Tag: Comedy

ZOLA (2021)

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Directed By: Janicza Bravo 
Written By: Jeremy O. Harris 
Based on the Tweets by: A’Ziah King 
Based on the article “ZOLA TELLS ALL: THE REAL STORY BEHIND THE GREATEST STRIPPER SAGA EVER TWEETED” By: David Kushner 
Story By: Andrew Neel & Mike Roberts
Cinematography By: Ari Wegner 
Editor: Joi McMillon 

Cast: Taylour Paige, Riley Keough, Coleman Domingo  Nicholas Braun, Jason Mitchell, TS Madison, Sophie Hall

A stripper named Zola embarks on a wild road trip to Florida. Based on a true story and tweeted on Twitter.

You think the film is going to be one way. Another downtrodden downbeat story that is exploitive and feels like tragedy porn In an urban community. But it isn’t it’s not as wild as some might have thought from the toro view but it is pretty out there. As this isn’t a sympathy story. It is more of a day in the life of characters in an extraordinary situation. Where each plays a substantial role.

The film Manages to be stylish and feel like a kind of pulp tale with it’s own voice that has to be true because it is too identifiable and crazy at the same time to be entirely made up. 

Riley Keough’s performance is memorable as the instigator who seduces her into this tawdry trip and also as a character who would normally be a disposable comedic character but here she is knowing yet naive. Someone who causes her own destruction and those around her. As her character has a so-called blaccent which feels like a new dangled version of blackface that her character takes pride In. She comes off as poor white trash or a person of low Intelligence and comes off as one of the worst characters in a film with plenty of dangerous ones. 

Even in the scene where she retorts and tells her own version of the story that we have seen so far. When she is at one of her lowest points. She tries to come off as innocent and the opposite of how she has been portrayed but will insist on insulting Zola like a character with a lot of race-based if not racist overtones in her version of the story. Filled with stereotypes and insults about hygiene. Especially when early in the film we are privy to see just who is the unhygienic one.

The filM Humanizes the characters no matter how outlandish or loathsome. Making the drama feel more full-fledged. Even though it is more of a humorous movie. That feels like a kind of relapse for the audience and the characters. Despite all the fear in all the craziness.

Zola constantly is the smartest character in the room but even she knows she is in over her head. As she tries to make it work for her as she is stuck. When Zola realizes she is in a pimp situation. She realizes she is in too deep and is just trying to survive the situation with unsteady factors. 

The film has little sex but plenty of sexuality and it tries to go into some erotic but is sold cheaply to us. While we see some female glimpses of nudity. We see full frontal of men 

There is grace. There is erotic and it is sexual but there is nothing quite sexy about it as anytime it might veeer towards that it reveals just how gross and messy the situation and awakens you from any fantasy you might try to derive out of it. Sometimes crudely and sometimes humorously. 

Even when the film has a mankind of being cuckolded and while you feel sympathy for him. He also comes off as one of the more comedic elements in his dumbness. As he is constantly humiliated not only by the woman he loves but by her so-called male friend who is more of a pimp and she pledges her love to the pimp over everything in front of him. Then the pimp introduces his other woman and Stefani still stays loyal. You wonder why he doesn’t just leave. 

While the film is crazy it’s not as off the wall as you might expect. Again you  have to go with what is happening and where it leads. 

When a line from the original Twitter feed is used. Usually in dialogue, There is a kind of alarm from Twitter. The film does have many memorable lines. 

Towards the end the film feels a bit like some Miami Vice episode. Though it still feels more homegrown. 

The film is short and to the point. As an on-screen adventure with only an indulgence or two. We learn very little about anybody’s past. There are little revelations when needed.

This is a movie that is definitely waiting to be discovered by an audience and deserves to be. As if the film Is given a chance most would find it entertaining, funny and definitely memorable 

Grade: B

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+

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+ 

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-

FEAR, ANXIETY & DEPRESSION (1989)

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Written & Directed By: Todd Solondz 
Cinematography: Stefan Czapsky 
Editor: Peter Austin, Emily Paine & Barry Rubinow

Cast: Todd Solondz, Max Cantor, Alexandra Gersten, Jane Hamper, Stanley Tucci, Anne De Salvo, Jill Wisoff, Kathleen Gati

Ira is a nervous playwright waiting and hoping to succeed with his art, which he takes it very seriously. But following his dreams and ambitions isn’t something easy to do, especially when he has to consider the points of view his family, his artist friends and his girlfriend will provide to him whenever he exposes his incomprehensible works of art.

Finally got a chance to see writer/director Todd Solondz’s long-lost (for me) first film. This Great white whale of mine 

He has disavowed the film Claiming he felt like creative control was taken away from him.

One might enable to see why. Even though it isn’t a train wreck. It is actually entertaining in a goofy, surrealistic way. It still has the same themes as his later films. Exactly what the title lets you know. 

Only here he is the star as with his early Short films. It’s hard not to think that these films are autobiographical. As this ends a one of era again and he never appears in any of his films ever again.

As in future films, there seems to either be surrogates or he just writes more for ensembles and wanted to make films about characters and less making it seem about himself. 

This film obviously Comes out Indebted to Woody Allen as his character is definitely like one of Woody’s, a man who seems to be romantic and constantly Full of anxiety, nebbish, and strives for more. Who isn’t happy in his current life and then once he loses it realizes how good he had it. 

Though not as grand in scope this film reminds me of a lower-budgeted I HEART HUCKABEES more for its zany surreal comedic bits at times and its lightness and bitter comedic tone.

As most of the characters talk about being real artists but are aloof and pretentious and either needy or predatory.

Junk is the perfect femme fatale. As she lets you know what she is all about but the lead character stays enamored of her for her looks and what he eyes as tough attitude when she is just rude. Though He thinks her mysterious as she is the type of person he has never encountered. So she is all new to him. Treating him badly but he keeps coming back for more.

While he treats a woman who is head over heel for him badly the same way junk treats him.

He is a character. Struggling play-write who constantly seems to lose while those around him keep seeming to become successful. Like a high school friend who decided to write as a hobby become the toast of Broadway. While he gets a bad review in the village voice that everyone seems To read.

Or his best friend who hates his writing but encourages him. Who always seems To date or seduce whoever he seems to be interested in or pining for.

Even when junk Offers herself to him sexually he Messes it all up before he can go through with the deed. Or when he gets the girl

Of his dreams how she seems to Tolerate him but still Pine for her asshole ex. He seems to bring this misery at times upon himself.

Though no matter what it never becomes completely depressing as the film Keeps the mood and material goofy and silly. Even though it offers up a sad ending it ends with a little hope. That includes a rare happy ending.

So while a sadder woody Allen-Ish film a pleasing one and fascinating to see where his career began and see the seeds of future films and style.

The film also has a nice look at classic New York around 1989 mainly Greenwich village before it Became so gentrified 

I can identify with him and his films as I feel like what I write is similar and that most of my Early films or projects usually

Are more extensions of daydreams or exaggerated feelings and my self-consciousness put out there. Not to mention having humor about and bringing up uncomfortable subjects that are a part of life that involve characters trying to be good but are awkward in their own skin especially socially. 

As they have Consciences here everybody seems to get by seemingly normal without realizing at times how ridiculous or Cruel they are naturally

Grade: C+

SWEET LIBERTY (1986)

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Written & Directed By: Alan Alda
Cinematography: Frank Tidy
Editor: Michael Economou

Cast: Alan Alda, Michael Caine, Michelle Pfeiffer, Bob Hoskins, Saul Rubinek, Lise Hilboldt, Lillian Gish, Lois Chiles, John C. McGinley, Lynne Thigpen 

Michael has written a scholarly book on the revolutionary war. He has sold the movie rights. The arrival of the film crew seriously disrupts him as actors want to change their characters, directors want to re-stage battles, and he becomes very infatuated with Faith, who will play the female lead in the movie. At the same time, he is fighting with his crazy mother who thinks the Devil lives in her kitchen, and his girlfriend who is talking about commitment.

When it comes to Alan Alda. A little is a lot though I am still a fan of the series he starred in M.A.S.H.

He comes off too smug throughout even when trying to be earnest. As A know all. As like him, the film feels like it is speaking down to others and considers itself too intellectual.

This film comes off as Woody Allen lite. It feels too general but too sharp and kind of whitewashed.

Wonder if at the time this was seen as biting humor. Watching it now feels basic.

The film has a light touch with a little depth. Which moves along breezily. As it is full-on comedic 

Lilian Gish as Alda’s mother seems here more to work and to be a big name in the cast.  As her character is another problem for the lead character to juggle. Whose storyline goes nowhere. Not to mention makes his plights more personal. 

Michael Caine is effortlessly charming and aloof. He manages to stay in control of his growing set of affairs. Yet never breaks a sweat.

Bob Hoskins is in full New York City accent mode as a screenwriter trying to make it big. 

The film In its early scenes is more about the behind-the-scenes movie-making comedy. That feels charmed with itself. Before becoming more of an intellectual farce of sorts.

The score is kind of hammy. As this film feels more made for video. As it’s less cinematic and more small-scale simple. 

If not for some language and sexy scenes. This film is clean enough to be a TV movie with a movie star cast. 

Despite my misgivings, the film Does have its charms as a film about late to middle age angst 

This film would make a great companion piece with the film STATE AND MAIN

Grade: C+ 

WHEN THE CAT’S AWAY (aka CHACUN CHERCHE SON CHA) (1996)

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Written & Directed By: Cedric Klapisch 
Cinematography: Benoit Delhomme 
Editor: Francine Sandberg 

Cast: Garance Clavel, Zinedine Soualem, Olivier Py, Renee Le Calm, Simon Abkarian 

Chloe, a young woman, is going on holiday. She entrusts her beloved cat to Madame Renée’s care. But one day Madame Renée (an old lady of the neighborhood) can not find the cat. Chloe starts searching the neighborhood… This is the pretext for the exploration of a quarter of Paris and his inhabitants.

A French film that starts with a simple premise of a young woman looking for her missing cat. That ends up leading to a bunch of adventures and experiences that usually involve some kind of romantic entanglement

This is the first film of French writer director Cedric Klapisch that I saw that perfectly sets up his usual bohemian style. His films work more as ensemble pieces with a main character in the middle. Who this story usually either revolves around or is at the center and cause for situations

As the movie goes on this is really a film about the neighborhood and its citizens more a kind of anthropology study to a degree. As we watch how they work like a well-oiled machine. With one another. While also watching how their quirkiness helps to guide and make connections for the main female character In The middle of all of this.

The film is eclectic and colorful and mostly fun than anything else, not Too dramatic. Yet at times romantic and showcasing how easily we can read into things and believe people at their words a little too soon before they have proven themselves.

This is a French film that was perfect for the time period and comes off as a quirky French film where you want to be in the movie or move into this neighborhood. As it is a classic neighborhood with more younger people moving in and experiencing it’s the charm. So that it feels like that French getaway you might have always wanted to experience in your 20’s so you would get the modern and old school In Equal measure. as you get an insider look at all around France and the different neighborhoods or districts as they prefer to call them

Though the film doesn’t really have too much to do with the story or plot. As you more or less follow Chloe, the main character on her journey, and get to feel or at least witness her experiences. So the film is kind of free form in a way without being experimental. As for all of its freedom, there still feels like there is structure here.

If you have seen his later films THE SPANISH APARTMENT, RUSSIAN DOLLS and CHINESE PUZZLE 

This will be a little familiar but allows you to see where it all started at least In theme. Though they are constructed they manage to surprise you and add color to the films through the characters. Who we get to know a bit about and get to spend a little time with. As they only add to the enjoyment of the picture.

GRADE: B

THE TRIP (2021)

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Directed By: Tommy Wirkola
Written By: Tommy Wirkola, Nick Ball & John Niven
Cinematography: Matthew Weston
Editor: Patrick Larsgaard

Cast: Noomi Rapace, Aksel Hennie, Atle Antonsen, Christian Rubeck, Andre Eriksen, Nils Ole Oftebro, Stig Frode Henriksen

A dysfunctional couple head to a remote cabin to reconnect, but each has intentions to kill the other. Before they can carry out their plans, unexpected visitors arrive and they face a greater danger.

This works as a modern-day spin on the film WAR OF THE ROSES only not as epic and in less time. Not to mention a lot more gruesome. As it takes place generally over a weekend and in one location mainly, a cabin 

As the couple plots, the other’s demise with traps and numerous set-up’s even accomplices. Their plans are put into disarray once intruders make themselves know who has been watching their interactions. 

The film has a dark and violent sense of humor

The film stays inventive and keeps you guessing as loyalties keep changing and make you wonder if it is out of survival or is the hate truly that real.

So the film keeps shifting and you understand each of the main characters point of view. As the escaped criminals are so hateful that you can’t help but root against them.

The film stays creative by taking these tight and cramped spaces and making them seem more luxurious than they should be as they manage to shoot the scenes more vividly than expected not with crazy angles but with camerawork that feels that there is more action involved then there actually is. 

The male character goes through more physical torture throughout and breaks down quite a bit 

Noomi Rapace is perfect at playing cold one minute and caring the next. Even while managing to always have the same look on her face. 

Knowing it is a dark comedy you expect some kind of violence, but the film gets quite gruesome and gory but manages to always stay humorous and at times hilarious. As it manages to keep surprising you as an audience member. Even when scenes seem to be heading to a familiar place. 

The ending could have been a bit stronger as it plays out as some kind of satire that feels a little bit odd with what we have just watched and gone through with the characters 

Grade: C+