by Guest Contributor Angry Asian Man, originally published at Angry Asian Man I know I’ve…
by Guest Contributor jbrotherlove, originally published at jbrotherlove
I haven’t been a very good cinephile lately. And by “not very good” I mean I haven’t attended any films in this year’s Atlanta Film Festival. In addition to being very busy at work in the past few weeks, I attribute the oversight to a combination of procrastination, lack of Atlanta friends who are passionate about independent film (Boo!), and confusion over my AFF membership status (holla at a brother, Charles).
However, I did manage to get over to the newish Starbucks in Midtown Promenade (off Piedmont Park) to attend the festival’s Diversity On Screen panel, part of their Coffeehouse Conversations series. The panel was moderated by journalist and author Gil Robertson. Author Ronda Racha Penrice, Felicia Feaster (The Atlantan), Ryan Lee (Southern Voice), and Will Hong (TurnerAsia) rounded out the panel.
In general, the panel agreed that the state of diversity in film (race, sexual orientation, gender, age, etc.) is improving. But film lags far behind television and digital/internet in terms of portraying characters and stories with complexity (Hong). Read the Post Notes from AFF’s Diversity On Screen panel
Hosted by Special Correspondent Arturo R. García
* Our least-favorite guest-star
* Where the revamped series should go from here
* Why Uhura Matters, regardless of timeline
And much more!
Arturo: so, everybody catch the review thread?
Andrea: ya did good, arturo!
Arturo: What amused me were the comments that went like, “Great review! This movie still sucked!”
Andrea: I suspect those critiques came from the Star Wars contingent
Mahsino: “admiral madea” killed me
Arturo: I know it killed Andrea. Ha. Well, at least Perry did.
Diana: I was like, the Matrix movies had Cornel West. Star Wars had Sam Jackson. The new Star Trek? Tyler Perry? WTF
Mahsino: Me and my brother had a huge silent wtf in the theater. Who did he pay off for that one?
Andrea: for real.
Arturo: Like I told Andrea, if the guy’s a fanboy, I can’t blame him for wanting in on it.
Andrea: I can. He just doesn’t get that he’s not as cool as whoopi.
Arturo: Hell, N’Sync wanted to play Jedi.
Diana: Was no one else available?
Diana: He can’t act without a dress
Andrea: he can’t act with a dress
Mahsino: Was Keith David not available for the “cool black guy” role?
Mahsino: The suit was Steve Harvey bad
In light of the reaction to Perry’s appearance, we present:
Eight POC Men The Table Wants To See Instead Of TP In The Sequel:
3.Billy Dee Williams (to piss off the Lucas fans)
4.James Earl Jones (to really piss off the Lucas fans)
5.Michael Eric Dyson
6.Colin Powell (’cause Starfleet is the military, after all)
Our discussion, though, did lead us to this suggestion:
Andrea: f-ck it. Barack Obama
Mahsino: why not? He can’t be worse than perry
Diana:Obama, I’m wit it. Michele too
Arturo: Y’know, the “Barack=Spock” media meme is making me leery. it’s anti-intellectual.
Mahsino: I hate the comparison. It’s as if Spock is the new “mulatto.”
Arturo: well, to the other Vulcans, apparently he *was*
Diana: half-breed, that was a big slur on Spock
Mahsino: what, we aren’t post-species-ist in the future? I half expected Bones to bust out with “some of my best friend are Vulcan” they way his tone was going
Andrea: no, that wouldn’t have been Bones, though
Diana: And Star Trek is supposed to be positive about the future
Arturo: It’s *positive*, but it was never pollyannaish. There’s been eps centered around racial issues throughout canon
Andrea: The kicker is, people feel they’re being complimentary with the Spock comparison, i.e. the Greenwald piece from salon.
Mahsino: The Spock/Obama composite pics make me bust out the side-eye
Arturo: Like I said on the thread, though, Bones’ remarks weren’t presented as being as virulent as the sh-t Spock heard back home
Andrea: but to your comment about race not seeming illogical, arturo….it doesn’t surprise that the vulcans came out their mouths the way they did.
Diana: Bones’ beef with Spock was more understandable. The little vulcans were just mean
Arturo: Kids are f’d up, on any world.
Andrea: racism has its own logic.
Arturo: until Spocky opened up the can of whoop-ass
Read the Post The Racialicious Roundtable For ‘Star Trek’
By Special Correspondent Arturo R. García, also Posted At Arturo Vs. The World
WARNING: SPOILERS AHEAD!
Let’s get the questions out of the way now:
Is the command structure in the new Star Trek entirely ridiculous? Yes!
Is the “Red Matter” the epitome of flimsy sci-fi “science”? Yes!
Is a small, evil part of me disappointed that we didn’t see Tyler Perry as Admiral Madea? Kinda!
Is Classic Spock’s entire presence a series of plot-connecting contrivances? Definitely!
Does any of this make the film any less enjoyable? Absolutely not!
No, the new Star Trek (iTrek, for short) is not anything like the original series. That’s the whole damn point, one that’s acknowledged early on. This is a different timeline – doesn’t mean prior canon doesn’t count; just that the game is different from here on out.
And even then, this story and this ensemble nailed the most important aspect of any Trek movie – the relationships between the Enterprise’s core group – while at the same time redefining them. In short: Uhura hooking up with Spock? Good. Uhura hooking up with Spock over Kirk? Great! Read the Post Back To The Future: The Racialicious Review of Star Trek
by Guest Contributor SLB, originally published at Postbourgie
“Breathe,” Derek Charles says, as he vigorously shakes the leggy blonde psychotic in his hotel bed. “Bitch, breathe!”
And with this line, another awesomely campy stalker flick is born.
Trust me. You already know the plot of the newest Beyonce vehicle, Obsessed: naive married corporate exec (Elba) runs afoul of the wrong temp. You’ve seen it all before: things start off innocently enough (benign flirtation in the break room), then before long, the crazy chick can’t hide her crazy anymore and out come the crocodile tears, the trench coats covering presumed nakedness, and those ridiculous IM windows with the super-stupid, super-obvious screen names (here, Ali Larter’s Lisa calls herself TEMPGIRL).
The ending is telegraphed before the opening credits finish flashing (over a too-loud soundtrack of really crappy music). All the characters are pat and underwritten. The budget’s clearly low (The lace-front on Beyonce’s curly wig is visible in almost every scene), despite the truckload of “executive producers, including Magic Johnson, Mathew Knowles, and Beyonce (which would explain the laborious, overlong caress of the camera on the latter as she emotes). The dialogue is appropriately cliche-ridden. And, like most of the stalker flicks that came before it, Obsessed relies on a great deal of doltish behavior on the part of its protagonist in order to build its plot. (That is to say: with just a few more realistic, practical choices, there wouldn’t be a movie.) Read the Post ‘Obsessed’ Wants to Run Smash Into You (And Nearly Misses)
by Guest Contributor Geo, originally published at Prometheus Brown
By Special Correspondent Arturo R. García In the wake of that disturbing article in Fade…
Excerpted by Latoya Peterson
I was not enthused about the project. There seemed to be little humanity in Christopher Wallace. He sold drugs, used the “N” word as a noun, verb, and adjective, then became a famous rapper. My initial thought, “So what?” Instinctively, though, I knew if I could find a way to connect to him, the film would be entertaining. I liked some of his music. I also knew a film about this icon could be a platform to challenge some of the “cancers” plaguing the inner city. There’s an expression: “You have to enter somebody’s world before you lead them out.” That’s what I would try to do. […]
I interviewed the important players in Biggie’s life – Faith Evans, Lil’ Kim, Lil’ Cease, Wayne Barrow. Even P. Diddy came to the crib. The peripheral characters began to take shape. However, I still had not uncovered Biggie. I had to go “method acting” on this bad boy. Instead of looking outside of myself for the main character, I looked inside. I never sold drugs, but as a teenager growing up in the hood, money was important to me. I got a gig acting on a soap opera when I was 16. I wasn’t making Donald Trump loot but I was making as much paper as the drug dealers. I defined my manhood in in a materialistic, superficial way. As I reflected on all this, it struck me. This movie is not about a rapper. It is not about a drug dealer. It is about someone navigating his way to manhood. Read the Post Quoted: Reggie Rock Bythewood on Writing Notorious