We Are Willin’…!

When rappers grip the true voice of the Black community, how effective is our political leadership?

Kanye West’s controversial impromptu comments a few weeks ago on a nationally televised relief telethon for the victims of Hurricane Katrina shocked the American public. Breaking from the pre-written script, he went into a discourse on how pleas for help from the Black citizens in New Orleans were being ignored by the federal government, capping it all off signifying that, “George Bush doesn’t care about Black people.” How shocking it is to hear this new information about Dubya. I do support Kanye’s comments, but this isn’t about that.

The nationwide spirit of the Black community is begging for a change, one that I think given the opportunity a large segment of us would be willing to fight for. Well before this time of crisis in the Gulf region of the US, Black denizens of New Orleans have been grossly disenfranchised. Jobs were hard to come by and living conditions were deplorable, echoing many other Black communities across the nation. For an entertainer like Kanye West to recognize this, and then have the gumption to speak on it on nationwide television is a horrid reflection on our national Black leadership. I’m not being critical of grass roots leaders or organizations that fight and sacrifice themselves on a daily to help disadvantaged folks, but mainly of the majority of our elected officials who we voted into office to be our voice but instead just have their own personal interests at heart. The Congress-people, State Senators, and the like who should be making glaringly obvious declarations on our behalf, or at least fighting behind the scenes to make sure things like this cannot happen, instead spend their days thinking about the next chicken dinner banquet they should attend.

For many Black youth, in America and the rest of the world, our musicians and artists hold the true voice of our community. Whether it’s Chuck D of Public Enemy who takes the chance to speak to bold truths here in America, or it’s the late great Fela Kuti of Nigeria who spoke out against his government’s shady tactics, it’s too often that they are the ones sacrificing their livelihoods instead of attitudes.

“Rap fans love a progressive voice that bucks the system. That spirit of rebellion gave birth to hip-hop in the first place and remains a vital part of the culture,” says Curtis Stephen, a columnist for New York Newsday. He continues, “With unemployment, AIDS, gang violence and a host of other social ills soaring in the Black community, it's not surprising that large segments of the black community feel disillusioned with the political process and the general state of affairs. When they look around, they're not likely to hear elected officials addressing the issues that impact their daily lives…But those same issues are likely to be addressed on some of the rap albums they purchase -- and that's why Chuck D called rap "the black CNN" years ago.”

It is argued that more artists, especially millionaire rappers who claim they’re hardcore and from the streets, should do more for their communities instead of frivolously spending their money on Belvedere and Benz’s. Additionally, many of them do have grossly negative attitudes toward women which too many of us in the Black community support, and repeat. However, these artists campaigned for us to spend our money on their CD’s and movies, not to represent our cultural and economic differences in the seat of government.

Our respective Black communities across the nation need to take a stand. We need to write into our elected officials and demand that they either regard, or research, the issues that are most critical to us all and then find ways to combat those issues in order to make our communities stronger, and possibly even more self-sufficient. Our communities can then actually be even more united because we would be fighting for common goals. Conspiracies being what they are, I’m sure what I’m recommending is exactly what “the machine” is fighting against. But “the machine” is just that, a piece of equipment that can be broken down.

I’m not interested in how things used to be. Urging our Black elected officials to invoke the spirits of Shirley Chisholm and Adam Clayton Powell may ring deaf in their distracted ears.

But whether its polar opposites like Ras Baraka or Hillary Clinton, they need to be reminded on a constant just who got them into office, and who can get them out; it really is that simple.

The Robin Harris Story
posted by the Media Man Watch

THE ROBIN HARRIS STORY: WE DON’T DIE, WE MULTIPLY

When I first got my DVR, like most people out there with these digital video recorders I’d tape a score of things if no other reason than to just play with it. One night in particular, I called out sick from work. But instead of working on my script I vegged-out in front of the telly watching movies and a bunch of unmemorable shows. Finally, frustrated and determined to go write, the recovering couch potato in me made me cruise some more channels to see if there was anything worth taping before turning off the tube for the night – and I found it!

Already about a ¼ way in was one of those Robert Townsend HBO specials that I never saw on cable during its first or 20^th run (I’m pretty sure we were the last American family to get cable) but many years later in late-night syndication. As if I didn’t get enough of “The Bold, the Black, the Beautiful” the capper was that one of my favorite comedian/actors took the show that night: my man Robin Harris. Needless to say that, before his performance was over I was on the floor convulsing with laughter. How could I forget how funny this cat was?

After selling out all the seats at the Regal Theater in Chicago in a few hours, Robin gave his last bravura - the 36 year-old insult genius died in his sleep that night. Taken from us way too early in his career, his life and legend is remembered in “The Robin Harris Story: We Don’t Die, We Multiply”, a documentary produced and directed by Harris’ friend and Manager, veteran film and TV Producer, Topper Carew (http://www.imdb.com/name/nm0136882/).

“We Don’t Die…” named after Robin’s notorious punchline from his “Bebe’s Kids” routine (and movie) is a touching reflection of Harris’ life and career highlighted by many of the comedians he came up with and fully influenced. Comics like Martin Lawrence, Cedric the Entertainer and Lewis Dix, to name a few, and Robin’s widow and family members including his youngest son (whom D.L. Hughley jokes regrettably looks the spitting image of his father [which he does]) muse about how much Robin meant to them, and the comedy world.

A majority of the story reflects around Robin’s days at the Comedy Act Theatre in South Central Los Angeles, a necessary start-up for black comedians because racist comedy clubs and owners wouldn’t allow black comedians with “style” to perform there, regardless of what roads Richard Pryor and Eddie Murphy paved. But it would be Robin’s both insult and provocative style as funnyman and Thursday night host that would regularly bring folks, black and white alike, to the Comedy Act. And he didn’t care who you were; he even took on Mike Tyson back when he was “Iron” Mike!

Especially fun is blurry, but central footage of Robin from the Comedy Act Theatre days, footage that was shot by Carew on the fly ‘just because’. I almost fell on the floor a couple of times (Carew confirms that Spike Lee actually did one night at the club) watching this footage. One of my favorite moments was Robin picking on a guy in the audience with jheri-curl juiced hair – Robin barked how the guy could never satisfy his woman because she keeps slipping away! Footage like this makes one think how it’s a shame that so many of us don’t think to fully document moments thinking that we’ll always has them. We tend to think that our loved ones will always be around. But at least when we do have it, and when it can be shared with the world, it’s like that person is still alive. And when someone was as full of life as Robin Harris was, personal moments shared by his friends are especially poignant. Stories about Robin calling up folks at 5am in the morning talking about that night’s performance, or them all trying to play ball but with Robin cracking so many jokes the game wouldn’t even last two minutes; these make you feel as if he were your buddy too.

Comedian/Director Robert Townsend is one of many who bluster on about how scared he was the time he had to do his routine after Robin. And Bernie Mac (whose first meeting with Robin is hilarious), arguably the closest modern comedian to mirror Robin’s style, constantly marvels at how flawlessly Robin could ‘work’ the room, especially the night of his last performance. To modern Black comics, if Redd Foxx, Moms Mabley, Richard Pryor were the King, Queen and Prince of comedy…then Robin Harris is the Bishop – he shed his light and provided the path on how it should all be done.

Independently produced by Topper Carew, “We Don’t Die, We Multiply is currently touring the country. I’ll be providing regular updates on it status. For more information check out Topper Carew’s website: www.TopperCarew.com

the 10 COOLEST BLACK MALE CHARACTERS IN MOVIE HISTORY pt.2

Here's the continuation of my "10 Coolest..." list from last week. I'm sure there are a few surprises within, but hey, it's my list..SO THERE! lol I got interesting responses from the 1st part of the list so once again, whether you agree or disagree, let me know what you think.

================================

6. Lando Calrissian (Billy Dee Williams) – The Empire Strikes Back (1979)
Although he was pretty cool as Louis McKay in Lady Sings the Blues, he was kind of an a-hole in Mahogany. But in The Empire Strikes Back, Billy Dee was the first (visible) real black man in sci-fi. He wasn’t an idiot, a weird alien or a slave. Dude was in charge of Cloud City a full over a decade before L. Douglas Wilder became the 1st black governor in the U.S.A., and he beat out Han Solo for the Millennium Falcon. The part rouge, shrewd businessman, all-around pretty boy turned rebel fighter with the tightest mustache this side of the Denovrian Belt, Williams was the total package. Out universe felt safer as soon as he stepped on screen.


7. Virgil Tibbs (Sidney Poitier) – In The Heat of the Night (1967)
You better call him Mister! While visiting his family in the South, he’s mistakenly arrested when a wealthy man is killed. But when he is then lent out by his bosses of the Philadelphia P.D. to track the killer, Mr. Tibbs uses his skills and instincts to get his man despite being blocked by the town’s racist bureaucracy. No pansy, this independent never wavered to anyone, physically or mentally. When Rod Steiger’s Chief Gillespie slapped our hero for being ‘insubordinate’, Tibbs slapped him right back…the South had never met a black man that was so bad!

Sidney has often played black men who kowtow to white folks’ idealisms or supporting their stances, and he even kind of does in this flick but less so, and at least this time he’s doing things his own way without outside influences whispering in his ear.


8. Kirikou Kirikou and the Sorceress (1998)
Hands down one of the most entertaining animated movies ever produced, French made Kirikou and the Sorceress follows the story of a tiny little boy who aims to rid his village from the evil of Karaba, the Sorceress. Kirikou is so independent that the movie opens with him demanding to be delivered by his mother. Kirikou then cuts his own cord deciding to birth himself. Smarter than his peers and more resourceful than most of the people in the village, this tiny boy who hopes to get fully grown one day begins to investigate why the stunningly beautiful Karaba has been blackmailing his fellow villagers and kidnapping the men. I won’t go into too much more and ruin your movie experience, but trust that this will be one of the most innovative animation experiences of your life, especially if you’re African-American, and more so if you have some knowledge of folklore. For more info go to: http://www.kirikou.net/


9. Marcus Graham (Eddie Murphy) – Boomerang (1992)
“Marcus? Oh, Marcus?” was the cry that Lady Eloise belted to lure her paramour, corporate-world climber Marcus Graham, to her boudoir. Despite falling beneath her clutches, Eddie Murphy’s performance in the Hudlin Brother’s Boomerang was both his coolest and sexiest up to that point, and beyond. Eddie made us believe that he was the debonair man that every woman wanted, and whom he could control, until he met his match in two woman of totally opposite personalities: Robin Givens as his new boss, the corporate shark Jacqueline, and Halle Berry as the sweet, near perfect artist Angela. Yeah, he played his boy Gerard (David Alan Grier) dirty to get Halle, but she helped craft Marcus into a complete man.

I’m eternally grateful to the writers and the Hudlin brothers for making a movie where Eddie could be both sensitive and roguish, still funny but not a cornball hustler, and certainly, certainly not asexual (whew!).
In addition to Eddie’s performance, Boomerang had a great script and cast that also includes Martin Lawrence (“That’s racial!”), Geoffrey Holder (“Nasty” Nelson), Chris Rock, Leonard Roberts, John Witherspoon (do I even need to quote his life-changing line from the movie?) and Ms. Strange’ herself, the irreplaceable Grace Jones. On a sidenote: a lot of Caucasian critics and folks bashed Boomerang for being set in a virtually “all-Black” world. However, if we watch ANY AND EVERY Woody Allen movie one would be hard pressed to find any black character, much less one that has any significance.


10. Nino Brown (Wesley Snipes) – New Jack City (1991)
Although in no specific order, my 10th selection for “Coolest Black Male Characters…” was the hardest to select. In the end I knew it would be Wesley Snipes, but would it be him as Shadow Henderson in Mo Betta Blues or as Nino Brown in New Jack City? After thinking about it for a couple of days, the decision was solid, as you can see above, but for more than one reason.

New Jack City is a harsh and heinously violent view of a crime family that takes over the drug game in New York City by storm. Although many of the lines and acting were cheesy, it was Wesley as the deliciously evil Nino Brown that makes NJC a classic. You can see the then young Snipes having serious fun with his lines which, combined with his imposing physique, made Nino Brown a depraved gangster. Sick as it was, seeing him pour champagne over his girlfriend then kicking her out while telling his minions to “Cancel that b!%^h!” makes me laugh every time. It’s not until a long overdue re-watching that you remember how cartoon-y NJC can be, but how well it portrays the lack of respect for human life and dignity.

To me, whether he’s playing a laborer or a sax player or a sniper, Wesley Snipes inhabits his roles and really makes you believe for that 90 to 120 minutes that HE IS that person, no faking the funk. That’s essentially what makes Nino just so damned cool.


===============================================
It was difficult to decide who can make my 10 Coolest Black Male Characters and Actors in Movie History,
so here is my list of those who didn’t make it, but whom shouldn’t be dismissed.

The Reverend Dr. Purify (OSSIE DAVIS) - Jungle Fever
Lyedecker (JIM BROWN) – 100 Rifles
Sgt. Waters (ADOLPH CAESAR) – A Soldier’s Story
Billy Foster (BILL COSBY) – Let’s Do It Again
Melvin Van Peebles (Mario Van Peebles) – BAADASSSSS!
Lt. Danny Roman - (SAMUEL L. JACKSON) – The Negotiator
Jules Winnfield - (SAMUEL L. JACKSON) – Pulp Fiction
Shadow Henderson (WESLEY SNIPES) – Mo’ Betta Blues

(clockwise, from l. to r.) Billy Dee Williams, Wesley Snipes, Eddie Murphy, Sidney Poitier (w/Lee Grant), Kirikou)
posted by the Media Man Watch

the 10 COOLEST BLACK MALE CHARACTERS IN MOVIE HISTORY part1

Cocky or intelligent, good or mean, cool is being your own man, doing your own thing…and surviving to tell about it. Here is PART 1 of my list of the 10 Coolest brothers in movie history.

1. John Slade (Bernie Casey) I’m Gonna Git You Sucka (1988)
Not only did he take lead in the movement to take back the streets from Mr. Big, he still made the time to organize street kids into bettering themselves by participating in the Gang Olympics. But most notably, he was the first brother to acknowledge his theme music because “Every Good Hero should have one.” Please forgive the tight leather suit, I’m Gonna Git You Sucka may have been a spoof of so-called Blaxploitation films of the 1970’s, but this still was the eighties.


2. Duff Anderson (Ivan Dixon) - Nothing But A Man (1964)
The masses know him as Mr. Asagai from Raisin In the Sun, of better yet as “the black guy” from Hogan’s Heroes. But before that Ivan Dixon starred in a critically acclaimed performance in Michael Roemer’s Nothing But a Man. This film follows the story of black man trying to do good but so unsure of his place in this racist and classist world that he goes on a search for self-discovery and identity, leaving behind his wife Josie, played by singer Abbey Lincoln. But unlike a lot of European and American led films, he doesn’t cheat on her or do crazy things to find himself…he wanders, returns to his roots, talks to folks, and THINKS. Yes, a black man thinking on film. Uncompromising in his quest for humanity, he chooses to deal with his own problems instead of taking it out on his wife any longer, and thankfully she lets him work it out…like most men need to do. Mature and very real, Nothing But A Man is a somber, but ultimately uplifting film that would not have been as successful without Dixon as its star.


3. Mouse Alexander (Don Cheadle) – Devil In A Blue Dress (1995)
Like the paladins of old, Mouse had has own gun and did indeed travel to post-WWII Los Angeles to help out his boy “Easy” Rawlins on his 1st case as a P.I. just when he needed him the most. Armed with a violent and playful forwardness, the then relatively unknown Don Cheadle played Mouse as the heavy with a short temper in contrast to Denzel Washington’s calm and often naïve Easy. His portrayal propelled Cheadle into the Hollywood limelight and he’s become the gracious actor that many of the others want to work with. I’m disappointed that another of Walter Mosley’s Easy Rawlins mysteries has never been adapted for the screen.

4. Ben (Duane Jones) – Night of the Living Dead (1968)
He vas the voice of reason among the zombie chaos and led his fellow survivors when leading needed to be done. George Romero didn’t have to cast him, a black man as the highly competent lead in the now seminal horror flick, but it was the best choice he ever made. Okay, he died in the end of the flick, but then so did everyone else. But at least our man didn’t go out like an irrational sucker.

5. Radio Raheem (Bill Nunn) – Do The Right Thing (1989)
Remember his intro: The close-up on the radio, then the rings (LOVE & HATE across his fingers-on separate ads) – classic cinema. The strong silent brother, Radio Raheem was a brother who lived to blast P.E. (Public Enemy for all you suckas…boooyyeeee!!!) from his boom-box and enjoy his neighborhood. Just the fact that the street kids stopped the open fire hydrant for Raheem to pass by was a testament to his cool factor – only the Fonz got more love than that. Who knows what would become of the street philospher if the pigs didn’t viciously kill him? Nunn may have never had another stand-out role like this, but he is embedded in movie history.

STAY TUNED FOR PART 2 OF THE LIST LATER THIS WEEK!

(clockwise, from top l. to r.) Don Cheadle, Duane Jones, Ivan Dixon, Bill Nunn (w/Spike Lee) & Bernie Casey
posted by the Media Man Watch

Birth of a Reality Nation

There is one truly consistent ideal running throughout America’s reality shows, but to us who are used to it everyday, it’s no real surprise. Now I doubt I’m the first writer to comment on it, but I still want to talk about it because it’s annoyingly disgusting.

During the 1960’s, the non-violence movement begun by Dr. King and his associates imagined a world in which it wasn’t the color of your skin but the content of your character that determined how people treated you. What those forefathers didn’t figure out was that: 1. Because of such heavy mentally instilled racism, non-blacks continue to assume the worse about Black folks, regardless of societal status, and 2. Because of those centuries long attitudes, we Black folks stay angry – at the world and the people within it – especially ourselves. It’s all part of what psychologists like the renowned Dr. Jeff Gardere call Post Dramatic Slavery Disorder (or Syndrome) which is similar in scope, but not time, to Post Traumatic Stress Syndrome.

Reality shows are abundant these days and many times (Okay, not with The Bachelor) they are truly reflective of the society we live in. A primary highlight is the dreaded Black villain – the often lone black man or woman (or one of each) in the cast of real characters that is often used as the scapegoat for the groups problems. On The Contender this past week, the lone black boxer left was Ishe Smith – an admittedly bull-headed fighter. No one else liked him and they blamed his attitude for the bad feelings within the house they all shared. They also were upset that most critics were projecting him as the winner. So lets analyze this, shall we: Not only does he think he’s better than everyone else – every one else thinks he’s better than anyone else there. This past Sunday he was defeated by the lightning-quick Sergio Mora, an intentional pairing by that week’s challenge winner in order to get rid of Ishe and his bad attitude. Or at least that was the excuse given. Why couldn’t all these Caucasian and Latino men just admit that he is a solid fighter. No one would give him his due, nor get to even know him well. He’s just another “angry Negro.” They would never say it out loud, but any Black man who has faced the same energy throughout his existence can ‘see the pattern’.

Ironically, many of these cats on “The Contender” have either Black or dark-skinned girlfriends. But then, so did Mark Furman (see the O.J. Simpson case) and one of the cops who shot Amadou Diallo 41 times here in NYC, killing him in the vestibule to his apartment building. So our women are good enough to bang, but the man with the muscle is trouble.

The same thing applies to Craig, one of the “street smart” applicants on this current season of “The Apprentice”. Okay, we all know that Craig isn’t going to win…the Donald loves an educated guy and that’s whom he’s going to go with. But once again this past Thursday, Craig proved how creative and business-savvy he is by winning the challenge as the Team Leader…but he is seldom given his due. In his previous foray as “Team Leader” he created a storage box during the Home Depot challenge that the store began using and selling in their stores. This week he helped create a supply caddy that Staples will begin selling in their stores. So why is it during the Home Depot challenge did all his teammates conspire against him to fail…something they hadn’t done with any other one? Gee, I don’t know Daaavvveeeyyy. Granted, Craig can be a smidge indecipherable, but one team gave hefty Southern lawyer Bren’s homosexual advertising idea a go in an earlier challenge…and what was worse than that one?

And don’t forget Stacie in season 2 of “The Apprentice”. During a hectic challenge, she tried to cheer up the all woman group she was part of by suggesting (strongly) they play with a ‘Magic 8 Ball’ and they deemed her too nutty to have around. She was ganged up on and discarded, something I think the Donald even regretted in hindsight. Just another scapegoat.

And we won’t even start up about Omorasa. Even though she was a bit of a scapegoat too, her detestable persona is a big part of her.

But that’s part of my argument. Being a Black man or woman in this society, unless we act JUST LIKE our counterparts, in the kindest way that is, we are subjugated to scorn. But as much as I’d like to blame the contestants of these shows, I think the main culprits are the casting directors. They pick people that will conflict, of course, because conflict creates DRAMA. However, they often pick Black folks that are, well, really contentious, which creates a stronger carry-through in society. As always, there are exceptions, but they are not the norm. Just as we are perpetually evil in movies and tv dramas, so we are in reality shows and thus…the world.

I should research whether D.W. Griffith’s descendants are the creative forces behind these shows.

Craig of "the Apprentice"
posted by the Media Man Watch

Ishe Smith from THE CONTENDER
posted by the Media Man Watch

Practicing What You Preach: Black Movie Habits

With all this talk back and forth about “Diary of A Mad Black Woman” and how either its important as an Black filmgoer to support it or how stereotypically perverse the image of the central character of Madea is, I want to put some ideas out there for people to ponder. In the past week I’ve gone back and forth about how I respect Tyler Perry for being able to bring his efforts to the silver screen, but that I don’t support his plays because I take the above latter position. I look back upon the history of film and marvel at the atrocious ways that Black folks have been both treated and portrayed, so I marvel at the support of the same old mental slavery stance when we support modern day Stepin Fetchit’s and Beulah’s and the like, much less dudes in drag.

A lot of people who disagreed with my opinions sternly suggested that I should be more positive and support Black films regardless of the content. Honestly, I can understand their position, but if you’re going to say so, then practice your film going (and buying) habits as you preach.

This weekend Be Cool was released in theatres across the country. John Travolta stars in this sequel to one of my favorite films, 1995’s Get Shorty. In the original, Miami mobster Chili Palmer comes to Hollywood to collect a debt for his boss and discovers that his “talents” lend well to becoming what he always dreamed: a movie producer. In Be Cool, Palmer is fed up with the movie industry and decides to break into music production. Now, I know that a lot of black folks have not nor will ever willingly watch Get Shorty, but to support your arguments about WHOLEHEARTEDLY SUPPORTING BLACK FILM, I want all of you to go out there and support this new flick.

You may be unaware, but the director of Be Cool is F. Gary Gray. He is the excellent director of such films as Set It Off, The Negotiator (another of my favs), and The Italian Job (He also directed Friday, but hey we all gotta start off somewhere [and yes, I’m quite aware that I’m among the literal handful of young black folks who didn’t like Friday]). Gray does really good work, so even if you don’t like Travolta, then go support this film to show your support behind this Black man. And hey, it is a comedy too, so you won’t have to worry about taking life too seriously.

While you’re at it, remember to buy Spike Lee’s latest film, She Hate Me, which was released on video and DVD in late January. Also go buy last summer’s King Arthur and the Blues music documentary Lightning In A Bottle, both directed by Antoine Fuqua of Training Day and Bait. And don’t forget last year’s Woman Thou Art Loosed too because I bet most of you didn’t make the effort to go see that. There are so many others to go support too, other films that are really good (or at least directed well) that are too numerous to place here, but go support those too.

If you’re going to preach, then lend your efforts across the board. Your support for Tyler Perry is just as important as your own for Gray and Fuqua and especially for Spike, who opened up so many doors for modern black films and filmmakers.

BE COOL director F. Gary Gray schools Travolta about that darn wig
posted by the Media Man Watch

Christina Milian (yum!) perfoms at the MTV Awards in F. Gary Gray's 'BE COOL'
posted by the Media Man Watch

Director F. Gary Gray with his hands full (Why is he touching my Christina M.!?!)
posted by the Media Man Watch

live from the cathode-ray carpet: the Media Man at the 2005 OSCARS

I’m writing this live from my job as I watch 2005’s Academy Award telecast! Yeah, I know I’m at work and I should be working…but it’s the Oscars! And hey Chris Rock, straight men do watch the Oscars…we just turn during the musical numbers.

Chris Rock was mad funny, especially the joke about Michael Moore not being mad about not getting nominated for Fahrenheit /911. Rock said that Moore he should have made the documentary Super-Size Me instead, “…He’s done all the research.” He also dissed everyone from Jude law (“Why is he in every movie?”), to Ja Rule, to brilliantly enough, himself.

Well to start off with the heavy categories, Morgan Freeman finally won an Oscar and it was for his Best Supporting Actor performance in Million Dollar Baby. I haven’t seen it, but I just hope that he isn’t the “Magical Negro” in it like so many other black actors are in films with mostly white casts. Truth be told, I always enjoy Clint Eastwood movies. Aside from them being just plain good, he doesn’t exploit his black actors or characters and for that he gets my respect. Still, I haven’t seen MDB.

The producers did an interesting thing this year. Cate Blanchett presented the Make-up award from atop the steps next to the people who were nominated. The camera simply panned down the rows to the three sets of nominees. How simple and beautiful it looked. Okay, maybe what I just said seemed a lil boring, but hey, aside from being a screenwriter (and a damned good observer/critic) I’m also trained in filmmaking. I love the technical aspects of moviemaking and…okay, okay I’ll shut up now.

Beyonce tore up that song from the French movie The Chorus. Did I hear correctly that Chris Rock had to force his hand to have the producers of this telecast to bring in more black presenters and performers (Prince was one)? I heard this somewhere and if that’s the case it just reaffirms what most of us still know about the industry, much less the world. I guess they felt that the 4 black folks nominated for acting Oscar’s, plus having a Black host, more than filled the quota. Don’t adjust your screens folks, yes, there are more than 5 black folks on the telly. I just realized that I must be gay now, I just watched a musical number. Can I use Beyonce on stage as an excuse? Hey, at least I have no idea “who” she was wearing.

Damn the Oscars are black this year! Chris Rock went to the Magic Johnson theatre to interview people about their fav movies. He interviewed mostly black folks, and Albert Brooks…and they all loved White Chicks. I don’t know if the skit was as funny or just sad. Ah well. By the way, Scarlett Johanssan is a pretty girl, but man, as an actor she is way overrated. Loved her in Ghost World though (where are you Thora Birch?)!

Actress in a Supporting Role: I know Cate Blanchett will win for The Aviator. She’s literally one of the best actors in the world right now. Her portrayal of Katherine Hepburn (another of my favs) was truly dynamic. They could have shown a better clip for Hotel Rwanda’s Sophie Okenedo. This is racial (running joke: see 1990’s Boomerang). See, I was right – Cate Blanchett won!

Wow. Born Into Brothels won as best Documentary Feature Film. I wanted to go see that for the longest. Guess I’ve spent too much time writing reviews of bad movies to go see that good one. Who’s gonna take me to the movies to go see it this week? This is what I hate though…I can’t go see it now because it’s going to seem pretentious that I’m going to see it because it won. Now I’ll have to wait for HBO to air it. Life’s a b!#ch ain’t it?

Another musical number is on? Should I watch Romeo Must Die on TNT or Bad Boys on TBS? Oh, there’s a SummerLand marathon on the WB and Full House on Nickelodeon. Can’t get enough Lori Loughlin in a night! Ah, Miami is playing the Orlando Magic. That’ll work.

Best Adapted Screenplay. As a writer I especially love this category. I hope before Sunset wins, but I know it won’t. Yep, director/writer Alexander Payne and co-writer Jim Taylor won for Sideways. Hey, I respect Payne’s films so I’m happy for him. Election is still one of my favorites of his.

Another original thing they’re doing this year is for the lesser loved categories like Visual Effects is that they line up all the nominees on stage and the winner just walks over to the podium to accept (they also did for the Docu Feature category). Spider-Man 2 just won for that category. Man, I still shake when I watch that film. The special effects, especially the elevated train sequence, is possibly the best effects I’ve ever seen on the silver screen.

Sidney Lumet just won the Lifetime Achievement Award. Al Pacino presented it and dang, he has gotten A LOT of “work” done. He looks 50 years old. Lumet, for all of those unfamiliar with him, is the director of such seminal films like Twelve Angry Men, Fail-Safe, Dog Day Afternoon, and of course, Network. His films always make you feel truly close to the character. He also directed The Wiz. I guess none of us are perfect.

Oh My God, Big Momma’s House is on TeleMundo. It doesn’t get much better than this. If I’m watching this, you know another musical number is on.

Hey! I had no clue that ex-New York Knick player Hubert Davis made a film! He and his film partner made a Short Documentary film named HARDWOOD about the life decisions made by his father, Mel, and how they affected his life. Mel, a former Harlem Globetrotter, fell in love and had a child with a white woman, but ended up marrying and fathering another child with a black woman. In the film, both women speak about love and betrayal, and both sons address their absent father. Gotta peep this.

Do you realize it’s 10:40pm EST and they’ve only given out two hardcore awards. Now I remember why I don’t watch American awards shows. Sheesh!

Well, it’s 10:55 and another musical number. Beyonce is truly too fine. Check her out in that silver dress. Nice and thick and hippy, just like I love ‘em. She’s actually made me watch a whole minute of a musical number. “Believe” from The Polar Express is a nice song though. And thankfully it’s not Randy Newman singing yet another Disney song.

Finally, the Best Actress category is on tap. I hope Annette Benning doesn’t win for a film no one saw and the ones that saw didn’t care for (Being Julia). It would be such a throw-away win. Nice, Hilary Swank won for Million Dollar Baby. Ain’t it funny that her face looks more masculine than her husband Chad Lowe’s own, and vice-versa? She’s a great actress though, even when she was in ‘Beverly Hills 90210’. In my opinion, I saw a lot of potential from her since The Next Karate Kid. Congrats Hilary, you’re a great talent.

Charlie Kaufman won for Best Original Screenplay for Eternal Sunshine of the Spotless Mind. He’s a nut, but he is a great writer. He got nominated for Adaptation last time and that was one of my favorite films of that year.

11:21 and the Best Actor category is FINALLY up. I hope my man Don Cheadle wins, but Jamie Foxx is the front-runner. I don’t want Don to win simply because he’s black or anything, but his performance in Hotel Rwanda was one of the most dynamic I’ve seen on film my entire life. But, Jamie got it which isn’t much of surprise. He almost cried again, which is really annoying and feels kinda fake at this point, but I’m so happy for him. Who woulda thunk that ‘Wanda’ from In Living Color could have won the Oscar?

Clint just won the Best Director award and then won again for Best Film. Dang, Million Dollar Baby swept for 4 solid categories. I may just have to go check it out this week. Like I said before, I trust Clint anyway so I know it won’t be a waste of $10.25/10.50 or whatever.

This was a really good Oscar telecast, definetly one of my favorites. The best part was the end when Chris Rock shouted out BROOKLYN! at the end of the show. Damn Chris…that’s MAD LOVE!

Charlie Kaufman, winner for Best Original Screenplay (finally) for Eternal Sunshine on the Spotless Mind 

Jamie & Morgan...two Black actors actually winning for two good films 

Jamie Foxx on top of the world  

Chris ready to Rock the boring-@$$ crowd 

Best Director Clint Eastwood 

Cate Blanchett, Morgan Freeman, Hilary Swank, and Jamie Foxx 

DIARY OF AN TIRED BLACK FILM

I didn’t see it, and I don’t want to. All I have to say on the matter is, damn, I know we can do better than this. In a decade it will be 100 years since The Birth of A Nation, and since before that hateful movie Black folks have been fighting to get truer images of ourselves on the silver screen, as well as in all of society.

It’s bad enough that Diary of A Mad Black Woman, from which writer/director Tyler Perry adapted from his series of “urban” stage plays, has been made as a feature film. But, the director himself dresses up as the family matriarch who dispenses her home-spun wise-ass-ism’s, complete with fat suit and white wig. What does this say about how we as black folks view our elderly, especially our elderly women who are often the backbone of our families, black or white or whatever race. Are they manly? Are they aberrations?

The two remakes of The Nutty Professor had Eddie Murphy portray Grandma Klump as an overbearing, oversexed, octogenarian. Big Momma’s House had Martin Lawrence dress up as the family matriarch as well, to catch a crook who was preying on co-star Nia Long. Yes, I know they are all comedies, but damn it, I’ll stay serious because I’m sick of this.

And insult to injury, it debuted as the #1 film this week.

I better hurry up and get my films produced.

Old TV friends...

Did anyone else catch Half & Half last Monday, February 14?

Well, the show’s creator brought back two of my favorite characters, and actors, from one of my all time favorite shows: Maxine Shaw (Erika Alexander) and Kyle Barker (T.C. Carson) from Living Single (1993-1998). It was so joyous to see them reprise their roles because as much as they acted like they despised each other, their love was so apparent – a classically complicated relationship.

Why are they on Half & Half? Well, regular watchers will know that the character Big Dee Dee is resuming her acting career. Intro Kyle: who moved to the West Coast to assume his acting career and be closer with Maxine and their child, with whom he found out was impregnated with his “samples” on the series finale of Living Single. Max is now a highly respected attorney and lives out in San Francisco as the head of her national law offices. Kyle is Big Dee Dee’s co-star in a local play. Enter (‘Lil) Dee Dee (Essence Atkins) who wants to be mentored by Max, but always gets tongue-tied and intimidated by Max’s, well…presence.

I won’t tell you everything, but it was a pretty good episode. Anything that can get me to turn from 24 (they just put Half & Half back in its old timeslot, replacing Second Time Around which I hope is actually cancelled) has got to be important.

It should be noted the ultimate reason why Max & Kyle appeared on Half & Half: the Executive Producer is Yvette Lee Bowser, who is the Executive Producer/Creator of both shows [http://www.imdb.com/name/nm0101465/]. To me, these two are her best shows.

Many don’t care too much for Half & Half, but it is one of the better Black shows on the air. It’s funny though how most Black shows don’t really have Black men as the leads. Is it that Black women are viewed as “more accessible” to the white community? Look to me to address this in a future post.

- Curt the Media Man
Still wondering what "jammin' on the one" means...

Dee Dee & Mona Thorne (Essence Atkins & Rachel True) from UPN's HALF & HALF 

BAFTA

Last weekend on BBC America I watched the Orange British Academy Film Awards, the film faction of the British Acadamy of Film & Television Arts. After watching it I have to really say that I enjoyed it much more than I do the U.S. version – the Academy Awards.

Now we all know first-hand the American penchant for showmanship and theatrics, and this is what disgusts me the most about the Academy Awards. All the idiotic musical numbers, the sucking-up to each other, Billy Crystal acutally thinking he's still current or funny, Whoopi in whiteface…it’s all grown very dull and uninteresting. But like a dolt, I sit through it year after year. It gets so dull that I look forward to the look-back at the industry people who died more than I do the rest of the show.

But the BAFTA folks put on a show that may have seemed boring at times, but really represented with awards shows should be about. GASP, it actually focused on granting awards to the winning nominees! Even better though, they have awards such as: The Alexander Korda Outstaning British Film of the Year named after the highly noted Hungarian born/British made producer and director of such blockbusters as The Private Life of Henry VIII (1933) [http://www.cobbles.com/simpp_archive/alexander-korda_biography.htm]; the Carl Foreman Award for Special Achievement by a British Director, Producer or Writer in their First Feature Film, which is named after the American writer who was blacklisted in the 1950’s and fled to England and continued to establish himself as a highly notable writer of such hits as High Noon (1952) and The Bridge on the River Kwai (1957) [http://www.spartacus.schoolnet.co.uk/USAforeman.htm]. Both of these awards were granted to women too, something uncommon by the U.S. Academy, the latter award to a Black woman, Amma Asante, for her film A Way of Life (see pics below).

In addition, they had an award given to the Best Film of the Year – which was decided by public decision (yes, the common man has a voice), and the Michel Balcon Award for Outstanding British Contribution to Cinema [http://www.britmovie.co.uk/biog/b/001.html], an award granted to someone who is among the least recognized, but highly important aspect of filmmaking. This year it was granted to long time script supervisor Angela Allen, who worked on countless films including maverick John Houston’s films. Check out her stats at: http://www.imdb.com/name/nm0020265/ For me, recognizing the unsung heroes and heroines of good filmmaking is so crucial. The credits don't stop after the director's name for a reason - everyone on that crew is critically important.

After reading this, you’d think awards weren’t given to actors and directors too, but of course they were. For a complete rundown of the rest, check out the official site: http://www.bafta.org/film/announce.htm

Amma Asante w/Carl Foreman Orange Award

director Amma Asante and cast on "A Way Of Life"

Ossie Davis: An American Legend

Ossie Davis was an American legend, even though most Americans would never regard him as such.

Over the past week, since his death, I’ve really taken the time to think about who Mr. Davis was and what his legacy means to Black men and women involved in the creative arts. We all know him as an actor of course, most of us younger folks having been introduced to him in Spike Lee’s “Do The Right Thing” (1989). And of course, we also know him to be paired with his lovely wife, the joy of his life, actress Ruby Dee; the two of them were inseparable. But most of don’t recognize him from his true nature: the artist/activist.

Recognizing Ossie as the artist-activist brings me back to a conversation that I had with my older brother some years ago. He was telling me how he doesn’t respect most artists, be they actor, singer, writer, poet, whichever, because not enough of them use their art to uplift the community – that they are too selfish. I understood his point, and agreed with him to a degree, but I was younger at that time so I didn’t fully understand how important that was until I got a ‘lil older and wiser.

It goes with what a lot of elders instilled in me: how important sacrifices are. And to sacrifice for something you truly believe in, to put your success on the line to: stand with an ostracized Muslim leader, to promote positive and thought-provoking images of your people in the public eye, to support unions even when people think that you are a closet Communist, or to simply be publicly loving to your wife; all these are signs of a great person. A person who understands what life should be about and who isn’t afraid to make what he believes happen. It’s a sign of a true man.

So thank you Ossie for being that inspiration to me. Thank you for being such a great actor, orator and storyteller. Thank you for showing the proper example on how making correct choices in your life and about how important it is to align yourself with the right people, be they Black, White, Asian or whomever. Thank you Ruby for being the same and for loving your man.

So here’s to Ossie Davis: An American Legend!

The Media Man's Top Movies of 2004 + other media watches

Hey all!

Welcome to Curtis Caesar John's first blog entry.

A very good friend describes me as a movie snob. Personally, I can live with that. I detest bad movies. Not to refute, but good and bad are relative, right? I thought “How High” was a bad movie, but you just need to watch it in the right context (no, not while high…although that may be an option). I watched that at 5am in the morning after staying up all night working on my apartment…and I enjoyed it immensely.

All that being said, films are such a joy because they have the ability to take us where we need to be at the moment. Joy, pain, love, sadness, and forgiveness…a good film can run the gamut of emotions. My film picks for this year have something that films of previous years have lacked: vision. They take us to places, within us and without, that are difficult to deal with and often are not.

1) HOTEL RWANDA
I had to breathe deep before writing my recollections of this film because it really pained me to watch what was just a dramatization of such an atrocious event. For those who are unaware (it did just come out last week and may only be playing in NY and LA still) this film stars Don Cheadle as Paul Rusesabagina, a Hutu hotel manager who, through cunning and love, ends up housing Tutsi refugees for days during the horrible civil war in Rwanda wherein at the end of it all 800,000+ Rwandans are killed or dead from disease. Hotel Rwanda is excellent because it shows the power of the human spirit and how much of a difference a person who decides to do the right thing can make. Also, it shows a mature black man who has such deep love for his wife and family, something that we never can see enough of on the silver screen.

Don Cheadle really made me feel like he was living this nightmare. In my opinion, along with Johnny Depp and Robert DeNiro, he is among our greatest multi-faceted actors. If he is not at least nominated for an Academy Award, well then…actually, I wouldn’t be the least surprised if he wasn’t. The Academy has horrible judgment when it comes to black folks. Writer/Director Terry George (The Boxer) once again successfully pulls at our hearts. He also uses black talent well again, as seen previously in the CBS tv show “The District”.

Breakthrough performance: Sophie Okonedo (Dirty Pretty Things) as Paul’s wife Tatiana.
For more info on the war check: The CIA Factbook and Rwanda Information Exchange, and the PBS site about the Hutu/Tutsi conflict. Also, this site has information about the international criminal trials. (info provided by another film reviewer – thanks again!).

2) SHE HATE ME
According to Spike Lee, 'The story of 'She Hate Me' is very simple. It's about sex, greed, money and politics.” According to me, it’s deeper than that, and it works. John Henry “Jack” Armstrong (Anthony Mackie) is a bio-technology executive who after his doctor friend kills himself rats out his bosses, launching an investigation into their shady business dealings by the S.E.C. After being branded a whistle-blower and having his assets frozen, Jack is presented with a money making opportunity when Fatima (Kerry Washington, aka the future Mrs. Curtis Caesar John), his ex-girlfriend who is now a lesbian, asks him to impregnate her so she and her “life partner” can have a baby. Reluctantly, Jack agrees. After getting pregnant quickly, Fatima presents Jack with a money-making opportunity to impregnate other lesbians who want children. Jack becomes a baby-making machine at $10,000 a try. His former employers meanwhile try to frame him for security fraud and use his “activities” as proof of his bad character.

I’ve heard arguments “She Hate Me” tries to do too much and is way too angry. Well, it’s a Spike Lee joint – when have you known Spike not to be angry (well, okay maybe with Girl 6 he wasn’t too angry. I wouldn’t be angry either if I stared a Theresa Randle all day *wink*)? But Spike once again focuses on his aesthetic of the “new American family” and examines the facts and fallacies of black masculinity, sexuality and fatherhood. He also hits on corporate greed, apathy and corruption. Great script and story from actor turned screenwriter Michael Genet (he also co-stars as Jack’s brother Jamal).

Breakthrough performance: the mighty Jim Brown as Jack’s father. His best line as only Jim Brown can say: “Man, that’s cold-blooded!” Anthony Mackie also has had a good year. Peep him in “The Manchurian Candidate” (now on DVD) and “Brother to Brother”.

3) BADASSSSS!
Hands down my favorite film of the year and the 2nd best time I had at the movies. Mario Van Peebles directs and stars as his father Melvin in this revealing homage about his father’s pioneering spirit of independent filmmaking. For those unaware, Melvin Van Peebles directed and starred in “Sweet Sweetback’s Badassss Song,” (1971) a story about “a brother finally taking it to ‘the man’.” This film re-created the spark of Black independent filmmaking in the early 1970’s which led to the so-called “blaxploitation” films, many of which we’d love to forget. (Sidenote: Many of these “blaxploitation” films were deemed so because they were created by white filmmakers, with silly content, when they discovered how huge (think $) the black film audience was after the release of Sweet Sweetback’s… and yes, The Godfather).

“Badasssss!” shows the physical and mental sacrifices that Melvin made to get this groundbreaking film made. It’s a truly funny roller coaster ride of funky investors, difficult casting, and heart-wrenching dedication. Because it’s a very timely film, I only previously only appreciated “Sweet Sweetback…” for it’s place in history, and not for its filmmaking. “Badasssss!” has brought me 180 degrees on my perspective.

Look for great performances from David Allen Grier, Adam West, Rainn Wilson (Six Feet Under) and a lovely performance from Karimah Westbrook. It’s on DVD now, but it has a lot of raunchiness in it so be careful before you watch it in front of the youngsters.

Breakthrough performance(s): Terry Crews (White Chicks) as Big T and Joy Bryant (Antwone Fisher, current GAP model, former Tommy Hilfiger model) as Priscilla. Note: She’s the other future Mrs. Curtis Caesar John.

4) FAHRENHEIT 9/11
I can go on and on about how important this film is and how much I usually enjoy Michael Moore’s films and tv shows (anybody remember “TV Nation”?), but why bother because we’ve heard it all.

Maybe not all the facts presented are true. Maybe. But for someone who has been following the Iraqi conflict with sources other than the evening news and CNN (useless Breaking News graphics and idiot ticker anyone?) from the get-go, I can attest that the film is seeped in truth. This is one of the most important documentaries of our time and my favorite since Spike Lee’s “4 Little Girls”.

Breakthrough scenes: Dubya’s lack of action at the pre-school class after the planes hit the WTC buildings and Moore’s would-be interviews with Congress-people about their children volunteering, or the lack thereof, for the armed forces.

5) WOMAN THOU ART LOOSED
While at the 8th annual American Black Film Festival, I entered the theatre showing Woman Thou art Loosed skeptically. Unless you’ve been in Middle Earth (which a lot of you have been for 3+ years now) you had to have heard of Bishop T.D Jakes’ best-selling self-help book of the same title, which highlights tales of troubled women seeking redemption. Well, this movie is based on one of the stories from this book. Now if you’re like me, and you have beef with the “My Grandmother Prayed For My Diary of a No Good Man” religious themed plays that are performed in Black venues across the USA, you’ll be pleasantly surprised by the level of quality in this movie.

Kimberly Elise plays the troubled Michelle Jordan, a young woman we find on death row at the beginning of the movie. And let’s face it, what black actress besides Angela Bassett plays angry & troubled women better than the lovely Ms. Elise? Michelle finds herself being counseled by Bishop Jakes who gets her to reveal what landed her back in jail. From this point on, we go through numerous flashbacks and forwards through her history, which is heavy in parental neglect from her mother Cassie (Loretta Devine).

If you want to walk away from a film and have heavy thoughts about what the decisions you make in your life mean to you, or how you react to what other people try to do to you, then watch this. Classic film director Michael Schultz has redeemed himself lovely after many years of feature film absence. Woman Thou is a step in the right direction for African-American movies with real messages and high drama.

Breakthrough performances: the always-irascible Clifton Powell as Reggie, Loretta Devine’s abusive boyfriend. Debbie Morgan is also as solid as usual. She’s so underrated though.

6) SPIDER-MAN 2
Whoa! The best superhero movie ever made! I went to go see this at the first day’s midnight showing. Now I freely admit that I am a biased comic-book super hero junkie. But, S2 stands on its own as a yet another film this year about the heavy choices we make as individuals, especially when it comes to pleasing those that we love. Bet you skeptics didn’t know S2 was a love story, huh?

Tobey McGuire is one of the screen’s best young actors. As Peter Parker, he takes us on a journey of accepting your destiny and learning how to forgive yourself for the horrible choices that you’ve made. Although the love story between Peter and Mary-Jane Watson (Kirsten Dunst) permeates the film, the battle between the web-slinger and Dr. Octopus (Alfred Molina), a failed nuclear scientist also out to put right the bad decisions he’s made, makes this film succeed. S2 has the best CGI that I’ve ever seen! I had to turn off the DVD because I was getting way to excited watching the battles. I have three words for those who haven’t seen this yet: the elevated train fight!

Breakthrough performances: J.K. Simmons (Oz) as Daily Bugle editor-in-chief J. Jonah Jameson. Man, what a character! Also director Sam Raimi - Could any other filmmaker accomplish what he did for this series? I doubt so.

7) KILL BILL, Vol. 2
I’m glad that Miramax decided to release “Kill Bill” as a two-parter. After watching the 1st one fall of 2003, I was amazed at the level at which director Quentin Tarantino stepped up his game. Now that, and this one, is the work of a true auteur.

Whereas Vol. 1 had an Eastern feel to it with the ridiculous amount of marital arts majesty, Vol. 2 was pure Peckinpah – an essential western. Yes, it was MUCH slower than the first installment, but I loved the exposition. I especially enjoyed the glimpse of Budd’s new life, played low-key by Michael Madsen, and, of course David Carradine as Bill. Uma Thurman as “the Bride” was funny enough the hokiest person in the flick, but she really brought some compassion to her character toward the end, and some true athleticism to the role throughout. I’m a firm believer that if a film makes you laugh and cry (okay, tear) in 2 hours, then its good. Kill Bill Vol.2 accomplished that in less time.

One thing though, I'm mad that Michael Jai White's part was cut out.

Breakthrough performance: Gordon Lui as the white-haired kung-fu master, and teacher, Pai Mei.

8) RAY
I trust Jamie Foxx to make me laugh, but not to make me feel. In RAY, he did both. Foxx stars as beloved soul/gospel/county/pop singer Ray Charles, who died earlier this year. This movie was gripping not only because of Foxx’s performance, but because it revealed a lot of positive (how financially brilliant and revolutionary he was) and negative (drugs, philandering) aspects of Ray Charles. In essence, Jamie Foxx and director Taylor Hackford humanized Ray in way I didn’t think possible. It sounds cliché, but I often forgot I wasn’t watching the real Ray. This was the only performance all year to rival Don Cheadle’s (I seem to say that about Don Cheadle almost every year).

I had some issues with story pacing and editing, but the standout performances made this movie a future film classic. If there is one scene of pure sexual drama to see in a movie this year, watch the always-outstanding Regina King (as ‘Raylette’ and mistress Margie) singing, “Hit the Road Jack” with Jamie. Wow. RAY is one of those movies you just have to see to get the full scope of. Check out Foxx on COLLATERAL too.

The last thing I loved about it: full of black talent we don’t see enough of on the screen. They could have gotten unknowns to play some of these characters, but thank God they didn’t. Here’s a list of these actors and actresses: Kerry Washington (as Bea, Ray’s 1st wife), Clifton Powell, Harry J. Lennix, Larenz Tate, Bokeem Woodbine, Wendell Pierce, Robert Wisdom, Terrence Howard, and Thomas Jefferson Byrd. Beautiful.

Breakthrough performance: Aunjanue Ellis (Undercover Brother, Caveman’s Valentine) as Mary Ann, Ray’s 1st back-up singer and another one of his mistresses.

9) MEAN GIRLS
I’m a closet fan of John Hughes and Amy Heckerling teen movies, so I grabbed a nice date so I wouldn’t look totally geeky and went to see Mean Girls. An actress with great comic timing, Lindsey Lohan (Parent Trap (remake) & Freaky Friday (um, another remake)) plays Cady, a formerly home-schooled 15-year old who enters the perils of…high school! There, she encounters heavy cliques and of course ends up with the outsiders. But things take a turn when the popular girls aka The Plastics, take a liking to her and allow Cady to join their entourage. Unsure of joining the “mean girls”, the outsiders convince Cady to infiltrate and decimate the Plastics, but things take a turn when Cady falls for the Regina’s (head-Plastic) former beau and goes all out to get him after Regina attempts to ruin her plans. Things get crazier from this point.

Mean Girls was a laugh a minute. I recommend this if you want to escape from the seriousness of it all, although it may make you reflect of some high-school foolishness you’d rather forget.

Breakthrough performance: Rachel McAdams (The Hot Chick) as Regina, the head of the plastics. She’s a really good actress and I’m looking forward to seeing more from her.

=============================================

Other noteworthy films of 2004: Finding Neverland, the Machinist, Primer,
Eternal Sunshine of the Spotless Mind, and Before Sunset

=============================================

Best New TV show for the year: LOST and VERONICA MARS both with good
African-American talent in them too!)
Worst New TV show of the year: anything with Paris Hilton

Best Reality Show: The Amazing Race (black folks finally won!)Worst New Reality Show: The Real Gilligan’s Island – Literally, one of the worst things I’ve ever seen on TV. Literally.

Most overrated album: Usher – Confessions

Most “slept-on” album: GhostFace Killer – The Pretty Toney Album

Best DVD release: Lord of the Rings: The Return Of The King Special Extended Editionhere is an excellent review of it from DVDfile. I agree with everything he wrote, why bother doing my own :)http://movies.yahoo.com/mv/dvd/reviews/df/20041210/110268720000.html