By Guest Contributor Marissa Lee, cross-posted from Racebending
Warner Bros has finally glommed onto a lead actor for its adaptation of the Japanese science fiction novel All You Need is Kill.
Set in a post apocalyptic future, All You Need is Kill is about a young Japanese soldier, Keiji Kiriya, who serves on an international fighting force fighting an alien invasion. Keiji gets stuck in a “Groundhog’s Day” scenario where he keeps reliving the day he died.
Set to play the main character in the film adaptation? On December 1st, 2011, Variety reported: Tom Cruise.
By Arturo R. García
It seems at least one scene in the upcoming film Sherlock Holmes: A Game Of Shadows will involve Robert Downey Jr.’s Holmes disguising himself as “a Chinese beggar” for laughs. Because crude racialized cosplay is funny, y’see – especially if there’s a British accent involved!
At least, that seems to be the reaction from some movie bloggers: The Huffington Post breathlessly reported that Downey’s yellowface get-up signifies director Guy Ritchie “has his hero going multicultural — to great comedic effect.”
Actually, what this bit threatens to do is continue a disconcerting trend: the creative teams behind the most recent attempts to “reimagine” Sir Arthur Conan Doyle’s detective stories can’t – or won’t – let go of some of their most xenophobic elements.
by Guest Contributor Rebecca Linz
I was looking forward to “The Soloist” for two reasons: having played the violin all my life, I love those rare contemporary films that dare to explicitly appreciate classical music, but also because I am a sucker for based-on-a-true-story films.
The dynamic between the two protagonists (Jamie Foxx as Nathaniel Ayers, a Julliard-trained cellist turned homeless man suffering from what appears to be schizophrenia and Robert Downey Jr. as Steve Lopez, an L.A. Times reporter) evolves from a relationship between a potentially successful article topic and a struggling journalist into a mutual friendship. “I’ve never loved anything as much as he loves music,” Lopez muses in awe about his subject. Flashbacks into Ayers’s childhood reveal that his mental illness was probably always present but began to torment Ayers during his time at Julliard when he was a college student (which is a common age for symptoms of schizophrenia appear).
Among the voices that haunt Ayers’s mind is a woman telling him: “They’re white, heartless aren’t they? . . . Turn you white . . . Whiteness, whiteness, whiteness,” which not-too-subtlety reminds the viewers that Ayers is one of very few students of color (and the only African American student that we see) at Julliard. Continue reading