Thursday, April 11, 2019

REVIEW: Working Woman

It’s been almost two years since the #MeToo movement exploded as a major cultural movement in the wake of the Harvey Weinstein scandal. Unsurprisingly, this zeitgeist has begun to influence the stories being told on film, with several recent documentaries highlighting major cases of sexual abuse. Narrative features are also shedding light on this pervasive issue, including Michal Aviad’s shrewdly crafted Israeli drama “Working Woman.”

Read more at The Awards Circuit

INTERVIEW: Sheldon Shepherd

With the release of Idris Elba’s debut feature “Yardie“, authentic Jamaican culture gets a rare showcase on the big screen. Among its cast of British and Jamaican actors, actor/musician Sheldon Shepherd stands out as someone who fully embodies the island’s distinctive spirit. On the eve of the film’s arrival in US theaters, I spoke with Shepherd about the experience of making the film and his creative process.

Read more at The Awards Circuit

REVIEW: Yardie

From “Get Out” to “A Star is Born”, there seems to be an increasing trend of actors making successful transitions to directing. Making an attempt to join that growing list is Idris Elba with his directorial debut “Yardie“, which premiered at the 2018 Sundance Film Festival. Based on the novel by Victor Headley, this gangster drama is rooted in the streets of Jamaica, telling a familiar tale of violence and revenge.

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REVIEW: 3 Faces

As is typical of his filmography, Jafar Panahi’s “3 Faces” begins without a “based on a true story” disclaimer. This latest effort from the beleaguered director once again continues his penchant for palpable realism, offering a fervent critique of his native Iran. As pointed as ever, “3 Faces” poignantly examines the tensions within a society where art and culture don’t always make a perfect match.

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Early in Frances Anne Solomon’s “Hero: Inspired by The Extraordinary Life and Times of Mr. Ulric Cross,” Nicola Cross – daughter of the film’s titular subject – states that she wishes she had explored her father’s life story before his death. But as the saying goes, better late than never. And after viewing the subsequent two hours of this globetrotting saga, audiences will likely agree that this film is overdue. An ambitious documentary-narrative feature hybrid, “Hero” showcases an accomplished diplomat/lawyer/decorated war veteran whose untold story deserves to be discovered.

Read more at The Awards Circuit


Recently Oscar nominated for Best Documentary Short, “Black Sheep” tells a powerful true story about racism and identity in the United Kingdom. Its subject is a young black man named Cornelius Walker, who recalls his traumatic childhood experiences with violent racism after moving from London to a predominantly white housing estate in Essex. Deftly mixing interviews and reenactment, “Black Sheep” is one of the impressive contenders in its Oscar category. In speaking with director Ed Perkins, however, he revealed that the idea for the film arose unintentionally from a casual conversation.

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Top 10 American Remakes of Foreign Films

With this week’s release of “Miss Bala” and “The Upside” earlier this month, American remakes of foreign films are a hot trend in Hollywood right now. Of course, this is nothing new, as American filmmakers have long borrowed from world cinema since the earliest days of the medium. While many of these fail to live up to the reputation of the original films, there are others which have achieved enough popularity to become known as the definitive versions of their stories. As we anticipate a year slated to bring even more remakes, here’s a look back at 10 such outstanding American Remakes of Foreign Films which either equaled or surpassed their predecessors.

Read more at The Awards Circuit

Tuesday, February 26, 2019

And the Oscar goes to... Green Book

As you've probably heard already, the Oscars were held on Sunday, with "Green Book" taking the top prize of Best Picture, to go along with wins for Best Supporting Actor and Best Original Screenplay. Frankly, it proved to be a disappointing end to a rather surprising and satisfying night. Indeed, I only predicted a dismal 14 out of 24 categories correctly. But ultimately, I don't mind being wrong if it means historic wins for the Black Panther team and a shocking upset for the wonderful Olivia Colman in Best Actress. As we finally put the 2018 film year to rest, here's the final rundown of the year's best, according to the Academy:

Green Book

Alfonso CuarĂ³n, Roma

Rami Malek, Bohemian Rhapsody

Olivia Colman, The Favourite

Mahershala Ali, Green Book

Regina King, If Beale Street Could Talk

Sunday, February 24, 2019

OSCAR WATCH: Indie Spirit Awards

In a refreshing change of pace from awards season, the Independent Spirit Awards shone a spotlight on some of the year's unheralded films. At the end of their relaxed ceremony on the beach in Santa Monica, it was Barry Jenkins' stunning "If Beale Street Could Talk" which walked away with Best Feature, Best Director and Best Supporting Female. As a member of Film Independent I was quite pleased with the results, with a number of my votes* going towards the eventual winners. Here is that full list below:

Best Feature
If Beale Street Could Talk*

Best Director
Barry Jenkins, If Beale Street Could Talk*

Best Female Lead
Glenn Close, The Wife

Best Male Lead
Ethan Hawke, First Reformed

Best Supporting Female
Regina King, If Beale Street Could Talk

Best Supporting Male
Richard E Grant, Can You Ever Forgive Me?*

Saturday, February 23, 2019


On the eve of Hollywood's biggest night, it felt appropriate that I finally weigh in on one of the presumed Oscar frontrunners. That controversial film is none other than Peter Farrelly's "Green Book", nominated for 5 Academy Awards including Best Picture, Best Editing, Best Actor, Best Supporting Actor and Best Original Screenplay. Inspired by a true story, this dramedy follows two men on a life-changing road trip that harkens back to awards contenders of yesteryear.

Indeed, to paraphrase by mother's first impression of the film, "Green Book" is like one of those "old-time" movies. Starring Mahershala Ali and Viggo Mortensen in roles that could have been played by Sidney Poitier and any of the notable Italian-American stars of the 20th century respectively, it's a message movie about racial harmony between a black man and a white man. Ali plays esteemed pianist Don Shirley, who is embarking on dangerous tour through the Jim Crow South and requires a driver/bodyguard to help him along the way. In steps Mortensen's Tony Lip, a brutish - and racist - Italian-American bouncer who is out of a job when his club closes down. Due to his reputation for handling unruly situations, Lip's services are solicited for Shirley's tour. And after some hesitation, Lip decides to take the gig, as this pair of New Yorkers head down South and strike up an unlikely friendship.

Much has been said about the film's old-fashioned depiction of race relations, where racism is essentially "solved" through communication and walking a mile in another person's shoes. Director Peter Farrelly even said as much his acceptance speech at the Golden Globes. Understandably, the film's detractors took issue with this simplification of America's tramautic racial history.

Yet when I watched the film, I found myself surprisingly taken with its story. Although I concur that its inevitably happy ending is perhaps overly idealistic, the road it takes to get there is filled with many bumps along the way which truthfully reflect the pervasive intolerance of this time and place. Told in an episodic structure as the duo makes their way through the scheduled gigs, Shirley's experience is marred by a series of humiliations, one of which turns violent.

Suffice it to say, I didn't find it to be such an offensive portrayal of American history. Instead of approaching it as a broader social commentary, I accepted it as a more modest tale of two men whose friendship defied all expectations. Without a doubt, my favorable response to the film was aided significantly by the captivating duo at the heart of the story. The contrasting performances from Mahershala Ali and Viggo Mortensen truly make the film, with the former's poise and eloquence clashing with Mortensen's broad, crass characterization. Together, their chemistry is a "yin and yang" that keeps you engaged in the story and invested in the characters. Ultimately, "Green Book" won't be making any all-time best lists, but I found a sense of comfort in watching two talented actors at work. Outside of all the noise that is awards season, this is harmlessly middlebrow entertainment that doesn't deserve all this animosity.