned home for orphans, the “unprecious and unloved.” It is during the search of the surrounding brush that we learn Karen’s motivation and her purpose. Perhaps Brenda’s motivation and purpose never become quite clear.

The exciting and inevitable climax, which is nearly averted by Lorenzo’s valiant efforts, comes about as a result of barely concealed long-standing racial tension. It is part and parcel of the climate that gives birth to the Susan Smiths and Charles Stuarts of the real world, clearly Brenda’s role models.

The conclusion is not surprising; hints are dropped like breadcrumbs. The expected violence is sometimes sickening, and many of the characters are stock. Still, the light plot twists and the rare humanity of Jackson’s character make Freedomland a worthwhile film.

[© 02/19/2006]

My Take on the Movies - Big Momma's House 2

My grandson convinced me to go see Big Momma’s House 2 (2006) over this past weekend. As I anticipated, he loved it! My opinion of the film was a little different.

In this film, Martin Lawrence reprises his role as Malcolm Turner. The flip side of that role is his portrayal of Big Momma, the grandmother of his beloved Sherry (Nia Long of 2005’s Are We There Yet?). In this sequel to 2000’s Big Momma’s House, Sherry is now Malcolm’s pregnant wife, who still has no idea that Malcolm is an undercover transvestite.

As an FBI agent, Malcolm is assigned to public relations duty as a safety eagle, often mistaken as a chicken. Tired of the chicken jokes, he is instead determined to identify and capture the criminals who have planted an internet worm scheduled to compromise the confidential computer network of the FBI. Malcolm takes a two week vacation, unbeknownst to his family, and “worms” his way into a nanny position in the home of one of the suspects. He accomplishes this feat by sabotaging the chances of more suitable candidates.

Unfortunately, the film is full of unmemorable characters, nameless faces, and what amounts to basically an oversized backdrop for Big Momma’s crazy antics. In his spare time from chasing crooks, he takes over coaching a team of midget cheerleaders and teaches them how to swing their miniscule hips.

There are a few really funny moments in the film, particularly in Big Momma’s interaction with the two younger children in her charge (Chloe Moretz from the 2005 version of The Amityville Horror and Patrick Blanchard of 2006’s Glory Road). The rest is typical of the silly physical comedy Martin’s characters are famous for.

I would not say that the movie is hilarious, by any means. It is about what one would expect in a sequel — nothing more and nothing less. It is fun for the kiddies, but if you are flying solo, you might want to give this one a pass.

[© 01/29/2006]

My Take on the Movies
A Movie Mini-Review of
THE GOSPEL
By: A. L. “Toni” Anderson

Let me begin by saying I am not a big fan of gospel music. And I absolutely loathe musicals. Having said that, I must also say that Rob Hardy’s The Gospel (2005) was everything I had hoped—and feared—it would be. The film stars Boris Kodjoe (of the TV series Soul Food) as David Taylor, the prodigal son returned, and Clifton Powell (who has played more evil villains than I care to list) as Fred Taylor, the seriously ill father who is the cause of the long-awaited return.

David is a popular secular artist at the top of his game when he receives that dreaded telephone call from Sister Ernestine (Aloma Wright of Deliver Us from Eva). He drops everything, including negotiations with songwriter Sandstone (comedian Nard Holston) and flies to his father’s side. Unfortunately, he arrives to find that there is some major dissension in his father’s church. The conflict is caused by the ego of David’s former childhood friend Frank (Idris Elba) and the hurt feelings of church administrator Terrance Hunter (Donnie McClurkin). The fire this time is fueled by David’s cousin, Frank’s former teenage crush and current wife, Charlene (Nona Gaye), who has serious issues of her own.

David’s manager always has his back, but never interferes in his decisions—from whether to compromise with the songwriter, to whether to pursue choir soloist Rain (Tamyra Gray of American Idol), to whether to return to the concert stage or stay and fight for his place in his father’s church. The role of the wise-cracking manager Wesley is played to the hilt by Omar Gooding (Cuba’s younger brother), but despite his many flip remarks, my favorite quote is by Bishop Taylor: “We should spend a little less time looking good, and a little more time being good.” A word to the wise.

The cast is rounded out by various gospel greats—Delores Winans, Yolanda Adams, Hezekiah Walker, Fred Hammond, and Martha Munizzi—all of whom add just that much more dimension to this invigorating film. Despite my initial misgivings, I found just the right mix of dialog and music to fill my bill, and the songs (several of which were written by the Kirk Franklin) were very appropriate to the movie’s theme.

A good movie should impart a message (although not necessarily a religious one); a great movie is one that makes the viewer think. I don’t know exactly what to call a movie that genuinely inspires, as this one does. The film brought tears to my eyes, and not necessarily in the places one might ordinarily expect.

Despite all of my initial misgivings, I would have to give this movie a high five! It met all of my expectations, and then climbed a bit higher.

[© 10/09/2005]

My Take on the Movies
A Mini-Review of
GLORY ROAD
By: A. L. “Toni” Anderson

My first film of 2006 is Glory Road, the true-life story of Coach Don Haskins’ incredible 1965-1966 season. He begins the film coaching a high school girls’ basketball team, and ends by leading the Texas Western Miners to the NCAA championship, in one short year. In the Texas of the mid-1960s (as across the South), college basketball is a white man’s sport. Coach Haskins, however, recruits the best available players from all over the Eastern U.S., and is quoted as stating “I don’t see color. I see quickness; I see skill.” In the final game of the championship series, he starts an all-black team, the first ever in an NCAA championship series.

The film was written by Chris Cleveland and directed by James Gartner, both in their first mainstream endeavors.

Josh Lucas (An Unfinished Life – 2005) stars as Coach Don Haskins. He is supported by Derek Luke (Antwone Fisher - 2002), Mehcad Brooks (Desperate Housewives), Al Shearer (Punk’d - 2003), Tatyana Ali (The Fresh Prince), and too many new faces to count. The University of Kentucky team (which is defeated by the West Texas Miners for the championship) is coached by Adolph Rupp, a nearly unrecognizable Jon Voight (whom I first saw in 1972’s Deliverance), in prosthetics and heavy make-up.

The story is as fast-paced as a professional basketball game, and is backdropped by the soundtrack of my youth. Throughout the film, I had to restrain myself from singing along to hits by Stevie Wonder, Junior Walker and the All-Stars, The Miracles, Curtis Mayfield — and the list just goes on.

No one of the players is showcased, each having his own set of individual talents, but some small part of each player’s story is briefly recounted. One player struggles with geology, but is soon shown the value of study and good grades. One player’s challenge is hypertrophic cardiomyopathy, but he plays his heart out nevertheless. One player is initially too timid to give his all to his position, but he is more afraid of what his father will think than of getting hurt, and he overcomes his fear to become an integral part of the team.

The road is not a long one, but it is filled with hurdles — extreme racism, loneliness, poverty. At the end of the road is all the glory anyone could ever ask for.

The film concludes with interview clips of some real-life players of the 1965-1966 championship series, including Pat Riley of NBA coaching fame, who starred on the defeated Kentucky team.

The tagline of the movie is “Winning changes everything.” Certainly the championship win of the majority-black 1966 Miners led to black players being accepted at previously all-white colleges, and eventually to near domination of the NBA by black players. In my humble opinion, the film is itself a winner. If you have any interest in basketball, I recommend you see it.

[© 01/21/2006]

My Take on the Movies - EMILY ROSE

The Exorcism of Emily Rose (2005) recently opened in theaters, and quickly became the number one movie at the box office. It is a terrifying tale of the supernatural, every bit as shocking as the original The Exorcist (1973), but perhaps more so because it is allegedly based on a true story.

Emily Rose (Jennifer Carpenter) is a 19-year-old college student who does battle with Lucifer in all his evil manifestations, and loses. Her distressing story is told in horrific detail in the courtroom by her family physician (Mary Black), by her faithful boyfriend (Joshua Close), an eyewitness to the possession, and by her parish priest, Father Moore (Tom Wilkinson) who is charged with her death for his role in the failed exorcism.

The astute attorney representing Father Moore is played with precision by Laura Linney; her slightly less effective adversary is played by Campbell Scott. The part of Judge Brewer is played by Mary Beth Hurt (The Age of Innocence – 1993). Duncan Fraser is Dr. Cartwright (a reluctant participant in the exorcism) who is so convincingly shaken that it made me nervous. There are no “stars” here, but the execution of the screenplay itself literally shines, despite the dreariness of the surrounding landscape.

Emily Rose is not for the easily frightened. Its vivid images are extremely disturbing; the various sounds associated with the demons are immensely startling. At several junctures, not only did I visibly flinch, but my legs, arms, and spine began to tingle with apprehension.

The story is the classic battle between good and evil, updated with overtones of modern medicine versus ancient faith. The undying religious belief of the defendant is strongly contrasted against the agnosticism of his defense counsel, even as they experience parallel nocturnal disturbances. It never becomes clear whether the doctors’ diagnosis of “psychotic epileptic disorder” is erroneous, whether it is merely the prescription they force upon Emily that is inadequate, or whether she actually is possessed and therefore beyond medical science.

There is so much religious dogma packed into a relatively short work that it is hard to absorb it all. There are theories surrounding the hour selected by the demons for Emily’s possession (3:00 a.m.), and its relation to the Holy Trinity; there are references to the stigmata, either real or self-inflicted; and there is the “speaking in tongues” that the spirit utilizes, convincingly, I might add.

The Virgin Mary purportedly asserts in a vision that through Emily, “many will come to see that the realm of the spirit is real.” Whether one is a died-in-the-wool Catholic or an acknowledged atheist, The Exorcism of Emily Rose presents food for thought. You don’t have to believe, but in my opinion it will be worth your while to see this film.

[© 09/20/2005]

My Take on the Movies - THE BROTHERS GRIMM

The Brothers Grimm (2005) is a strange conglomeration of nearly every fairy tale recalled from our collective childhood. There are wolves and toads and gingerbread men, enchanted forests and mirrors and bewitched queens, all woven into a very loosely biographical story of the lives of Jacob and Wilhelm Grimm, actual brothers who were born in Hanau, Germany in 1785 and 1786, respectively.

Jacob and Wilhelm are played by Heath Ledger (Monster’s Ball - 2001) and Matt Damon (The Bourne Supremacy - 2004). They are portrayed as curse-reversing charlatans who travel the countryside vanquishing bogus witches and fiends for their living. They are aided and abetted in this trickery by Hidlick and Bunst (Mackenzie Crook and Richard Ridings), who have about as much brains as they have heart. On their travels, the crafty Brothers keep notes of all of the regional legends they encounter, which supposedly are then turned into the various translations of The Complete Fairy Tales of the Brothers Grimm.

The Brothers, demon-hunters extraordinaire, are called upon to solve the disappearances of several young girls, in the midst of France’s occupation of Germany. They must contend with the hopes of the German people, and the threat of the French army. All of this takes place while they are being drawn into the final phases of a years-long spell that is nearing its evil fruition.

Angelika , the heroine of this story, is played by Lena Headley (who appeared in the 1997 Mrs. Dalloway and in about a dozen other films since). She also plays the love interest of Jacob, and naturally must double as a princess. Peter Stormare (Constantine - 2005) plays Cavaldi, a wig-wearing buffoon who is put in charge of the Brothers, and many times stands in the way of their progress.

I must admit that half of the time I did not know what was going on, and a quarter of the time it was so dark I could not clearly see what was happening. I suppose this all adds to the atmosphere of the sometimes “grim” stories. Who does not like a good scare, now and then?

The film was directed by Terry Gilliam, who also directed Monty Python (1996), The Fisher King (1991), and one of my favorites, Time Bandits (1981).

Those of you who enjoy children’s literature may like to see this one, just to test your powers of observation — and your memory.

[© 08/28/2005]

My Take on the Movies
A Mini-Review of
FOUR BROTHERS
A. L. “Toni” Anderson

The long-awaited new John Singleton film, Four Brothers (2005) opened in theaters this weekend. I knew that it would be full of action, and that it was. It was also full of more twists and turns than Lombard Street. (Where have I heard that before?)

The film stars Mark “Marky Mark” Wahlberg, Tyrese “Baby Boy” Gibson, André “3000” Benjamin (of OutKast), and Garret Hedlund (Friday Night Lights). If you can imagine a more motley crew of “brothers” (two black and two white), then your imagination far exceeds my own. They are foster parented by the beloved Evelyn Mercer (Fionnula Flanagan), whose murder they return home to avenge.

Bad-asses are required in order to deal effectively with the hard-core streets of corrupt Detroit, and bad-ass is what they are—one ex-con, one ex-Marine, one ex-rock star, and one ex-real estate developer whose business has been destroyed by local crooked politicians. The Mercer Brothers are under-appreciated by the police and the mob, alike.

The entire story-line consists of tracking down the murderers of their “saintly” mom. They tease each other unmercifully, as brothers often do, but their cohesiveness seems somehow counterfeit and forced. Each brother takes his own trips down memory lane with Mom, but no one ever recalls their lives before being united. Neither do they seem to relive any shared memories.

The action is presented through gun battles, fist fights, and cold-blooded killings. There is one major car chase (although sadly on flat ground), which ends in the only way a good car chase can, with both cars literally wrecked.

The police are represented by Terrence Howard (Hustle and Flow) and Josh Charles, one good cop and one bad. Other cast members are Taraji P. Henson (Jeremiah’s wife), and virtual unknowns Sofia Vergera (Angel’s girlfriend), Chiwetel Ejiofor (a mob boss and hardened criminal). A small part is played by Barry Shabaka Henley (Lackawanna Blues and Collateral).

The worst part of this film is that none of the characters seem to really “get next to” the viewer. The best part is that the viewer is kept in suspense until nearly the end as to guilt or innocence, right or wrong. Regrettably, not having reached a real connection by the closing credits, the viewer just might not care.

By all means, go see it for yourself. You might find something in it that this reviewer missed.

[© 08/14/2005]

My Take on the Movies
A Mini-Review of
HUSTLE AND FLOW
By: A. L. "Toni" Anderson

I saw Hustle and Flow (2005) on the initial day of its release to the theaters, and I am glad I did not wait! This gritty film is directed by Craig Brewer, and produced by John Singleton (Boyz in the Hood).

The “hustle” in the title means just that. DJay (Terrence Dashon Howard of 2004’s Crash) is a low-budget pimp, whose main lady Shug (Taraji Henson) is pregnant, and currently out of commission. With stripper Lexus (Paula Jai Parker) also out of pocket (due to an extremely bad attitude), it is left to Nola (Taryn Manning) to produce whatever income is not brought in by marijuana sales.

The “flow” refers to DJay's long-buried ambition to be a rapper, brought back to life by a Casio keyboard purchased from a crackhead for $25. “Everybody gotta have a dream,” and for DJay, this is his.

Just by coincidence, DJay runs into childhood friend Key (Anthony Anderson) at a most fortuitous moment in time, and their respective dreams mesh. Key has access to mixers and various pieces of equipment, and to sound man Shelby (DJ Qualls), who is more than eager to leave his delivery job. The only remaining fly in the ointment is Key’s wife Yvette (Elise Neal of The Hughleys), whose squeaky clean image is so prevalent that it threatens her own job advancement.

DJay recalls famous rapper Skinny Black (Ludacris) from their teen years, but as is normally the case, Skinny Black does not remember DJay. Club owner Arnelle (Isaac Hayes) facilitates their reacquaintance as a favor. However, DJay’s hopes of turning the re-introduction into fortune for himself is the point on which the entire movie revolves, for better and for worse.

The mean streets of Memphis, Tennessee are displayed in a decidedly disadvantageous light, but except for DJay’s almost unintelligible accent, the story could have played out in any inner city in the U.S. of A. The hood is peopled by any number of do-rag wearing tricks and all manner of thugs, all trying to get theirs—whatever theirs may be.

Fine-ass Terrence is getting a bit long in the tooth for the pretty-boy roles he is famous for, but he still has one more roll of the dice in him. He plays this “pimp with the heart of gold” to a T. This one has my vote!

[© 07/22/2005]

My Take on the Movies
A Mini-Review of
MADAGASCAR
A. L. “Toni” Anderson

I waited several weeks to view Madagascar (2005), because I could not get my 9-year-old grandson to go with me. Eventually, I decided to go by myself. A children’s movie, featuring the voice of Chris Rock, that takes place in Africa. All right!

This animated movie begins in a Manhattan zoo, and stars a group of highly domesti­cated sub-Saharan animals living in an artificial urban environment. The voices of the main four-legged stars are provided by Ben Stiller (Alex the lion), Chris Rock (Marty the zebra), Jada Pinkett Smith (Gloria the hippo), and David Schwimmer (Melman the giraffe). Cedric the Entertainer gives voice to a wild I-don’t-know-what!

Following the lead of a loony bunch of penguins, Marty pursues his desire for freedom and a return to the wild. Unable to convince his buddy Alex to accompany him, he decides to escape on his own. Through a series of improbable events, the fugitive quartet (including Gloria and Melman) ends up on the island of Madagascar (off the coast of Mozambique), where nothing is as Marty (or I) had hoped.

The native inhabitants of Madagascar appear to be a huge bunch of, well, let’s say lemurs, for whom life is a long, loud party, except for one thing. Their territory is continually being invaded by cartoon jackals (or maybe hyenas), whose sole interest in the party-goers is as the main course for a dinner party of their own. Alex’s zoo act as the “king of the jungle” comes in handy, although he is seriously outnumbered, and all’s well that ends well—sort of.

Possibly my hopes for this film were too ambitious, but is it really asking too much to have a movie about returning to Africa (even for children) actually teach us a little something? The only lesson that is apparent here is that freedom may not be all it is cracked up to be. Could this be a subliminal message, maybe? If so, it has missed its target in me. I’ll take freedom, anytime.

The film is full of vivid colors, loud sounds, and infantile humor. That combination always excites youngsters. If my grandson’s other plans fall through, he may ask me to go back. (It’s not so far-fetched; it’s happened before.) Regrettably, this time I would not be so willing. Frankly, I did not find it worth the bargain matinee price. But then, I passed 9 years old so long ago, it is difficult to count.

[© 07/16/2005]

My Take on the Movies - REBOUND

I recently had the pleasure of viewing Rebound (2005), Martin Lawrence’s new film. Taking a page from Ice Cube’s book, Martin’s latest endeavor is made for the kiddies. Surprisingly, I found it quite funny.

This time around, Martin plays obnoxious NCBA (college basketball) coach Roy McCormick, whose rude behavior has caused the Association to put him on “academic” probation. He is sent back to the minors (in this case his old junior high school), where he must prove that he can not only keep his temper, but also win a few games. And believe me, he is given nothing to work with.

The only potential “baller” on this team of comic misfits is Keith (played by Oren Williams, whom you might—or might not—remember from 2001’s Kingdom Come or 1998’s Player’s Club). Naturally, he is a ball hog and a showboat, just like his idol McCormick. The balance of the team is played by virtual unknowns, all likely cast because of their odd-ball, discordant appearances. They obtain McCormick’s coach­ing services by subterfuge, going behind the back of the school’s principal (Megan Mullally). Since the price is right—free—she gladly goes along. And the rest, well, I don’t guess one would say it is history, but you get the picture.

Wendy Raquel Robinson (better known as Regina from The Steve Harvey Show) plays Keith’s mother, and McCormick’s reluctant love interest. The prospect of winning her over motivates McCormick to do the right thing, possibly more than the money that is at stake. At one point it is made painfully clear to him just what he has to lose by failing his probation, but it does not seem to faze him.

The sound track of this movie is on hit, and I found myself involuntarily singing along a couple of times. It is definitely old school as advertised; I may have been the only person in the audience who actually remembered the songs.

Martin apparently cannot resist appearing in costume as “Preacher Don,” purple suit, pressed hair, gold tooth and all. But it is all in good fun. If you have not already seen Rebound, I recommend you go while it is still in the theaters. And laugh your­self silly. I did!

[© 07/11/2005]

My Take on the Movies - DIARY OF A MAD BLACK WOMAN

Tyler Perry’s Diary of a Mad Black Woman (2005) opened in theaters this weekend. I went to see it on opening day with no expectations, and I was not disappointed. The movie is based on Perry’s stage play of the same name, and it retains the feel of that particular genre of play, as I had anticipated.

Attorney-of-the-Year Charles McCarter (Steve Harris) decides on the eve of the 18th anniversary of his marriage to Helen (Kimberly Elise) that their marriage is over. Having no skills and nowhere else to go, Helen moves in with Madea, her gun-toting, wise-cracking grandmother (Tyler Perry), and Madea’s obnoxious brother Joe (also Perry). Madea tries to encourage a reluctant Helen to take back what is rightfully hers, except that everything apparently belongs to Charles. Helen has gone into the marriage for love, with her eyes closed. Unfortunately, she has kept her eyes closed for all of the 18 years, and totally oblivious, has missed all of the overt clues.

Helen’s cousin Brian (also played by Perry) agrees to represent her in the divorce. Against her will, he sets her up with his friend Orlando (Shemar Moore), the very gentleman whom Charles paid to escort her off of his property. Orlando says all of the right words, whispers everything a hurt woman wants to hear, and looks good doing it. It requires no genius to figure out where this is heading.

Diary is sort of a musical comedy, but sadly, the most comedic parts have been shown a million times in the previews. The remainder of the jokes are predictable, and although there was quite a bit of laughter coming from the front of the theater where I attended, this cliché-ridden movie is just not that funny.

The musical selection is not outstanding, with the exception of two numbers -- one rousing gospel song at the end, and one lovely ballad sung by Chandra Young onstage at the jazz club in the “first date” scene. The obligatory electric slide scene is done to the 1976 hit “Dazz” by Brick. Nothing else is really memorable.

The plot itself is a bit better than most of this ilk; however, there are serious flaws in the execution. Helen, the discarded and allegedly “mad” black woman, never seems “mad” at all. Except when she is getting her minimal revenge, she is as serene and pleasant as a spring day. By contrast, Madea’s character is considerably over the top, both in appearance and in her activities.

The one truly credible character is the cousin’s wife and Helen’s former best friend, Debrah (Tamara Taylor). The emotion she displays in her interactions with Helen, and with her daughter Tiffany, are nearly tear-rending. In the scene where she tries to convince the soft-hearted Brian to take her back, she has the junkie bit down pat. At the end she bursts into the church and joins in with the choir, but while the scene is touching, it is a little bit too reminiscent of The Color Purple to suit my taste.

Also appearing in the film are Cicely Tyson, Mablean Ephriam (Divorce Court), and Donnie McClurkin. It is co-produced by Perry and directed by Darren Grant.

I paid my $6.00 (bargain matinee) and I supported the brother as requested. Beyond that, I don’t think you can ask any more. As the man said, “different strokes for different folks.” No offense, but next time I think I’ll just pay at the box office and sneak in to see something more to my liking.

[© 02/26/2005]

My Take
A Mini-Review of
CRUMBS FROM THE TABLE OF JOY
A Play by Lynn Nottage
By: A. L. “Toni” Anderson

I recently had the pleasure of attending a production of Crumbs from the Table of Joy, the 1995 play by Lynn Nottage, at the historic Lorraine Hansberry Theatre (located on Sutter Street in San Francisco). The cast consists of Hansberry veteran Michael J. Asberry as Godfrey Crump, China Raven Crawford as Ernestine Crump (aka Darling Angel), Shakira Patrice De Abreu as Ermina Crump (aka Devout Mary), Cathleen Riddley as Lily Ann Green, and Kathy Goldie as Gerte Schulte. The play runs through February 27, 2005.

Crumbs tells the story of the Crump family who, following the death of Godfrey’s wife (and the girls’ mother), leave their rural Florida home and travel to Brooklyn, New York, in pursuit of the word of Father Divine. The atmosphere is pervaded by the distraction caused by grief, more than the grief itself.

Their early 1950s family life is far from ideal, even before they are joined by Aunt Lily, the sister of Godfrey’s deceased wife, who arrives unbidden and all but unwelcome. It is clear that Aunt Lily and Godfrey have some sort of history, even if it is all in Lily’s mind. Clearly the two adults have different opinions of how life should be lived and how children should be raised, adding to the inevitable conflict which must occur when four grown (and nearly-grown) individuals are residing together in a stuffy basement apartment.

The frequently humorous tale is narrated by the 17-year-old Ernestine, whose telling is as much filled with what she wishes had been done or said, as what actually is done or said. She laments that they do not go to the movies, or even listen to the prize radio that is so prominent in their home. All she really has to look forward to is her imminent high school graduation, and she daily works on her white dress, a symbol for her commencement, and for her eventual freedom.

Godfrey seeks solace for his recent loss in the example of Father Divine and the International Peace Mission Movement. He erroneously believes that Father Divine is living in New York, and this is the reason for the family’s move. He is certain that Father Divine has the answers to all of life’s questions, and he keeps notes on the particular questions to which he needs answers. He reveres Father Divine to the degree that he re-names his children as instructed by Father Divine. He longs to be more like Father Divine, and unexpectedly after a chance encounter, he finds that he actually becomes more like Father, in one way at least.

The play’s title is taken from lines in a Langston Hughes poem entitled Luck, which begins “Sometimes a crumb falls / From the table of joy”. Life’s crumbs are what one makes of them, and each of Nottage’s characters pieces together the crumbs he or she is given, in an attempt to make an acceptable whole.

I am increasingly impressed by the productions at the Lorraine Hansberry Theatre, and this is no exception. After viewing Crumbs, I am determined to go more often.

[© 02/24/2005]

My Take on the Movies
A Mini-Review of
HITCH
By: A. L. “Toni” Anderson

Hitch (2005) stars Will Smith (formerly The Fresh Prince of Bel Air), all grown up. I had not expected to enjoy this movie, but in fact I liked it quite a bit. It is funny and warm and delightful, and with the exception of one, the characters are all lovable.

Hitch is the story of the smooth “Love Doctor” (Smith), whose “consulting” work is performed incognito. He helps somewhat unattractive or painfully shy gentlemen find love by following his well-researched advice. He applies the same rules to his own love life, with somewhat less successful results.

Hitch’s primary client is Albert (played by Kevin James of The King of Queens), an accountant who is secretly in love with millionaire heiress Allegra Cole (played by Amber Valletta). Unfortunately, the gossip columnists (one of whom is the object of Hitch’s desire) nearly ruin what could be a perfect love affair. The instructional “kissing scene” between Hitch and Albert is a hoot, and the dance scenes are nothing short of hilarious!

Columnist Sara (Eva Mendes) is Hitch’s love interest, whose background he re­searches prior to not trying to pick her up in a bar, and not telephoning her (in accordance with his master plan). In this case, he either does a little too much research or not quite enough, depending on how one views it. Their eventual date begins disastrously, and when he uncovers an unsavory tidbit of her family history, what should be touching nearly turns tragic.

As in all good fairy tales, everything comes right in the end. The frogs (including an allergy-laden Hitch) all turn into princes, and all get their rightfully-deserved (if expensive) princesses.

I had wondered if the names “Allegra” (as in the medication) and [Hitch’s college girlfriend] “Cressida” (as in the Toyota sedan) were part of some sort of gimmick, but if so, the joke stopped just sort of being annoying.

There is no big mystery here, and there are no real surprises, but if what you are looking for is light-hearted entertainment, Hitch might be two hours well-spent.

[© 02/21/2005]

My Take on the Movies - CONSTANTINE

Constantine (2005) is the latest Keanu Reeves film, but it was the title more than anything that caught my attention. Even after I read a brief description online, I would not be deterred. My bad! Not being a Reeves fan to begin with, I had no idea what dreck was in store for me. Instead of the epic-style movie the title brought to mind, what I found was a cross between a vampire-slayer flick and The Exorcist, with clear influences of The Matrix and Batman.

The film contains some eerie combination of angels, “half-breeds”, and demons, whose manifestations are as often as not deformed skeletons missing their heads and swarms of beetles (or maybe locusts), intermittently interspersed with crabs, of all things.

As best I could decipher the plot, Reeves plays a once-dead detective cursed with “visions,” who spends his time and energies saving the planet from Lucifer (Peter Stormare) and from the corrupted influence of the Angel Gabriel (Tilda Swinton). He is aided by a psychic (Rachel Weisz), whose identical twin has committed suicide to escape her own supernatural gifts. His wanna-be sidekick, a smart kid struggling with his identity, is played by Shia LeBeouf (Disney’s Even Stevens). Midnite, played by Djimon Hounsou (E.R.), is a president of some sort of supernatural secret society. Despite his vow to remain neutral, Constantine’s “charm” eventually convinces him to apply his considerable talents on the side of good.

Constantine is a modern-day version of the timeless tale of good versus evil, taken from the comic book Hellblazer. Although other comics have successfully made the transition to the big screen, perhaps this is one movie that should have remained a comic.

[© 02/19/2005]

My Take on the Movies
A Mini-Review of
LACKAWANNA BLUES
By: A. L. “Toni” Anderson

Lackawanna Blues is an original HBO film (2005), which first aired on February 12 and is being re-aired throughout this week. It is based on the life of screenwriter Ruben Santiago-Hudson, and tells the story of his youth spent in the early 1960s in Lackawanna, New York (near Brooklyn). The film is co-executive produced by Halle Berry and stars S. Epatha Merkerson (Law & Order) as Nanny and Marcus Carl Franklin as Ruben. It features an entire cast of notable Black actors, including Louis Gossett Jr., Ernie Hudson, rapper-turned-actor Mos Def, singer Macy Gray, Terrence Dashon Howard (The Best Man - 1999), and Delroy Lindo, numerous stars whose credits are too lengthy to list here.

The film opens with an aged Nanny on what appears to be her death-bed. After a middle-of-the-night telephone call, a grown-up Ruben rushes to her side, and attempts to coax her back into the land of the living by his sheer will. The story is told mostly through flashbacks, to when Ruben was a small child left in his room alone by his mom (Carmen Ejogo). Neither his mom nor his dad (Jimmy Smits) is quite fit to take care of him, and so he devolves into the care of Nanny, who has previously lost a child of her own.

Ruben’s childhood is primarily lived in a rooming house owned by Nanny. Through this rooming house (and Ruben’s life) a huge cast of characters passes, each of whom apparently has something “missing.” Mr. Lucious (Lindo) is missing an arm which he lost as a result of defending a woman’s honor. The blues singer is missing his eyesight (and several teeth). Macy Gray’s character, Pauline, seems to be missing half of her mind.

The real theme of the movie is “community.” Each transient in the rooming house (made up of a composite of the many people the real Nanny took in and nurtured over time) provides an essential ingredient in Ruben’s development. Mr. Paul (Jeffrey Wright) teaches Ruben about the history of the civil rights movement, and Ruben eats it all up as though it were candy.

We are privy to the regular Friday night fish fry, with its bright colors and sounds, and we can almost smell the food. Even though we are looking through a child’s eyes, we also are privy to the night life which takes place in something akin to a juke joint, where love is as sharp and hard as a razor’s edge.

As is customary in Black films, life in Lackawanna is permeated with music (by Meshell Ndegeocello), hence the title Lackawanna Blues. But as in our everyday lives, the “blues” is also infused with joy. Unfortunately, it often does not last. By the time Ruben grows up and returns home, the community has turned into a burned-out shell, lined by blank storefronts and empty houses. What is truly missing here is a narrative of Ruben’s intervening years. We have no sense of what has transpired to turn this formerly vital space into a dead one.

Despite this seemingly minor flaw, I very much enjoyed this nearly all-Black film, which is directed by George C. Wolfe. If you get the chance, check it out!

[© 02/15/2005]

My Take on the Movies
A Mini-Review of
ASSAULT ON PRECINCT 13
By: A. L. “Toni” Anderson

Assault on Precinct 13 is an action-packed police thriller allegedly starring Ethan Hawke (Training Day - 2001), but we all know the real star is Laurence Fishburne. This is a remake of a 1976 John Carpenter film of the same name.

Fishburne’s character, Marion Bishop, is a ruthless cop-killer who is wanted by both the criminals and the police, but for very different reasons. A chilling scene at a Catholic mass early in the film illuminates the interior of his soul. Fishburne is perfectly cast as the underworld czar who believes in taking his enemies down with him, but who keeps the bargains he makes, even with his adversaries.

Ethan Hawke’s character, Detroit P.D. Sgt. Jake Roenick, is a former undercover officer who experiences a life-altering situation early in the film. Without disclosing too much of the plot, Maria Bello plays the police psychologist who is assigned to help him resolve his “issues.”

Other police personnel include Brian Dennehy, who breaks out of his Court TV movie mode to play an aging officer scheduled for imminent retirement, and Dorian Harewood (whom I best recall from The Jesse Owens Story - 1984 and Sparkle - 1976), a uniformed officer who becomes an early casualty.

An assortment of drug addicts, petty thieves, and gang-bangers fill out the cast, most notably portrayed by John Leguizamo and rapper Ja Rule.

Precinct 13 is a beat-up, run-down building also scheduled for retirement; everything that could possibly be of use has been moved out or shut down, in preparation for a move to a new precinct building. To top it off, there is a huge snow storm that hinders visibility, prevents access, and eliminates escape as a possibility. [Why the psychologist is running around in a spaghetti-strap dress and high-heeled sandals is beyond me.]

The assault unit consists of a team of well-trained and well-equipped murderers seeking to eliminate Bishop, who knows (and is willing to disclose) more than is healthy for him and for his enemies.

This is a good film, if you like explosions, violence, betrayal and intrigue. If you want subtlety and romance, this may not be for you. What keeps the viewer interested is guessing who has sold out Bishop, and ultimately, all of the prisoners at Precinct 13.

This film is a “Why Not?” production (wink).

[© 02/01/2005]

My Take on the Movies
A Mini-Review of
ARE WE THERE YET?
By: A. L. “Toni” Anderson

Are We There Yet is a silly new comedy starring my man, Ice Cube. I knew before I went to see the movie that “their” reviews were bad, but I did not let this deter me. I had hoped for something along the lines of Barber Shop or Friday. Wrong! I should have taken a clue from the fact that two of the major characters were children. Hello! It turns out that children are the target audience in this farce; my grandson loved it. That fact did not, however, stop this movie from being the #1 box office draw for the weekend.

Ice Cube is Nick, a former minor league ballplayer who owns a sports memorabilia store. Across the street is a florist’s shop, where he sees and falls immediately in love with the beautiful Suzanne (Nia Long). He learns, too late, that she is the divorced mother of small, bratty kids (played by Aleisha Allen and Philip Bolden).

What really separates this movie from the previous Ice Cube comedies is the “physical” humor, Ã la Jerry Lewis. Nick spends nearly as much time on the ground as he does in his expensive new, but ill-fated, Lincoln Navigator. Most of the obstacles he encounters while attempting to transport Suzanne’s lovable little monsters are entirely predictable. I’m not completely certain I haven’t seen some of them before, somewhere….

The kids miss their absentee father and fervently hope their parents will reconcile. Naturally, they hate Nick, and the feeling is mutual. The contest is on, with the expected results!

This slightly funny film has the necessary sappy ending that I anticipated. It is almost bearable, except that its 1-1/2 hour running time is about 30 minutes longer than I could easily tolerate.

My second favorite part of the movie was attempting to figure out two mysteries: 1) who provides the voice for the bobble-head of baseball legend Satchel Paige (Tracy Morgan); and 2) who plays the aging but still attractive babysitter of the terrible two (Star Trek Lieutenant Uhura, Nichelle Nichols).

My most favorite part? You guessed it — looking at Ice Cube! Although he is not quite ready for Shakespeare, the boy is still foine!

[© 01/24/2005]

My Take on the Movies
A Mini-Review of
MILLION DOLLAR BABY
By: A. L. “Toni” Anderson

Million Dollar Baby is a fictional movie produced and directed by Clint Eastwood, who also plays the main character, Frankie Dunn. Clint (whom I have loved since the days of “Dirty Harry”) is an aging former fight trainer and cut-man, with major unresolved issues concerning his daughter (who is never shown onscreen). Maggie Fitzgerald (Hilary Swank) is a hillbilly waitress who has nothing in her life except her drive to become a fighter. Frankie has no desire to train a “girlie” boxer, and does not even want her in his gym. That would be that, were it not for the intervention of Eddie Dupris (Morgan Freeman), a has-been fighter who has gone one round too many in his own career.

The story is narrated by Eddie, but we don’t find out until the end to whom he is directing his monologue. He avers that a fighter must have “heart,” among other attributes, but it is clear that “heart” is what separates the fighters from the talkers. The film has plenty of heart.

The bond between Frankie and Maggie becomes ever stronger, despite a series of maneuvers by Frankie to unload Maggie onto another manager. She sees some­thing of her own deceased father in him, however, and manages to hang on to the bitter end. It is small wonder that she needs family to hold onto, after we are introduced to her misguided mother, whose main concern is not to jeopardize her welfare and Medicare benefits.

As Maggie’s career rises, so too do the stakes, and eventually she is fighting for a split of a million dollar prize, which to her opponent (known as “The Blue Bear”) is apparently worth more than life.

The film is based on a collection of short stories from Rope Burns: Stories from the Corner, authored by a former manager and cut-man using the pen name F.X. Toole. Although the stories purport to be fictional, if they are not actually taken from real life, they are brought to life, nonetheless, by the cast of this film.

[© 01/18/2005]

My Take on the Movies
A Mini-Review of
COACH CARTER
By: A. L. “Toni” Anderson

Coach Carter is based on the true story of Ken Carter, a former high school basketball star and multiple record-holder who returns to Richmond High to coach a losing team of would-be losers-at-life. Samuel L. Jackson does his usual fine job as the “miracle” Coach who turns the team around. The rest of the cast is filled out by a bunch of mostly unknowns, with the exception of Robert Ri’chard (who currently is a regular on UPN’s series One on One) and singer Ashanti, who should not leave her day job.

The film is full of heart, touching lightly on the private lives of a handful of the athletes, one of whom is the Coach’s own son whose greatest wish is to play for his dad. It seems a realistic, if gritty, view of the Richmond we see on today’s news, and whose reputation as “hard core” remains intact.

There are obvious parallels between Coach Carter and Lean on Me (1989), and some of the characters (notably the parents of the high school students) are completely interchangeable. The story is not a new one; we all remember teachers and coaches from our own childhoods who went above and beyond, to give back to our com­muni­ties. And despite Coach’s protestations to the contrary, the movie does some­how resemble a fairytale. But all in all this is a very good film, and well worth seeing.

[© 01/15/2005]

My Take on the Movies
A Mini-Review of
HOTEL RWANDA
By: A. L. “Toni” Anderson

This evening I went to Berkeley to see the new movie Hotel Rwanda, starring Don Cheadle (whom I fondly recall as "Mouse" in Walter Mosley's Devil in a Blue Dress). As I suspected, "limited engagement" means "not in Oakland." Perhaps it is assumed that inner city dwellers cannot be interested in such things.

The movie is based upon the true-life story of Paul Rusesabagina, the Hutu manager of a Belgian hotel in Rwanda at the time when the Europeans were de-colonizing the country. After apparently setting up divisions between the Rwandans who had been designated as "Hutu" (field slaves) and those designated "Tutsi" (house slaves), the Europeans eventually went home, leaving the Hutu in charge. The results were predictable. [Notice any parallels closer to home?]

The resident UN forces (headed in the movie by Nick Nolte of Prince of Tides fame) did nothing to stop the bloodshed of more than one million Africans and the attempted extermination of the Tutsis.

The film was excellently acted, and is an extreme consciousness-raising experience. I highly recommend it.

[© 01/10/2005]