Author: jbg

FATAL AFFAIR (2020)

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Directed By: Peter Sullivan 
Written By: Peter Sullivan & Rasheeda Garner
Story By: Peter Sullivan & Jeffrey Schneck
Cinematography: Eitan Almagor
Editor: Randy Carter 

Cast: Nia Long, Omar Epps, Stephen Bishop, Aubrey Cleland, Maya Stojan, KJ Smith, Estelle Swaray 

Ellie tries to mend her marriage with her husband Marcus after a brief encounter with an old friend, David, only to find that David is more dangerous and unstable than she’d realized.

This is supposed to be an erotic thriller Burt here are only glimpses of erotica maybe two scenes that seem to almost go there before cutting away. There is an opening sex scene where you barely see anything and might be the sole reason for this film Getting an R Rating. 

Sir of the film plays like a Lifetime television movie, one of the more sensationalistic and ridiculous ones. Where you can’t believe half of what is going on. Now mix that with usually these types of films that comes out towards the end of the summer African American cinema is a thriller that has an actress front and center with a recognizable supporting cast.

The film stars the beautiful and overly capable actress Nia Long and Omar Epps as the lead. Yet the film Feels 10 – 15 years too late for them or most of the audience to really get excited about their on-screen pairing.

Also, it already seems that he is obviously a psycho that the film barely holds any surprises. Especially when the film doesn’t.

Live up to the title. As there is no actual affair. There is almost one that ends up. It happens and sets this guy off. Not that he wasn’t crazy before that and worse as unhinged as he is. You would expect him to be more obvious to others.

Not to mention that her old college friends tell her how obsessed the guy was with her in college and the fact she never knew or recognized it seems a little hard to believe. Could see if she thought maybe he had changed or maybe if his psychosis was brought on by seeing her again and that was what triggered her would have been a stronger plot device. 

The fact that he is a tech expert just feels convenient to the story of course. Though when they keep saying his ex looks like Nia Long’s character. When we see her she definitely does not, so while it works story-wise when we see it with our own eyes it seems very far-fetched.

Just as the fact that her best friend would believe a guy she just started dating over her best friend of years.

The film tries to be a thriller but it just comes across as silly and fun and unintentionally funny. Worst of all it’s not even that sexy.

The characters who end up being killed are minor, not even really secondary. It seems like anyone who has less than 10 lines in this movie is fair game to end up murdered. 

Grade: F

JEAN OF THE JONESES (2016)

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Written & Directed By: Stella Meghie 
Cinematography: Kris Belchevski
Editor: Aren Hansen 

Cast: Taylour Paige, Sherri Shepherd, Gloria Reuben, Anna Hopkins, Erica Ash, Mamoudou Athie, Michelle Hurst, Demore Barnes, Cara Ricketts, Francois Arnaud 

Chaos ensues after the estranged patriarch of the Jones family dies on their doorstep. When the paramedic who answers their 911 call tried to win over acerbic Jean Jones, his attempts are disrupted by old conflicts that come to a boil at the funeral.

The film is short and sweet. Yet you want to see more. 

The film has a constant wit. With a wicked sense of humor that at times goes for the heartstrings but not without a good dose of resistance. That allows the film to be dramatic and funny at the same time.

The film shows how the absence of one person has affected the rest of them and how pettiness and secrets can damage even when not intended to 

The main character is an educated mess trying to find herself and is constantly literally tripping as in clumsy.

This film presents a modern metropolitan romance with a so-called urban twist. Seen through with characters of color. While being a family drama. 

The lead character is similar to the one on director Stella Meghie’s Other film after this THE WEEKEND only here a little sadder.

Like any New York-based romantic comedy with an ensemble cast. We get glimpses of their Individual dramas. Only this time amongst African Americans upper-middle class. Well, really more Caribbean Americans with a neurotic lead something we rarely see in African American films.

The film offers more of a light touch, not a tragedy where the characters are allowed to just be and not be perfect placeholders or model citizens. 

In the end, this is a fun film. That is as charismatic as its Script and leads 

GRADE: A- 

BABYMOTHER (1998)

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Directed By: Julian Henriques 
Written By: Julian Henriques & Vivienne Howard 
Cinematography: Peter Middleton 
Editor: Jason Canovas 

Cast: Anjela Lauren Smith, Wil Johnson, Caroline Chickezie, Jocelyn Jee Eisen, Don Warrington, Tameka Empson, Diane Bailey, Vas Blackwood 

A single mother determined to make it as a singer puts together an all-girl reggae group named Neeta, Sweeta, & Nastie with her friends. Living in a housing project with little support, the odds are obviously against her. Emotionally she struggles too as she learns at her mother’s death that her actual mother is the woman she had thought was her older sister. With the help of a female agent, the group starts to get some exposure and rises above their setting.

This is a film I have heard about over the years. Especially in my teenage years and unfortunately forgot about it and then suddenly found it and jumped at the chance to finally watch it. 

The film is certainly eye-catching if even just for the colorful outrageous outfits worn by the cast.   

The film starts off with inventive credits that also help explain who the characters are and how they are intertwined.

For some, this film can be seen as an introduction to dancehall culture before it became popular and mainstream. So that the film Offers a look at characters of Caribbean descent and their culture as they make their way in London. Though at least they are more in their element. As though there are no other races on screen. 

The film is essentially about a woman finding independence and at times romance. While trying to better herself for her children/family. Despite problems with her sister and boyfriend. We see a lot of her and others’ domestic life.

The film might feel a bit familiar. As it comes off as feeling like a Sunday movie. This means something simple, inoffensive that offers something more lightweight and leaves you with a smile on your face. As it affects you like easy listening music and stays smooth, feeling like you are floating for the rest of the day.

The film resolves itself really easily and is not too hard-hitting at all, but why not. It’s nice to see a film that Involves African American characters that isn’t necessarily heavy or traumatic. As most of the characters are likable and the film really doesn’t have any villains. 

Would have been nice if the film delved into other characters’ moves. A bit more as well as their domestic problems. As the film stays with the protagonist mainly Throughout her adventures and challenges. 

The film also has a catchy soundtrack throughout. That would have been nice if performed more with dancing and show-stopping numbers. 

Grade: B-

NEXT FRIDAY (2000)

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Directed By: Steve Carr
Written By: Ice Cube
Based On Characters Created By: Ice Cube & DJ Pooh
Cinematography By: Christopher Baffa
Editor: Elena Maganini

CAST: Ice Cube, Mike Epps, John Witherspoon, Sticky Fingaz, Don D.C. Curry, Tamala Jones, Lisa Rodriguez, Amy Hill, Clifton Powell, Kym Whitley, Jacob Vargas, Tommy “Tiny” Lister, Michael Rappaport 

This time the film follows Craig, as he is sent to live with his uncle in the suburbs. Who has just won the lottery after his nemesis from the first film breaks out of prison to look for him. 

The problem with this film is that there seems to be a void with this film compared to the original. Half the cast is gone. The new cast seems to give it their all but comes up very short. Since most of the cast are comedians. It seems like they are improvising their routines in the context of their scenes. Where the first film had original and inspired comedic characters. This one seems to wallow in stereotypes. It is occasionally humorous but not hilarious. 

The Standout is the character of Pinky Played By Clifton Powell and the female lead Played by Lisa Rodriguez, who is so gorgeous and talented that I am shocked she never went on to bigger and better. Not even smaller roles in big films or indie films. 

 John Witherspoon seems to be being punished for being In this film as he spends most of it running around with dog shit stuck to him. Why? It’s not funny nor does it have anything to further the story along. 

 The film tries but lacks a certain energy that the first film had it tries here to replace it with enthusiasm but it doesn’t work. It was the combined talent used in the first film that made it such a winning success here. Ice Cube loses the original director and Co-star. Who obviously make the crucial difference between the two films.

This is a nice attempt but maybe Ice Cube should have refined it a little before making it. Instead of just taking a first draft and assuming the masses will take what they can get from the franchise. He was partially correct as the film was a hit. Especially with a stoner audience that doesn’t ask too much for the quality, but for regular fans that is a big problem.

The film lacks quality which makes it an empty enterprise. I just don’t find Mike Epps that engaging actor or that funny. So he is a sub-par replacement for the charismatic Chris Tucker as a Sidekick.

The film has its moments but never quite measures up and wise seems more like it is pandering. As it has a good set-up but takes the main characters and leaves them as fish out of water but also cleansing half the characters that made the original great and somewhat identifiable here the characters feel more like caricatures then anything purely there for jokes that don’t work

GRADE: D+

EDUCATION (2020)

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Story By & Directed by: Steve McQueen 
Written by: Alastair Siddons 
Cinematography: Shabier Kirschner
Editor: Chris Dickens & Steve McQueen 

Cast: Naomi Ackie, Kenyah Sandy, Jade Anouka, Nigel Boyle, Daniel Francis, Sharlene Wyte 

Education is the coming of age story of 12-year-old Kingsley, who has a fascination for astronauts and rockets. When Kingsley is pulled to the headmaster’s office for being disruptive in class, he discovers he’s being sent to a school for those with “special needs.” Distracted by working two jobs, his parents are unaware of the unofficial segregation policy at play, preventing many Black children from receiving the education they deserve, until a group of West Indian women takes matters into their own hands.

This is part of Director Steve McQueen’s Small Axe series of films. A kind of miniseries of five films that showcase stories of the struggles of the Caribbean and black citizens in the United Kingdom. Shining a light on them and usually who they have been abused and mistreated by the system 

This film seems to be more about a subject than a character. Though it is played out through characters, a central family mainly and the women activists. Who strive to help them and other families left in the same predicament.

The film focuses on a young boy in a working-class family. Who is disruptive and has a hard time reading. In his school his acting out is met harshly where he is routinely insulted and more put out by teachers who have no time for him and find him more of a distraction for other students. He is quickly removed from the school and sent to a new school for special children 

Throughout we find out that this new school is barely a school that offers an education. As the kids are left to their own devices most of the time and when there are teachers around they seem more like they don’t want to be bothered or do whatever they want to do like play songs and consider that teaching.

These schools are obviously more like holding dens for children the proper schools want to deal with and don’t want to help or give proper attention to.

The crux of the film is educating the parents of children sent to Jesse schools as to what is happening and Kingsley’s mother really paying attention to it all and doing something about it as she searches for answers and resolutions to the growing problem. Which seems to target minority children and immigrant children.

As the teachers seem to not want to nurture these kids and are setting them up for no future. These ladies eventually set up Saturday schools meant to teach the lessons these children are missing and nurture them to want to learn and believe in themselves and most of all encourage them.

It shows you the caste and class system that still exists and the roots of education where it can take you and lead you and most of all how important it is to a child that you show attention and faith in them as much as a study has faith in you.

It ends open-ended but it is one that definitely ends with hope and an all-around happiness even if abrupt. It offers an answer and hopefully a promise.

Grade: B

THE GUARD (2011)

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Written & Directed By: John Michael Mcdonagh
Cinematography: Larry Smith 
Editor: Chris Gill

Cast: Brendan Gleeson, Don Cheadle, Mark Strong, Rory Keenan, Liam Cunningham, Fionnula Flanagan 

Sergeant Gerry Boyle is a small-town Irish cop with a confrontational personality, a subversive sense of humor, a dying mother, a fondness for prostitutes, and absolutely no interest whatsoever in the international cocaine-smuggling ring that has brought straight-laced FBI agent Wendell Everett to his door.

This is a film that frankly the audience might be starved for a dialogue-driven character-driven dark comedic buddy cop film. Mismatched partners where one is by the book the other is dirty but with a set of rules all his own. Even as most of the cops he works with are dirty just as he is guilty of it himself.

Don Cheadle is perfect as the midwestern FBI agent brought into this foreign small town. Essentially playing the straight man. A fish out of water. He has a quiet dignity as a gentleman and straight arrow. Who can still kick ass if he has to.

Brendan Gleeson epitomizes the word star in this movie after years as a great character actor in such gems as GANGS OF NEW YORK he occasionally gets the lead role like in the magnificent THE GENERAL (he seems to star in movies with rank and job titles) which is the first film I noticed him in where he was phenomenal. Here he makes his acting look effortless; he fully inhabits the character. Luckily he has someone skilled to play off of.

The film is filled with quirky characters and situations like the villains who frankly are smarter than everyone around them and more dangerous.

The film treats violence like a normal everyday occurrence yet the film is not brutal.

Everyone in the cast is an essential part of the story. Praise should be given to all of them from Actress Finola Flannigan who should definitely be getting more work. She puts so much heart into all of her roles.

The film has a laid-back pace but pulls you in with excitement. As you can’t wait for the next scene or next line of dialogue. As you never know what’s going to happen.

You have philosophical drug smugglers, country-western IRA agents, dirty cops that make out morally questionable heroes look clean. As he only really starts to participate in trying to bust and break up this drug ring because he’s tried and true deputy is killed. Besides that, he pretty much makes no waves and has a standing appointment with his escorts weekly. With his bulldog glare yet puppy dog eyes he’s a Brute but a gentle one.

If you like the film IN BRUGES you will like this. It was fast-paced and action-oriented (which seems more a second thought here) but with a similar mood and style, with good reason. As the writer/director of this film is the brother of writer/director/playwright of IN BRUGES

There are very sympathetic characters in this film yet they find a way into the audience’s heart even if it is for you only a scene or two.

Grade: B+ 

THE BLIND SIDE (2009)

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Written & Directed By: John Lee Hancock 
Based on the book “THE BLIND SIDE: EVOLUTION OF A GAME” By: Michael Lewis 
Cinematography: Alar Kivilo 
Editor: Mark Livolsi 

Cast: Sandra Bullock, Kathy Bates, Quinton Aaron, Tim McGraw, Kim Dickens, Lily Collins, Ray McKinnon, Irone Singleton, Omar J. Dorsey, Adriane Lenox

The story of Michael Oher, a homeless and traumatized boy who became an All-American football player and first-round NFL draft pick with the help of a caring woman and her family.

I can’t help it. I am a sucker for a lot of tearjerkers. I know the emotional manipulation techniques they use. The emphasis on all the good things that are done.

This one is pretty standard except it also contains the tags to riches story, the orphan story, overcoming The odds, and helping lead the team to victory. In the wrong hands, this could have been just another faith-based movie 

The film is based On The true story of football player Michael Oher,

Now I am a Sandra Bullock fan for the most part and here she gives a strong performance in the less glamorized fresh prince of bel Air-like story.

The film is pretty basic and hits all the right familiar notes. Not too much you haven’t seen before. It’s good family entertainment and inspiration.

One of the problems one has with the movie is that there are scenes that have Michael bond with each individual member of the family alone throughout the film, even bonding with his teacher and tutor, but when it comes to the father in the family. He only bonds with him when the whole family is surrounded. Which seems more forced. It’s a nitpick but it bothered me and made me feel like the father went with the flow. But I didn’t necessarily want to adopt him.

The film also could have been a little fairer to Michael’s character by making him more of a character. Allowing him to show more emotions. Here he is played as the familiar screen type for African Americans. The gentle giant and while he might be in real life. I’m sure there is more to his character than What is presented on screen. Which is simple and all things to all people. The saintly black character helps all The Caucasian characters with their problems.

Especially when most of the African American characters shown in the film aren’t exactly positive characterizations. In fact, more than is needed are more villainous than anything. This is disturbing especially when it is not the same way when it comes to the Caucasian characters

I will give the film credit that it has an absence of real conflict. As everything seems to happen smoothly and successfully. Conflict only occurs towards the end and at that point, it feels more minor.

Maybe the reason it is left out is to show both the family and him coping with these strangers around the.

And how they go against the wishes of their friends to do what they feel is right.

It makes almost everyone come off as saintly. Which would be fine as a movie of the week or a Disney film. While I enjoy the film. I think there is a strong enough story to make a better film. All parties involved do their job.

Some Like Ms. Bullock go above and beyond. While not the most powerful of actresses, she is always a likable screen presence. A star can still disappear at times inside of a character. So it’s nice when she decides to stretch past the romantic comedies that are her forte and actually invest herself in a drama. Lightweight as it might be, but at least she tries and in this case succeeds.

Grade: C+

DEIDRA & LANEY ROB A TRAIN (2017)

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Directed By: Sydney Freeland 
Written By: Shelby Farell 
Cinematography By: Quyen Tran 
Editor: Michael Taylor 

Cast: Ashleigh Murray, Rachel Crow, David Sullivan, Arturo Castro, Sasheer Zamata, Danielle Niccolet, Tim Blake Nelson, Sharon Lawrence, Missi Pyle 

After their mother ends up in jail, two sisters turn to train robbery in order to support their family.

This is a film that feels special. It is perfect for a younger audience whereas it might not be the most exciting it is a majorly offensive free film. Full of charm and energy that starts off low-key and slowly pulls you in.

The film is so heartwarming, it’s almost like a Disney film with more sinister material. As it tries to be more realistic rather than too fairy tale

The leads are full of charm and even though they have their flaws are impressive and identifiable. So much so that they have a certain Sweetness where you keep rooting for them.

It is also nice to see a racially diverse film that has women of color in most of the leading roles. Not to mention presenting them as smart and talented.

The film is also one of the rare films that are directed by a woman of color. The film has a light touch that feels like a world that you recognize while building it as its own.

It has a more mustache-twirling villain who comes across as more of a twerp than a menace but leaves just enough of an impression to build tension.

Though the film is predictable one of its strengths is presenting us with characters who at first seem more over the top comedic and strictly one-note then later give us a whole new impression of them by letting us see life through their eyes.

The film feels independent and tries to have more of a hangdog look at life and the rough prospects that the family faces. Though the stakes are very low and seem more projected by what if consequences more than anything.

The film just stays pure of heart and luckily stays away from being a tragedy or plain old unbelievable wish fulfillment. Though stays sweet all the way through.

Which might be it’s one problem is that the main characters and circumstances are so sweet they don’t feel real and for some. It may come off as annoying as their is no cynicism in this movie, So if looking for something lite and sweet for the family or just you. This is the film.

Grade: B-

PLUSH (2013)

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Directed By: Catherine Hardwicke 
Written By: Catherine Hardwicke & Arty Nelson 
Cinematography By: Daniel Moder 
Editor: Julia Wong 

Cast: Emily Browning, Xavier Daniel, Cam Giganet, Thomas Dekker, Frances Fisher, Dawn Olivieri, Brandon Jay McLaren, Elizabeth Pena

Mourning the loss of her brother/collaborator, a young rocker struggles to write music while juggling a jealous husband, two kids, and a mysterious new guitarist who will stop at nothing to become the most important person in her life.

How the mighty have fallen, once upon a time Catherine Hardwicke was one of my favorite new directors with the films THIRTEEN and LORDS OF DOGTOWN I believed her to be a great new voice in filmmaking. Then she directed TWILIGHT an already practicing franchise. That would lead to bigger ad better things and her being more in demand. After that film, she still stayed making films centered around youth with films such as RED RIDING HOOD and THE NATIVITY STORY although this film really lends itself to a new low. I don’t know what attracted her to making this film because nothing about It is revolutionary or even interesting. It tries to be so many things or at least tries so many different subjects that it clearly struggles with an exact definition and seems lost, inauthentic and Worse a poseur. While it tries to have a punk rock ethic.

It has a horror ending and beginning. Though in between it plays like an erotic thriller set in the rock n roll music box that is barely erotic and the songs are pretty bad. Though give the film a soundtrack billed to itself.

The sex scenes are thankfully brief, but plentiful. The eroticism only is risqué and general serves it’s purpose in one scene. Even the opening scene really has nothing to do with most of the film until near the end and still offers little explanation.

It doesn’t help that Xavier Daniel and Emily browning have little of any chemistry together on screen. So it’s hard to believe her falling for him at all. There is also a scene where he directs a music video that is really bad and comes across as a student experimental film that we are forced to believe that everyone includes the band who are barely featured in the video thinks is genius. We also never even get to know the rest of the band members who are treated like bored guns though we are supposed I believe this band has been together for 10 years yet act no closer than new co-workers

There is even a sex scene thankfully not focusing on the main actors that feel unnecessary and just out there to spice things up though ends up more awkward and comedic than erotic or purposeful.

The film is predictable especially when we get more and more involved in the case her journalist husband is writing about for VANITY FAIR? Do we think this has anything to do with the rest of the movie for a reason? Of course. Do we think the foreshadowing of showing a ring that before her brother OD’s will come back later on in the film?

Now the film has a modest budget so it can’t all be glamorous and I am wondering is that why one death is more talked about rather than shown. Plus the film talks about the success of the band but never gives is a scale of their popularity are they actual stars trying to make a comeback or a successful indie band. As it seems they mostly play rock clubs instead of big concert venues. The lead singer seems to have money though not a lavish lifestyle. More modest than anything.

In fact, if they are an indie band it is one of the few things the movie did right by showing them as more modest and not millionaires with tons of paparazzi following them.

This film isn’t even good as an erotic thriller level, Like the ridiculous types, you would see late night on cable that was at least fun as they knew what they were. Here everything that feels ridiculous though is treated with utmost seriousness. I won’t even go into the third act reveals.

I was lured by not only director Catherine Hardwicke but also star Emily Browning. She is definitely earning a reputation with me at least of being a good actress, but only in it seems subpar movies as she is usually the best thing in them and I applaud her willingness to be fearless a tale chances on screen. I only wish it was for better films. Not only with this film but also SLEEPING BEAUTY and SUCKER PUNCH. 
I can admit to keeping coming back to her films partially as she has a haunting beauty and I will admit maybe I have a screen crush on her. Though it is harder and harder to look forward to films she is in. Luckily she has LEMONY SNICKET: A SERIES OF UNFORTUNATE EVENTS and GOD HELP THE GIRL that are good and decent films that show her talent even the guilty pleasure THE UNINVITED.

Evan Rachel Wood was originally cast in the lead role but dropped out due to scheduling conflicts and Emily Browning was cast. Which was the same thing that happened with the film SUCKER PUNCH only Browning was replacing Amanda Seyfried. 


I only hope better and beyond for both director and star

Skip it.

Grade: F

THE LOST DAUGHTER (2021)

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Written & Directed By: Maggie Gyllenhaal
Based on the book By: Elena Ferrante 
Cinematography: Helene Louvart 
Editor: Alfonso Concalves 

Cast: Olivia Colman, Jessie Buckley, Dakota Johnson, Ed Harris, Peter Sarsgaard, Paul Mescal, Dagmara Dominczyk 

A woman’s beach vacation takes a dark turn when she begins to confront the troubles of her past.

This is a film full Of good performances that by the end comes off a little more soap opera. As the characters are loved in but it feels more melodramatic than anything.

Dakota Johnson is sexy in a role that makes her never quite know what to do and confused. Kind of represents a mirror image of Olivia Coleman’s character at her age as a to-go mother who is overwhelmed.

Whereas in the scenes where Jessie Buckley plays her younger she seems to have a good life but is unfulfilled. Johnson’s situation seems more shady and dangerous. 

Throughout the film, we follow Coleman’s Character on vacation who feels full of mystery but has a good life,, and in telling stories we see flashbacks to fill us in on her and her family. So that while it builds it feels like it never quite goes anywhere. Except for some decisions that change things. Yet never ruin. 

Which then becomes the theme of this film. As nothing is quite permanent though it trays them like they are. 

By the end, it feels much ado about nothing. Throughout the film, it seems like it is building towards a dark secret and once we get there it is rather simple. That comes off melodramatic and the reactions seem a bit more over the top by that point. Where nothing seems to come of it.

As it is a midlife crisis movie for women. Showing what can happen if you make certain choices and how hard it might be to get back what you once had at all. 

It is a strong directorial debut for Maggie Gyllenhaal but beautifully filmed and fully lived in by the actors. While it is full of depth it never quite makes the connection. Maybe for some members of the Audience but not over here. 

Grade: C+