If you skipped last night’s ceremony, we certainly don’t blame you. But, Kendra and Arturo were live-snarking throughout the night, and you can catch their recap of the highs and awkward lows under the cut.
By Arturo R. García
Fruitvale Station reminds us that the story of Oscar Grant is not over. And the world seemingly took a cue from that on Wednesday, when a federal court rejected his killer’s appeal, enabling his father to continue to seek justice in his name.
The man who shot Grant dead early on New Year’s Day 2009, former transit officer Johannes Mehserle, doesn’t say anything in writer/director Ryan Coogler’s account of the last hours of Grant’s life, a choice that not only allows Grant (Michael B. Jordan) and his loved ones more time to be seen and heard, but defines Mehserle as less character than calamity – a clumsy, confused-looking thing that happens. Both Grant and Mehserle are introduced from afar in the film’s opening seconds before shifting focus to follow Grant (sometimes, literally, from behind), pointing the viewer toward the same destination. But knowing what’s coming from a dramatic standpoint doesn’t diminish the visual impact.
By Arturo R. García
When last we left Ryan Coogler’s Fruitvale, it had earned both the top prizes and a distribution deal at the Sundance Film Festival.
Now known as Fruitvale Station, the film is continuing to win acclaim, this time at the Cannes Film Festival. As star Michael B. Jordan, who plays Oscar Grant, the victim of a police shooting on New Year’s Day 2009, told the Associated Press:
“It’s electric. It’s like March Madness. It’s that time of year where everyone’s just in it, talking about movies.
“I don’t want to be that ignorant American who comes over here and expects everyone to love it: ‘Oh, you got to love it because it’s hot over there. I want people to be excited about it because it really affects them.”
The trailer above offers a glimpse into not just the events leading up to Grant’s death, but the world he was trying to rebuild with himself, his mother (Octavia Spencer), his partner Sophina (Melonie Diaz) and their daughter Tatiana (Ariana Neal). One thing that did strike me from the footage so far: we’re going to get at least some interpretation of how the shooting was captured on video by witnesses, and the police response.
Fruitvale opens on July 26, which places it in a relatively slow week in the middle of summer blockbuster season. The only “major” film opening that week appears to be Hugh Jackman’s The Wolverine. According to Movie Insider, the other films of note debuting are the Cate Blanchett/Alec Baldwin/Louis C.K. project Blue Jasmine and Blackfish, a documentary that uses the story of a killer whale responsible for the deaths of three trainers to shed light on how orcas are treated in captivity.
By Andrea Plaid
I have to admit it: as much as I loved seeing Octavia Spencer giving some serious 60s retro sexiness on the cover of Elle,
I would’ve loved to see Elle give more women of color some love for their “Women In Hollywood” issue.
But then, from what I gather, Spencer isn’t getting total cover girl respect: this gorgeous cover is only available to subscribers. If you pick up the November Elle from your local supermarket or newsstands, you’ll see Sarah Jessica Parker, not Spencer.
Quite a few Tumblizens aren’t even having it.
By Guest Contributor Kendra James
Another Monday, another post-awards show morning, another day of waking up and asking myself if I really just saw what I thought I saw. Because there’s absolutely no way that I really saw Billy Crystal in blackface on national television the night before.
And for all I know, maybe I didn’t. No one’s talking about it. It didn’t seem to have made any morning news show headlines. I didn’t hear Kelly Ripa and Neil Patrick Harris mention it and I missed seeing what the women of The View had to say, but given Whoopi’s track record with the hot topics of the day I’m guessing I wouldn’t have been impressed.
Oh, but wait, a quick dive into the comments section at Jezebel (why do I do this to myself?) confirms that I did not, in fact, dream up what I saw last night. Not only did it happen, but it seems to have already been rationalised by the general public. You see, blackface is apparently no longer offensive, especially if it’s not being done to intentionally hurt anyone’s feelings. We’re in post-racial America! These things no longer carry the weight they once did. There’s no need to analyse it to death. It was just a sketch!
Foolishness like this is making it really hard for me to get my fill of pretty red-carpet dresses.
By Arturo R. García
Academy Awards? More like Academy of Awkward.
But seriously, what kind of group spends nearly all of 210 minutes squeeing over love letters to movie houses from the 1910s and silent movies?
Oh. Never mind.
That study by the Los Angeles Times, which revealed (or confirmed) that the Oscars electorate is 77 percent male and nearly 100 percent white, gives us the only context in which Billy Crystal’s return as the show’s host could possibly be explained. Otherwise, he couldn’t have been more of a creative anachronist if he’d showed up cosplaying Tyrion Lannister.
By Guest Contributor Blanca E. Vega, cross-posted from Race-Work Race-Love
“If there is no struggle, there is no progress. Those who profess to favor freedom, and deprecate agitation, are men who want crops without plowing up the ground, they want rain without thunder and lightning.” — Frederick Douglass
Writer’s block. This is how I woke up this morning. Confronted with the realities of beginning a dissertation and working full time as a college administrator, I came up with two words:
I write about race and education. I research racial incidents on college campuses. Every day, in my inbox, I see some article about another racist incident, form of harassment, example of violence – I go to sleep with this, I wake up to this, I eat with this racial narrative.
I wonder about those folks who are color-blind. How do they wake up every morning?