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Ray (2004)
An Instant American Classic
Every 10 years or so there's a work of cinematic beauty that reminds us as African-Americans how glorious our history is and how tremendous our contributions have been. 'Sounder' comes to mind. 'A Raisin in the Sun' inspires equally deserved comparisons. I couldn't possibly be so remiss as to not mention 'The Color Purple.'
'Ray' is a landmark film and cinematic masterpiece, the silver-screen jewel for this generation.
There have been many film biographies chronicling the life and times of influential, compelling figures in entertainment and African-American history. There have even been similarly themed biographies detailing the seeming inextricable link between creative genius and personal tragedy.
Many of these movies had Oscar-worthy performances. Who wasn't moved by Denzel Washington's portrayal of Malcolm X or Ruben 'Hurricane' Carter? Who could ignore the breathtaking performance of Angela Bassett as Tina Turner? In fact, to this day, the eerie similarities between Halle Berry and Dorothy Dandridge are inexplicable.
I mean, other than Oscar voters
who could discount these great performances?
Even Will Smith as Cassius Clay/Muhammad Ali was nothing short of brilliant.
To be sure, we'll always remember these movies and the stunning performances therein.
But
All pale in comparison to the performance turned in by Jamie Foxx as the late, legendary singer Ray Charles. Every mannerism and idiosyncrasy were keenly accounted for; from the peculiar curvature of Ray's mouth as he sung to Ray's signature stiff, swaying, semi-ambulatory gait. From Ray's staccato, country speech pattern to his distinctive style of moving his hands about the keyboard, Foxx did it all
perfectly.
This performance is awe-inspiring and unparalleled in nature. It is not only one of the greatest in Black cinema history
but in American cinematic history.
Jamie Foxx wasn't 'just like' Ray Charles. This wasn't some great 'impression' or imitation of Ray Charles.
He WAS Ray Charles.
That's not hyperbole, just legitimate reasons as to why Jamie Foxx deserves the Academy Award for Best Actor.
Granted, Foxx has neither been nominated nor have I seen possibly the other yet-to-be-named nominees. Yet I submit to you
I dare you to find another display of acting genius this year that exceeds Foxx's. Another omission by Academy voters this time would be shameful beyond mention.
What makes this movie special is more than just Foxx's performance. If you remember Ray or are familiar with archive footage you better appreciate the directorial vision of Taylor Hackford. Many of the 'performance' scenes and camera angles mimic the original footage and allow a very clear comparison of Jamie Foxx to Ray Charles. It was like watching the actual footage.
No
it was like watching Ray.
'Ray' is not just the life of Ray Charles set to film; it's also a lesson in American history.
Foxx's incredible acting talent wasn't the only one worthy of mention in this film. Actress Regina King's performance as Ray's mistress and backup singer, Margie Hendricks was as powerful as it was impressive. The on-screen chemistry between Foxx and King is remarkable and arguably the most important reason why this movie succeeds where other films in this genre have not. Rarely do you get the 'film' to live up to the lead actor(s) performance. 'Ali' was a perfect example of this seeming inability to 'get it ALL right.'
My next question is when Regina King will get her opportunity to have her own career-defining and starring role; one that we'll be able to applaud for years to come. She's far too talented for it not to happen.
It needs to happen.
A 'Best Supporting Actress' nod for this role is not out of the question either. She was simply fabulous and should be acknowledged accordingly.
If you wish to see more meaningful Black film, support this movie. 'Ray' is proof that we are better than 'Soul Plane' and all of its variations. 'Ray' is how we show Hollywood that we want and deserve more from our movies
not a single 'N-word' in the 2.5 hour movie. 'Ray' is a detailed statement as to why African-American men love their mothers so much. 'Ray' is a tribute to the strength of single-mothers and their single-minded love for their children. Most importantly, 'Ray' is a fitting farewell to one of the greatest entertainers the world has ever seen.
Mr. 3000 (2004)
This is movie built for laughs, not authenticity...and is quite funny.
'Mr. 3000' is a flat-out funny movie. There isn't any need for hyperbole or poetic prose in praise of this movie. There's no need to build up to a climactic conclusion, it can be said right off the top. Bernie Mac is a funny, funny man and this is a very funny movie.
Bernie Mac is 'Stan Ross', an over-the-hill baseball star who returns to the game at age 47 to collect 3 hits to reach 3000 and 'rightfully' earn the title of 'Mr. 3000.'
'Mr. 3000' is not thought-provoking in the way 'The Natural' was or timeless like 'Field of Dreams' will always be. In truth, this movie was meant to be neither or those things. Yet and still, Bernie Mac shines vibrantly as the star in this movie. The messages that the movie tries to impart are recognizable enough but the main intent is to garner laughs.
Mission accomplished.
Often times, comedians in their first leading role try to do 'too much' or choose the wrong vehicle in which to showcase their talents. Bernie Mac manages to avoid this common pitfall and should be rewarded accordingly.
The comparisons to other baseball movies are valid on some levels but in many ways are not. Undeniably, the supporting cast in 'Mr. 3000' is not as humorous or interesting as was the case in 'Major League.' At the same time, 'Major League' didn't have a singular, standout character; it was an ensemble cast.
This movie is all about Bernie Mac. In a way, it's a microcosm of the underlying storyline in 'Mr. 3000' as all eyes are to remain on 'Stan Ross.'
He is the focal point, the center of attention and it works well in a thematic sense.
Fans of Bernie Mac will get exactly what they want from him and even a few more surprises. Not all comedians are successful in delivering physical comedy. Many are forced to rely solely on good comedic timing to ensure laughs. Mac has obviously grown and stepped out as a comedian. He is not just a stand-up comedian 'trying to be funny' in the midst of a movie. He has taken the time to widen his scope of comedic skills
a true student of his craft.
'Mr. 3000' opens nationwide on September 17 and is distributed by Touchstone Pictures.
Innocence (2004)
Great movie - Regardless of Anime
The Japanese anime genre is like no other. As seemingly 'cliché' as that might sound, there might not be a more appropriate description or argument in support of this movie specifically. The artwork and visual landscapes of the genre have long outdistanced their western counterparts. Another distinct aspect of anime is the level of story structure sophistication that has continued to evolve and improve. The only thing 'cartoonish' about Japanese anime these days is the physical artwork. Everything else is emblematic of live-action movie sensibilities, from the subject matter to the depth of characters and story development.
The Ghost in the Shell 2: Innocence is, without hyperbole a landmark creation. Its inventive combination of traditional and computer generated animation sequences is both amazing and refreshing. It stays within the tradition of more recent anime where the storyline is meant to be imaginative as well as adult in nature yet arguably goes a few steps further. This movie is not meant for children.
Writer/Director Mamoru Oshii in this piece tells the story of life in 2032, when the line between humans and machines has been blurred almost beyond distinction. A cyborg police officer for a covert agency has been assigned the task of finding out why certain female robots have turned on their owners and slain them.
The comparisons to 'I, Robot' are glaring on a surface level, but undeserved after closer inspection. This movie is far more interesting, introspective and philosophical in its profundity. It delivers its message on the nature of being human and our desire to subsequently understand it with refreshing accuracy.
Its visual imagery and premise are reminiscent of 'Blade Runner.' The language is akin to 'The Matrix.' In fact, there are many familiar, classic SCI-FI elements; but what is most unfamiliar is the depth of its delivery. This film is smarter than both of the aforementioned, no hyperbole. In fact, it might even be 'too-smart' for some people only looking for the elements of excessive violence and gore sometimes found within the genre. If you're in the mood for a thought-provoking movie (that happens to be anime), this is a must see.
Catwoman (2004)
Catwoman: Barely Scratches the Surface
'Catwoman' is not a typical sequel by any means. Although its origins are firmly embedded in the 'Batman' comic franchise; there were no references on any level to the Caped-crusader or the city in which he set up shop. Most 'sequels' enjoy the luxury of not having to waste precious screen time to introduce and develop characters through back-story. Often times in a 'sequel', the backdrop has already been laid out and all that needs to be presented are the harrowing situations and diabolical evil foils confronting the protagonist.
'Catwoman' didn't enjoy any of these luxuries and in turn created for itself more obstacles to overcome. Deviating from the original storyline of 'Catwoman' with the character and story of 'Selina Kyle'; an all-new set of characters and relationships were created to tell a 'new' story of the feline burglar.
This 'Catwoman' is the story of a Hedare Beauty cosmetics company executive who through revenge and divine feline intervention finds the power and motivation to avenge her own murder. (I couldn't help notice the seeming alliterative link between 'Hedare Beauty' and 'Halle Berry').
Halle Berry is arguably in uncharted waters; deep, uncharted waters with this endeavor. The responsibility of delivering a successful summer blockbuster is tremendous. Star power is most often measured with respect to your cinematic resume generated between May and August. Many careers have gone in divergent directions because of successes or failures during these few months.
Unlike 'X-Men', there was no ensemble cast surrounding Halle Berry. As well, there will always be a plethora of action films targeted at the same demographic, the same pockets of disposable income. The competition is stiffer and the stakes are considerably higher.
The good news is that Halle Berry did her part. The bad news is that many of the parts around her either did not fit or just couldn't deliver.
There will be no denying that Berry delivers a spirited and sensual performance as the conflicted Patience Phillips as she undergoes the metamorphosis into Catwoman. As well, there shouldn't be any denying that both the script and supporting cast were ill-suited to make 'Catwoman' as dynamic as it could have been
as dynamic as it should have been.
Love interest, Detective Tom Lone (Benjamin Bratt) seemed uncomfortable and mismatched against Berry's demonstrative screen presence. It was increasingly hard to believe that the two lead characters were really as smitten with one-another as the story led you to believe. After awhile, it seemed that the pair was better suited as 'good friends' rather than of intimate disposition. Even a cliché moment atop a Ferris wheel couldn't change this fact.
A common thread of successful 'superhero' movies is that the 'hero' or 'heroine' has a worthy and truly diabolical adversary that he/she must overcome to save the day. George Hedare (Lambert Wilson) and Laurel Hedare (Sharon Stone) as Mr. and Mrs. 'bad guys' respectively were not it.
I must be honest, the idea of Stone and Berry in a
uh
'catfight' (damn it, I promised myself I wouldn't go there) seemed like delightful fodder. But Sharon Stone as the 'arch-villain' opposing Catwoman was no Doc Ock vs. Spider-man. The character of Laurel Hedare was a nasty individual, maybe even an all-around bad person with questionable moral character. But by no means was she truly diabolical or even formidable as an opponent. Sharon Stone was little more than a jilted lover/housewife with the all-too-familiar motive of revenge directing her actions. I would've rather seen Catwoman face Sharon Stone reprising her role as Catherine Tramell in 'Basic Instinct' or maybe even Demi Moore reprising the role of Meredith in 'Disclosure'. Now THOSE heifers were incontrovertibly evil! Hell, even Janet Reno after a congressional hearing, donning a villain-like leotard would have been intriguing...I think.
Maybe
maybe not. I'll get back to you on that one.
Anyhow
Any of those match-ups would have been a hot PPV card. This was not.
'Catwoman' was by no means a bad movie. It has impressive special effects and allows Berry to showcase herself in an action sense that few other movies have afforded a female lead. Her extensive stunt and martial arts training in preparation for this movie paid off convincingly. The lack of overabundant and obvious cutaways to stunt doubles allowed a sense of continuity and flow to the scenes. The CGI transitions weren't as seamless as those in 'Spider-man 2' or 'I-Robot', but again
that has everything to do with director Pitof and nothing to do with Berry.
This Catwoman character is arguably far sexier than Lara Croft on her best 'Tomb Raider' day and exhibited far more depth and range of emotion than any comic book character to date. Halle Berry did nothing to disparage the standard set by Eartha Kitt decades before and in some ways one-upped her.
Where 'Catwoman' fails, is in its storyline. It plodded along, weighed down by extensive back-story; revealed in explanatory dialogue, instead of inventive, expository storytelling. For an 'action' movie, far too much screen time was devoted to developing the character and life of Patience Phillips. When the transformation of Patience Phillips into Catwoman is complete, 'Catwoman' does move at a brisk and satisfying pace; relying on action instead of explanation.
If 'Catwoman' is to succeed, it's because the younger demographic will turn a blind eye to its plot shortcomings and dwell more on the performance of Halle Berry. In truth, that's not a bad thing at all. All eyes should be on Berry, as she manages to avoid coming across listless and unenthusiastic
as do many of those in the supporting cast. If 'Catwoman' is to fail, be sure that the blame will be placed squarely on Berry, although completely misguided and unjustly assessed.
'Catwoman' barely scratches the surface of its potential, but if fingers are to be pointed, they should point toward director Pitof and the attached writing team. Berry shines, despite the fact that most around her do not. At the same time, therein lies the overwhelming responsibility of starring in a summer blockbuster
all of the credit
or all of the blame. There's no in-between.
She Hate Me (2004)
Movie Review - 'You're Reaching Spike'
There's an old premise that the best storytelling is shown, not told. In terms of the latest Spike Lee Joint, 'She Hate Me,' no truer words have ever been uttered.
Jack Armstrong (Anthony Mackie) is a young vice-president of a pharmaceutical company on the verge of unveiling a vaccine for HIV, pending FDA approval. Through the nefarious actions of greedy senior executives, Jack finds himself pegged as the scapegoat for this drug that ultimately will not be approved and the subsequent tumble in company stock. Think Enron, Worldcom, et al. but Spike won't let you think for yourself, as he keeps their specific names prominently displayed throughout the movie with overt and pointed references. Margo (Ellen Barkin) who looked eerily like Martha Stewart only further illustrates this point.
In a scenario reminiscent of 'Enemy of the State,' Jack loses access to all of his finances and is 'forced' to consider alternative means of generating income. After an unexpected visit by his former fiancée he accepts her offer to become father of her child
her child and her lesbian lover's child.
$10,000 for 2 successful impregnations is the deal and Jack 'reluctantly' accepts. The next thing you know, he has lesbian women knocking at his door daily, five at a time, offering $10,000 each per impregnation.
If you've ever seen a 'Spike Lee Joint,' you're aware of the common threads woven into all of his movies. You come to expect certain elements and even certain actors. The fact that the supporting cast included such venerable thespians as Ossie Davis (Judge Buchanon), John Turturro (Don Angelo), Lonette McKee (Lottie) and Joie Lee (Gloria), while featuring a fabulous soundtrack by Terence Blanchard should be a surprise to no one. The fact that those actors, combined with Monica Belucci (Simona), Brian Dennehy (Chairman Church) and Woody Harrelson (Powell) didn't amount to a great movie should be tremendously surprising
and disappointing.
From the opening credits, Spike Lee's signature is everywhere. From the rich combination of jazz and orchestral sensibilities in the underlying music bed that set the tone and timbre of the movie, you know Spike Lee is here. From the blatant opening reference and disdain of President George Bush; you knew the direction this vehicle headed and who was at the wheel.
According to Lee, 'The story of 'She Hate Me' is very simple. It's about sex, greed, money and politics.'
Yes and no. It's about all of those things, but it's far from being simple.
The message to be delivered was loud and clear. Unfortunately, this message was one of at least 75 different and varied lessons 'She Hate Me' would offer to its viewers. Even more unfortunately, Spike chose oration for each and every 'message' in sermonizing character dialogue. Either Spike no longer respects his viewers enough to allow them to 'figure it out on their own' or that verbally bludgeoning them with his viewpoints (all 75 of them) is now considered a more viable storytelling alternative.
The story of 'She Hate Me' is ostensibly about Jack Armstrong and his attempt at getting out of one sticky situation by entering another. In fact, it's not. This movie is more about the relationships and realities of women in love with one-another. This movie is at its best when Spike demonstrates that regardless of gender or orientation; insecurity and jealousy are universal. The desires of family and fidelity are also universal, irrespective of familial unit structure. Most importantly, the need to be accepted unconditionally is a definitive trait in all of us. Those arguably were the most important messages in this movie and Lee is right on the mark.
Where 'She Hate Me' specifically missteps is that the story is from the point of view of an unsympathetic character. When Jack first started his new 'business' he supposedly needed money for the moment to counterbalance his frozen assets and continuing financial responsibilities. Yet 18 women, 19 children and some $180,000 later, neither Spike Lee, co-writer Michael Genet nor character Jack himself offers a reason as to why he continued such dangerous and fruitless indiscretions, for so long.
The characters and relationships most enjoyable in this movie were fleeting in nature; components remarkably and conspicuously absent after introduction for most of the film. Jack's relationship with his father Geronimo (played by Jim Brown) was engaging. The sight of football Hall-of-Famer Jim Brown playing a character fighting diabetes and to save his marriage simultaneously was moving. The newly evolving relationship of Geronimo with his son in the midst of the chaos around him was another meaningful subplot; one of many that Lee didn't revisit until nearly the end of the movie.
A monologue by Don Angelo (John Turturro) gave us another glimpse of Turturro's acting brilliance. John Turturro is a future Academy Award winner; it's just a shame this won't be the role that does it for him.
If there is an explanation as to why some sub-stories and sub-plots were not covered as deeply as others it would be the fact that there are so many characters, all of which feel compelled to tell their life story. In fact, there are just too many people to keep up with, too many to care about in the end. It's like juggling fiery bowling pins, where too much concentration on one leads to really bad consequences.
Visually, 'She Hate Me' pays homage to films of the 1970's, with its simplistic camera angles devoid of lighting tricks or steady-cams. The knowing use of varying hues and blurred frames was quite appealing stylistically, even cool. This, combined with great musical cues featuring tenor saxophone melodies was a nice tip of the fedora to the Film Noir genre.
'She Hate Me' is raw and gritty in its imagery, remarkable in its musicality and at times sensual in its delivery
but ultimately not a good movie.