Director Nia DaCosta ("Candyman '21," "The Marvels") adapts Henrik Ibsen's 19th century theatrical play 'Hedda Gabler,' transplanting it to the 1950's, diversifying its all-white cast with Tessa Thompson ("Creed" and "Thor" franchises) in the lead, and changing the gender of a key character (Nina Hoss' Lovborg) among Hedda's past and wannabe lovers (some more queer than others) crowding a lavish society party. Unfolding during an evening of gradually increasing stakes for the care-free and unrestrained newlywed, "Hedda" oozes sexuality from every casual lighting of a cigarette, glances from horny men (Nicholas Pinnock) and liberated women (Imogen Poots, Mirren Mack) who can't conceive of the opposite sex as independent-thinking beings, and charged conversations sprinkled with suggestive dialogue. A Brad Pitt-produced prestige picture that wound up as a Prime Original, "Hedda" frees its black women director/star from horror/superhero movie jail to flex their dramatic/darkly comedic talents. The jazzy, drum-heavy percussion music (enhanced by ASMR vocals), gorgeous cinematography and exquisite production design go a long way to sell this as a potent "Great Gatsby"-meets-"Carol" combo... only a lot more black/queer than the originals. 4 CHAMPAGNE BOTTLES COOLING OFF IN THE ICY INDOOR LOBBY FOUNTAIN (out of five).
A trio of professional fashion shoplifters (Keke Palmer, Taylour Page and Naomi Ackie) live for their 'fashion-forward philanthropy' of reselling expensive clothes at affordable prices, even if it means living in an abandoned chicken restaurant without running water. After being bad-mouthed in the media by fashion designer and distinguished-by-the-press businesswoman Christie Smith (Demi Moore), the 'boosters' decide to get back at Smith by targeting her single-color coordinated stores for boosting, then the company itself by going after its low-wage earning Chinese suppliers. Just as he did with his impressive 2018 debut feature "Sorry To Bother You," Boots Riley has a very simple premise that could be easily spoiled without ruining the fun experience of actually watching it. It's the mad strokes of creativity Riley comes up with (Christie's heavily-inclined office building) while telling his stories (stop-motion gang of villains, miniature car chases, puppet monsters, etc.) that, combined with eye-catching production design (Christopher Glass) and a peppy soundtrack (by the Tune-Yards duo), that give "I Love Boosters" the feeling of being the second coming of Charlie Kaufman... only black. 😎 I'm not crazy about "ILB" for its pro-union, fashion-conscious, LGBTQ-friendly aspects... but the Boots Riley fun factor goes a long way to make them palatable. 3.25 30-SECOND LUNCH BREAKS (out of five).
Part road trip adventure through the US South, part bloody revenge tale and all African-American sisterhood bonding, Aleshea Harris' feature-film writing/directorial debut (based on her 2018 award-winning play) makes for a terrific thriller if you have the stomach for the dark places it goes to. Twin sisters Racine (Kara Young) and Anaia (Mallori Johnson), the latter disfigured by a fire when she was little, are asked by their dying mother Ruby (Vivica A. Fox) to kill their father for beating her up and starting the fire that burned both mother and daughter. Anaia is hesitant to do as 'God' (their nickname for mom) asks of them, but Racine jumps into the plan and drags her sister along. Visualizing with subtitles how the sisters know what the other one's thinking or about to say (cute), the duo run into trouble (like trying to find out who their father is and where he lives) as they run into colorful-but-capable-of-violence people touched by the same man's darkness. Mykelti Williamson stands out as a lawyer who can point the sisters in the right direction. The denouement of "Is God Is" feels uplifting, which is odd given revenge proves to (a) not be worth it and (b) the key to the twins establishing their own separate identities. Great cinematic food for thought, and a damn good revenge flick. 3.85 ROCK 'EM, SOCK 'EM SWINGING SOCK ROCKS (out of five).
108.- HEDDA (2025, AMAZON PRIME)
ReplyDeleteDirector Nia DaCosta ("Candyman '21," "The Marvels") adapts Henrik Ibsen's 19th century theatrical play 'Hedda Gabler,' transplanting it to the 1950's, diversifying its all-white cast with Tessa Thompson ("Creed" and "Thor" franchises) in the lead, and changing the gender of a key character (Nina Hoss' Lovborg) among Hedda's past and wannabe lovers (some more queer than others) crowding a lavish society party. Unfolding during an evening of gradually increasing stakes for the care-free and unrestrained newlywed, "Hedda" oozes sexuality from every casual lighting of a cigarette, glances from horny men (Nicholas Pinnock) and liberated women (Imogen Poots, Mirren Mack) who can't conceive of the opposite sex as independent-thinking beings, and charged conversations sprinkled with suggestive dialogue. A Brad Pitt-produced prestige picture that wound up as a Prime Original, "Hedda" frees its black women director/star from horror/superhero movie jail to flex their dramatic/darkly comedic talents. The jazzy, drum-heavy percussion music (enhanced by ASMR vocals), gorgeous cinematography and exquisite production design go a long way to sell this as a potent "Great Gatsby"-meets-"Carol" combo... only a lot more black/queer than the originals. 4 CHAMPAGNE BOTTLES COOLING OFF IN THE ICY INDOOR LOBBY FOUNTAIN (out of five).
109.- I LOVE BOOSTERS (2026, THEATER)
ReplyDeleteA trio of professional fashion shoplifters (Keke Palmer, Taylour Page and Naomi Ackie) live for their 'fashion-forward philanthropy' of reselling expensive clothes at affordable prices, even if it means living in an abandoned chicken restaurant without running water. After being bad-mouthed in the media by fashion designer and distinguished-by-the-press businesswoman Christie Smith (Demi Moore), the 'boosters' decide to get back at Smith by targeting her single-color coordinated stores for boosting, then the company itself by going after its low-wage earning Chinese suppliers. Just as he did with his impressive 2018 debut feature "Sorry To Bother You," Boots Riley has a very simple premise that could be easily spoiled without ruining the fun experience of actually watching it. It's the mad strokes of creativity Riley comes up with (Christie's heavily-inclined office building) while telling his stories (stop-motion gang of villains, miniature car chases, puppet monsters, etc.) that, combined with eye-catching production design (Christopher Glass) and a peppy soundtrack (by the Tune-Yards duo), that give "I Love Boosters" the feeling of being the second coming of Charlie Kaufman... only black. 😎 I'm not crazy about "ILB" for its pro-union, fashion-conscious, LGBTQ-friendly aspects... but the Boots Riley fun factor goes a long way to make them palatable. 3.25 30-SECOND LUNCH BREAKS (out of five).
110.- IS GOD IS ('26, THEATER)
ReplyDeletePart road trip adventure through the US South, part bloody revenge tale and all African-American sisterhood bonding, Aleshea Harris' feature-film writing/directorial debut (based on her 2018 award-winning play) makes for a terrific thriller if you have the stomach for the dark places it goes to. Twin sisters Racine (Kara Young) and Anaia (Mallori Johnson), the latter disfigured by a fire when she was little, are asked by their dying mother Ruby (Vivica A. Fox) to kill their father for beating her up and starting the fire that burned both mother and daughter. Anaia is hesitant to do as 'God' (their nickname for mom) asks of them, but Racine jumps into the plan and drags her sister along. Visualizing with subtitles how the sisters know what the other one's thinking or about to say (cute), the duo run into trouble (like trying to find out who their father is and where he lives) as they run into colorful-but-capable-of-violence people touched by the same man's darkness. Mykelti Williamson stands out as a lawyer who can point the sisters in the right direction. The denouement of "Is God Is" feels uplifting, which is odd given revenge proves to (a) not be worth it and (b) the key to the twins establishing their own separate identities. Great cinematic food for thought, and a damn good revenge flick. 3.85 ROCK 'EM, SOCK 'EM SWINGING SOCK ROCKS (out of five).
BONUS: 30 DAYS OF PINK PANTHER & FRIENDS, DAY 19!
ReplyDelete111.- THE PINK PANTHER: PINK PICTURES (10/21/1978, DVD). Streaming on YOUTUBE.
First 'Pink Panther' short to simultaneously debut on both television and theaters, which would gradually transition to TV first. The Panther walks through the woods trying to get nature pictures of animals in the wild with his camera, leading to not-great encounters with angry woodpeckers, hungry crocodiles, upset bees, a hissy butterfly, a disturbed bear and a Pepé Le Pew lookalike. It's typical Panther cartoon business, with the most notable difference from previous shorts being the music score by Steve DePatie. It's all over the place and appropriately goofy, but lacks the consistent quality of the music in shorts made from 1965 to 1977. 3.4 PINK PANTHERS TURNING BLUE FROM HOLDING BREATH UNDERWATER TOO LONG (out of five).