Meet 'The Penguins' in "Penguins of Madagascar"*

Super spy teams aren't born...they're hatched. Discover the secrets of the greatest and most hilarious covert birds in the global espionage biz: Skipper, Kowalski, Rico, and Private.

For a little humor to spark the holiday season, DreamWorks Animation is giving audiences a spin-off of the Madagascar film & television series, focusing on the supporting background characters who shone through every movie, The Penguins. Set right after the events in Madagascar 3: Europe’s Most Wanted, the spy thriller adventure features the cute flightless bird friends taking on a top secret mission with a team called “The North Wind” in 2014’s Penguins of Madagascar. As Puss and Boots was to The Shrek franchise, “The Penguins” are no longer scene-stealing sideshows, but now tapped for their cuteness, humor, action, and adventure for their own feature film.

As the title conveys, the movie spotlights four penguins (Skipper, Kowalski, Rico, and Private) from the previous films, though it is not necessary to have seen the other movies to understand this one. Now, the four penguins face a situation with a new villain, Dave, requiring them to team up with another group of animal secret agents to stop Dave's evil plan. The movie opens with a preliminary back-story, and once audiences soak that in, the film throws viewers straight into the action for the majority of the film. Immediately, The Penguins capitalizes on being funny and providing an entertaining plot that includes high pace, top-notch action scenes accompanying visually stunning animation. The Venice chase sequence is particularly entertaining, especially in 3D.

In addition to the humor and animation, parents will likely find some well-known film references to add a little depth to the movie. Some of these include when the penguins team up during the climax, and parody this film's team line-up shot reminiscent of The Avengers (2012). There is also a warehouse scene in Dave’s submarine like a scene in Raiders of the Lost Ark (1981), and Kowalski utters a familiar line from the 1968 Planet of the Apes.

The movie depends on providing a certain balance of action and humor, since there are several frantic and high speed villain chases along with many clever jokes, which may require a second viewing so as to catch everything. To go along with the action and humor, the voice acting is top notch. I appreciate that the movie, unlike several of its DreamWorks counterparts, did not feel the need to rely on big name celebrities. Nevertheless, it features a few main big names: Benedict Cumberbatch as “Classified,” a fellow fox secret agent; and John Malkovich as “Dave,” the villain octopus.

Viewers will be sure that the camaraderie between the four penguins is the highlight of the film. At times, the movie’s pacing is a bit manic, starting out at an extremely high pace, then taking a dive as it progresses to the end. Despite the jokes and gags being funny, some are a little childish.

While one may appreciate DreamWorks’ efforts to try something a little different from the previous Madagascar films, this one unfortunately did not meet the mark. Although the Penguins are entertaining, kids will probably enjoy it more than adults, even though many references will go over their heads. It’s as though the movie sets you up for a jam-packed entertaining joy ride, but quickly deflates like a balloon.

No question, folks will laugh at the jokes, but as a whole, the movie lacks creativity and emotion, or a lasting impact that many of the other DreamWorks and DisneyToon continuation films (How to Train Your Dragon 2, Cars 2, Planes: Fire & Rescue) have done. One specific problem is that while the penguins are entertaining in the previous movies, this one only proves that they work better in smaller doses. The film devotes too little attention to feature the penguins many of us have come to love and enjoy from the movie and TV series. One never comes to feel that the team was the focus of the show. Case in point: one of the penguins, Kowalski, may as well have stayed in the zoo.

All in all, I must admit the movie is fun and cute, but The Penguins would have been better suited for a summer release to really capitalize on the younger audiences. The Penguins offers a lot of potential; unfortunately, while Penguins of Madagascar finally escapes the rehashed feeling of the Madagascar films with something new, it still proves under-whelming.

As seen also in The Berkeley Graduate

A Sneak Preview into the Highly Anticipated “Dear White People” film*

“Dear White People, the minimum requirement of black friends needed to not seem racist has been raised to two…Sorry, your ‘weed man’ Tyrone does not count!”

Every generation has a film that shocks as it touches upon issues of race and inequalities of color. In 1950, we had the black-and-white American film noir No Way Out; in 1970, the satirical comedy Watermelon Man; in 1989, Spike Lee’s ‘fight the power’ film Do The Right Thing (1989); John Singleton’s 1991 classic Boyz in the Hood; and at the beginning of the new millennium Bamboozled (2000). In 2014, we have Dear White People a contemporary satire that is not simply another post-black film, but a commentary on expanding and updating notions of black identity.

Winner of the 2014 Sundance Film Festival’s Special Jury Award for Breakthrough Talent, Dear White People is a sly, provocative satire of race relations in the Obama age. In this breakthrough performance, writer/director Justin Simien gives audiences a close look at four African American students as they navigate racial and sexual politics and campus life at the predominately white Winchester University. The four protagonists, “The Rebel,” “The Token,” “The Poster Child,” and “The Diva,” are what Simien likes to call “archetypes of people of color.” He sees them as archetypes versus stereotypes, or just simply blacks who espouse survival tactics in environments where they are in the minority or have to cope with the way people label them: “One of the things that was interesting about Dear White People is that I show these archetypes in the beginning, and we just dismantle them to a complete pulp by the end,”[1] remarks Simien.

Simien, a 31-year-old Texas native, drew direct inspiration for this film as result from his experience at Chapman University in Southern California. Being a “black face in a white place” is not just the premise of the film, but also an actual lived reality for Simien (the Black student body on Chapman University comprises 1.6 percent of the campus). As someone who has experienced much of what he portrays in the film, Simien takes a tongue-in-cheek approach to exploring the state of college campuses today and racial identity in a supposedly post-racial America, specifically, having a cinematic dialogue about what it means to be black today. Considering the past few years have been marked with numerous deaths of unarmed young black women and men, he has hopes that this film will resonate particularly with the millennial generation. According to Simien in an interview with “Best of New Orleans:

“The funny thing is that there are still people out there who believe [the U.S. is post-racial]…People say ‘do we even need this [type of film]? Aren’t we beyond this?’ After Obama was elected, there was this post-racial bubble; some liberal and very well-intentioned people thought we had overcome the struggles of racism. It took all these tragic shootings of black teenagers, and members of Congress telling Obama to go back to Africa, and racist blackface parties to bubble into mainstream for people to realize we’re still dealing with the same issues.”[2]

The film has garnered much anticipation leading up to its October 24th nationwide release, since one can view a collection of sketches, trailers, and videos under a PSA series called “The More You Know (About Black People)” some of these include:

             “Not To Be Racist, But…”     

            “Do Black People Love Fried Chicken?”     

            “Why The Best Athletes Are Black?”

            “White People Love Food Stamps, Too”

In addition to the PSAs, sketches, and trailers, one can purchase Dear White People paraphernalia, posters, and even the book on which the film is based.

Dear White People hopes to bring laughs, while deliberately addressing casual racist attitudes of what may seem outlandish to some white Americans; for far too many African Americans, these statements represent everyday reality. For all intents and purposes, Simien wants viewers to walk out of theater with a different mindset from the one they brought into the film, and hopefully for the better. “I’m really looking at people whose past racial bubble is yet to be popped…I want this to be part of a cross-cultural conversation they’ve never had before. Our movie couldn’t have come out at a better time.”[3]

Dear White People hits select theaters this Friday October 17th and nationwide on October 24th. However, as a special bonus for the Bay Area there will be a private screening of this film on today at Shattuck Cinema Theaters.

*As posted in The Berkeley Graduate

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[1] Interview from New York Times “Happy to Be Your Guide to Black Identity”: Justin Simien Goes Mainstream with ‘Dear White People’…10/9/2014…By: Nelson George

[2] Interview from Best of New Orleans, “Director Justin Simien talks about Dear White People”

[3] Interview from UPTOWN Magazine, “The One Thing ‘Dear White People’ Director Justin Simien is Sorry About”…10/13/2014…By: Angela Bronner Helm

A New Sheriff in Town...Television that is..."The Black Actress"

Fall 2014 seems to be the season for Black Actresses in television. There was a time when one could count on one hand how many Black actresses were seen on prime-time television, let alone a major/lead role. Well it seems as though the times are changing.

This fall you have plenty of options on just about every major net work as well as premium channels.

Check out the "Fall 2014 Guide to Black Women/Actresses in Television":

(Viola Davis, "How To Get Away With Murder")

ABC
**Viola Davis & *Aja Naomi King
"How To Get Away With Murder", Thursdays at 10 PM

**Tracee Ellis Ross, *Yara Shahidi, and *Marsai Martin
"black-ish", Wednesdays at 9:30 PM

**Kerry Washington
"Scandal", Thursdays at 9 PM

*Lorraine Touissant
"Forever", Mondays at 10 PM

*Chandra Wilson
"Grey's Anatomy", Thursdays at 8 PM

*Da'Vine Joy Randolph
"Selfie", Tuesdays at 8 PM (premiers September 30th)

*Tamala Jones & *Penny Johnson
"Castle", Mondays at 10 PM (premieres September 29th)

*Nadej Bailey
"Resurrection", Sundays at 9 PM (premieres September 28th)

(Danai Guirira, "The Walking Dead")

AMC
**Danai Guirira
"The Walking Dead", Sundays at 9 PM (premieres on October 12th)

CBS
*Nilaja Sun
"Madam Secretary" Sundays at 8 PM

*Regina King
"The Big Bang Theory", Mondays at 8 PM

*Stacie Davis
"NCIS: New Orleans", Tuesdays at 9 PM

*Melanie Lieburd
"Stalker", Wednesdays at 10 PM (premieres October 1st)

(Nicole Beharie, "Sleepy Hollow")

FOX
**Octavia Spencer
"Red Band Society", Wednesdays at 9 PM

**Jada Pinkett-Smith
"Gotham", Mondays at 8 PM

**Nicole Beharie, *Lyndie Greenwood, and *Jahnee Wallace
"Sleepy Hollow", Mondays at 9 PM

*Xosha Rocquemore
"The Mindy Project", Tuesdays at 9:30 PM

*Tamara Taylor
"Bones", Thursdays at 8 PM

(Angela Bassett, American Horror Story:Freak Show")

FX
*Angela Bassett & Gabourey Sidibe
"American Horror Story: Freak Show", Thursdays at 10 PM (premieres October 8th)

OWN
*Edwina Findley Dickerson, April Parker-Jones, & Tiffany Haddish
"If Loving You is Wrong", Tuesdays at 7 PM

HBO
*Niecy Nash
"Getting On", Sundays at 10:30 PM (premieres November 9th)

(Lenora Crichlow, "A to Z")

NBC
*Tamara Tunie
"Law & Order: SVU", Wednesdays at 9 PM

*Joy Bryant
"Parenthood", Thursdays at 10 PM

*Sasheer Zamata
"Saturday Night Live", Saturdays at 11:30 PM

*Lenora Crichlow
"A to Z", Thursdays at 9:30 PM (premieres October 2nd)

*Tymberlee Hill
"Marry Me", Tuesdays at 9 PM (premieres October 14th)

Starz
*Tichina Arnold, *Erica Ash, *Joni Bovil, *Kalilah Harris, and *Yasmeen Griffin
"Survivor's Remorse", Saturdays at 9 PM (premieres October 4th)

The CW
*Candice Patton
"The Flash", Tuesdays at 8 PM (premieres October 7th)

USA
*Diahann Carroll
"White Collar", Thursdays at 9 PM (premieres November 6th)

(Diahann Carroll, "White Collar")

Looks like every day of the week is covered, so there should not be a dull day. Also you will find that the Black Actress is featured in not just the typical comedy, she can be found in the drama, superhero/comic story, sci-fi/fantasy, cop drama, and more.

Happy Fall TV Watching!!

It’s More than Just Race, It’s about Culture too… ABC’s Newest Family Comedy ‘black-ish’*

In a matter of weeks, the 2014 Fall lineup of television shows will be premiering on various networks (some have already made their debut). Fans await a dozen shows, including the new Shonda-land drama line-up on ABC (Grey’s Anatomy, Scandal, and How to Get Away with Murder), NCIS [CBS], Gotham [FOX], Criminal Minds [CBS]. One show in particular making headway is ABC’s newest comedy sitcom black-ish. Kenya Barris (America’s Next Top Model & Are We There Yet?) created this new family comedy, who is also an executive-producer along with Larry Wilmore (In Living Color, The Bernie Mac Show, & The PJs), Anthony Anderson (The Departed, Transformers, & Me, Myself & Irene), and Laurence Fishburne (The Matrix, Hannibal tv series, Boyz In the Hood).

A few days ago I had the opportunity to view a sneak preview of the new pilot that is set to premiere on September 24th. Let’s just say audiences are in for a comedic and cultural treat. Picture a family man from a middle-class African American background struggling to gain and maintain a sense of cultural identity while raising his children in a predominately white, upper-middle-class neighborhood [in what appears to be Los Angeles]. This fun-loving family consists of successful advertising executive and patriarch Andre ‘Dre’ Johnson (Anthony Anderson), his doctor wife with the intentionally problematic name Rainbow (Tracee Ellis Ross; Girlfriends), their four children, and their instigating but loving grandfather, Pops (Laurence Fishburne). All together, it appears as though the Johnsons are living the good life: beautiful family, great jobs, a house in the suburbs. However, has this success brought too much assimilation for the family?

Both Dre and Rainbow are successful in their respective careers, yet at times they find their viewpoints on opposing sides. Rainbow, who happens to be bi-racial, is more of the liberal in the family, and actually believes that they live in a post-racial society and that her children can live and exist in a colorless world. Then there is Dre’s father, Pops, who loves betting on horses at the race track, but also offers his – at times unsolicited – advice and opinions regarding family matters. Though the advice may be blunt, it is typically ‘spot-on’ and it is often challenging to disagree with him. As we might imagine in any family, every parent or guardian wants to be able to give their children the best that they can. However, sometimes the children have another agenda all their own. What results is the price Dre and Rainbow must pay when they have given their children more than they ever had. Raising all four children in a comfortable lifestyle in an affluent, mostly white neighborhood, has several consequences, many hilarious, contributing to Dre’s struggle and quest to keep them rooted in his idea of African American and black culture.

The pilot introduces these struggles when the oldest son, Andre Jr., or “Andy,” as he calls himself at school, announces to the family that he would like a bar mitzvah (though his family is not Jewish) along with the rest of his white schoolmates. To exacerbate the situation, he also want to play field hockey versus trying out for the basketball team. So of course Dre begins to plot ways of guiding Andre Jr./Andy back into what seems more ‘black-ish.’ Then there is Zoe, the eldest of the four children, who is smart, pretty, popular, and drenched in privilege and unjustified entitlement. Essentially, Zoe’s idea of achievement is grounded in material possessions rather than work. For Zoe, success and accomplishments are equated to having 150,000 Instagram followers. The twins, six-year-old Diane and Jack are an intriguing duo. Diane is gifted, talented, and smart, but without an outlet to funnel all her smartness. She takes every opportunity to remind people that that she is one minute older than Jack, who is the sensitive and delicate twin. He is the one child who idolizes his father, offering comments at every moment even if they come out sounding awkward. Ultimately, Dre is very dedicated and motivated to building a strong black cultural tradition for the present and future. Although he wants to live the American dream, at the same time he is striving to preserve some sort of black identity in this multi-cultural world.

At the close of the pilot episode, several thoughts and questions will definitely surface in one’s mind, such as, What does it really mean to be black?; Is it really a promotion when you become the Senior VP of Urban Affairs and you happen to also be black?; Are black and urban one and the same?; How does it feel to be ‘put on display’ and visibly black in the workplace?; and What exactly is black-ish?  Overall, this new family comedy from ABC offers a humorous yet progressive look at one father’s determination to instill some sense of cultural identity in his family. As “Dre” puts it so eloquently, “I’m gonna need my family to be black – not black-ish!!”

black-ish is set to hit television screens on Wednesday, September 24th at 9:30/8:30 CT PM.

Check out the trailer HERE:  http://www.youtube.com/watch?v=JNqqjDv6_dU !!

*As posted in The Berkeley Graduate

Before modern medicine there was the New York Knickerbocker Hospital…Cinemax’s New Late Summer Series, “The Knick”*

The Knick is Cinemax’s newest television series that looks into the professional and personal lives of the New York Knickerbocker Hospital staff during the early part of the twentieth century. The series was created and written by Jack Amiel (Raising Helen) and Michael Begler (Raising Helen), who also serve as producers and executive producers. Clive Owen, Steven Soderbergh (Traffic; Ocean’s Eleven), and Michael Sugar are also executive producers. It premiered on August 8th, 2014. The ‘Knickerbocker Hospital’, a fictional hospital, functions as the epicenter around which the lives and struggles of the protagonists revolve. In addition to getting a look into one of New York’s unique hospitals, viewers also get the opportunity to see life outside of the hospital: immigrants living in horrible sanitary situations, young children working in coal mines and factories, and deep social tensions and racial prejudices running within society.

It’s the year 1900 in New York City, the ‘Knickerbocker Hospital’ employs a staff of innovative surgeons, nurses and staff who must overcome numerous medicinal inadequacies,[i.e. alcohol-soaked knives, sterilized saws that are also to cut open pig cadavers, and make-shift hand-cranked suction pumps and vacuums] to keep their patients alive and the hospital up and running. Despite literally struggling to keep the lights on, the hospital attempts daily to draw in a wealthy clientele, without having to sacrifice quality healthcare.

The staff of Knickerbocker Hospital includes new lead surgeon, Dr. John Thackery (Clive Owen) who is largely based on historical figure William Stewart Halsted (1852 – 1922)[i]. Owen’s performance as Dr. Thackery is electrifyingly scary as he depicts this innovative turn-of-the-century physician. In this newly appointed position as the chief of surgery, Dr. Thackery must battle his cocaine and opium addictions. We also find that although he is a conflicted surgeon, losing patient after patient sometimes for the sake of experimentation; his passion pushes him to go beyond the existing boundaries of surgical methods and techniques with hopes of new medical discoveries and gaining a solid reputation among his colleagues and staff.

Compared to Owen, the supporting cast may not be as well known, but they are in their own ways notable and worthy of attention. Consider Dr. Algernon Edwards (Andre Holland; 42 andBride Wars) who is a cultured, Harvard-educated, European-trained African American surgeon (partially based on the historical figures Marshall Taylor and Louis T. Wright)[ii] who must fight for respect within the all-white-populated hospital, as well as the racially-charged city. It should also be noted that Dr. Edwards in his physical appearance and demeanor can be likened to that of sociologist and civil rights activist W.E.B DuBois. Dr. Edwards also offers a complicated and layered, yet intriguing, plot to the storyline. To add to this complexity, there’s Herman Barrow (Jeremy Bobb; The Wolf on Wall Street) the hospital administrator with more greed than common sense. Then we have the daughter of the hospital benefactor Cornelia Robertson (Juliet Rylance; Sinister) who provides a strong female lead role in the show. The remaining doctors and staff include Dr. Everett Gallinger (Eric Johnson; Flash Gordon), Dr. Bertram ‘Bertie’ Chickering Jr. (Michael Angarano; The Forbidden Kingdom) and Nurse Lucy Elkins (Eve Hewson; Enough Said) who round out a fantastic supporting cast.

Along with the stellar casting and writing, one of the film’s strong points is the cinematography: it presents an old, rustic yet gory look that pleasantly and curiously pulls viewers into its wicked plot. Picture entering into ‘The Knick’ hospital as the staff prepares to operate on very ill pregnant woman. Right from the start, the operation is reminiscent of a fighting action sequence – but bloodier. Before the woman takes her last breath before being put under we hear her cry “Please save my baby!” Immediately the mask is placed over her nose and mouth and one of the doctors begins to pump. The next hand we see is that of Dr. Thackery as he makes an incision from one side to the other, wiping up blood as he cuts. He then calls for the vacuum, which connects to various jars that begin to fill up with blood. The next scene is Thackery pulling out the baby and handing it to the nurse, who transports it to another cart to begin pumping air into the mouth. Each moment crescendos as the doctor’s work desperately to keep the mother and child alive. But as the procedure ends and the last drops of blood fall into the jar, the nurse does not hear a pulse from the baby. As the camera zooms to her, she just shakes her, “No”, and all we are left with is the mother’s deflated stomach, and tubes and wires hanging on the flaps of the mother’s skin. In those few minutes, we witness one of the most thrilling medical operations on television. It’s like riding “The Intimidator 305” at King’s Dominion Amusement Park.

So not only are you visually stunned, but the detailed writing also helps to establish a sense of realism that we as viewers rarely get to witness in television shows (or films) illustrating this particular era. With each episode we see that a lot effort, time, and commitment has come from the production staff as it is clear that they have gone to great lengths to provide an accurate portrayal of everyday life in turn-of-the-century New York in ‘The Knick’. Imagine Owen’s character dressed in a bowler hat with frazzled hair and disheveled sunglasses shading his eyes staggering out of an opium den. In some ways he is reminiscent of a rising rock star packed with attitude as he tersely directs a cab to take the long way to the hospital. Upon his arrival, he has sufficient time to inject himself between the toes with an unidentified cocaine solution. With each of his movements, the camera fluidly catches every step that leads up to his impending tragedy. The vision of director Steve Soderbergh is quite distinct as the cinematography is indeed intricate and dark, so to showcase the elaborate and pristine costumes, and the historically accurate and vintage props. One might even say the hospital is much like an ‘electric circus’ considering all of the madness that takes place day in and day out.

When one thinks of new television series, the heavy-hitter networks that come to mind include ABC, NBC, HBO, and Fox However, Cinemax is beginning to make its mark known from behind the shadows and making its presence known in the primetime realm. Since 2011, Cinemax has begun to offer more mainstream original programming in order to compete with sister channel HBO, and rivals Showtime and Starz. The channel has also changed its focus to compete with other movie services such as Netflix and Hulu. Many of these new program like The Knick (as well as Banshee, Hunted, and Strike Back) have helped to change the Cinemax’s image from a channel that has been mostly known for its late night adult programming.

All in all, The Knick is an engrossing and accurate portrayal of life and death in and around this New York hospital (after only three episodes, the series has already been renewed for a second season). In each 60-minute episode, the city of New York is transformed and meticulously recreated, to show every busy street corner, alley or candle-lit room making it feel authentic and have you coming back for more. The Knick is not your typical hospital drama like ER or Grey’s Anatomy, and definitely steps away from the comedy of Scrubs. Put it like this, the incisions a far more sophisticated, grittier and meaty (pun intended), the surgery scenes are beyond graphic, and all with a twist of entertaining character development, and chilling drama.

Catch The Knick every Friday on Cinemax at 9 p.m. EST/ 8 p.m. CST.

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[i] William Stewart Halstead was a pioneer of scientific surgery who opened a surgical school at Johns Hopkins University. In 1885, Halsted developed conduction anesthesia by injecting his own nerve trunks with cocaine, a substance to which he subsequently became addicted (though later cured).

[ii] Louis T. Wright (1891 – 1952), a brilliant African American surgeon who was active in the New York NAACP in the first half of the 20th century. Both Wright and the fictional Edwards studied at Harvard Medical School and graduated at the top of their class. Wright became Harlem Hospital’s first African American surgeon in 1921, two decades after this show takes place.

*As posted in The Berkeley Graduate

BREAKING NEWS: Two More Names have been added to the Star Wars: Episode VII cast!!

This just announced today, 12 Years a Slave Oscar winner Lupita Nyong'o and Game of Thrones actress Gwendoline Christie have been casted in the upcoming Star Wars: Episode VII film. 

Nyong'o, 31, who made her break-through, award-winning performance in 12 Years... last year as Patsey, is now stepping into the outer space realm. Christie also adds another compelling piece to the casting puzzle, considering all the buzz she is getting from her performance as Brienne in the Game of Thrones series. Both women are bold additions to this already remarkable cast. According to Lucasfilm president Kathleen Kennedy, "I could not be more excited about Lupita and Gwendoline joining the cast of Episode VII, it's thrilling to see this extraordinarily talented ensemble taking shape. 

They will be joining original cast members Harrison Ford, Carrie Fisher, Mark Hamill, Kenny Baker (R2-D2), Peter Mayhew (Chewbacca), and Anthony Daniels (C-3PO). Other new additions that have already been cast in the upcoming film include, John Boyega (Attack the Block), newcomer  Daisy Ridley, Adam Driver (Girls), Oscar Isaac (Inside Llewyn Davis), Andy Serkis (The Hobbit), Domhnall Gleeson (About Time), and Max von Sydow (The Exorcist). The film is being produced by Kathleen Kennedy and veteran director J.J. Abrams. It is set to hit theaters December 18th, 2015. 

No assignment of roles have been mentioned or made, but considering the cadre of actors that have been enlisted it looks like they will not disappoint...hopefully.

In Memory of Sista Maya Angelou... (Rest in Paradise)

Words just cannot expressed the sadness that would enter into my body upon waking up this morning to the news of the passing of a giant, Maya Angelou. Every word that left her mouth was truly immortalized and will always be cherished forever. As I thought about writing a post, I contemplated how I could honor the legacy of this great human being. I figured her words have truly had an impact in so many ways, particularly within the pop culture realm.

And as someone who consumes many elements of popular culture both academically and socially, I had to creatively pay my respects to this legend. So what better way to pay tribute than to highlight some clips of her words that  have been featured in various films, songs, television shows, etc....

Poetic Justice (1993) "Alone" and "Phenomenal Woman"

Maya Angelou and Common have a talk...

Maya Angelou and her conversation with Tupac Shakur...

"On the Pulse of the Morning" (1993) (President Bill Clinton Inauguration)

A conversation with Maya Angelou and Dave Chappelle...

In addition, on today in honor of Angelou XXL Magazine would feature a cadre of hip hop songs that mention/include Maya Angelou in some sort of fashion...

1) Common feat. Maya Angelou "Dreamer"
"Once you find your shoulders dropping/And your speech gets slow and hazy/You better change your way of being/Before you found your brain got lazy/You can build a better future when you join the winning team/If you desire a bright tomorrow, you must build a brighter dream" —Maya Angelou

2) Wale "The Artistic Integrity"
"Maya Angelou spawn/ Abandoned and raised by Nas/ Raised by the sharks but I'm swimming with the prawns/ I found my own lane/ Meet Mr. Folarin"

3) Lupe Fiasco "I'm Beamin'"
"Mix Melissa Ford/With Maya Angelou/Become a top model/And Sojourner too"

4) Jean Grae feat. Pharoahe Monch "Killin' Em"
"Word evangelist/Diabolical vandalist/Infamous/Maya Angelou with Marlon Brando shit" —Jean Grae

5) The Roots "The Session (Longest Posse Cut in History)"
"So okey-dokey folks/Most provoke me I'll choke ya so hold your oats/Was rollin' 'cause I'm strollin' with the quotes/Like Shakespeare, Mark Twain, or Edgar Allan Poe/But since I'm a negro, I flows like Maya Angelou" 

6) Dilated Peoples feat. Defari
"I'm on that Richard Pryor, Bruce Lee, Muhammad Ali/Bob Marley, Jimi Hendrix, Salvador Dali/Now we rap Langston Hughes and Maya Angelous/Out the disco Xanadu/Hip-hop for the streets" —Rakaa Iriscience

7) Kanye West "Hey Mama"
 "Can't you see?/ You're like a book of poetry/ Maya Angelou, Nikki Giovanni/ Turn one page and there's my mommy"

8) Nas "The Makings of a Perfect B@%$#"
"Gimme Sade's mystique, she gotta know her way in the streets/ Like Billie Holiday in Harlem/Body from Ki Toy Johnson and Kenya Moore and Apple Bottoms/ Maya Angelou's brain and some groove from Terry McMillan"

9) Talib Kweli feat. Kanye West, Busta Rhymes, Mos Def, and Jay-Z "Get By (Remix)"
"It's something about that Nina Simone piano flow/ It's like a Michaelangelo painted a portrait of Maya Angelou/ And gave it to a sick poet for they antidote/ If music get's you choked up this is the tree and a rope" —Kanye West

10) Wale feat. Meek Mill, Pill, Rick Ross and Teedra Moses "Self-Made"
"Picture me rollin', young, handsome and focused/Got that vision of 'Pac although I'm branded as Oprah/Michelangelo portrait meet Maya Angelou notebook/Michael Jordan performance nigga I'm picturing all of it" —Wale

Amazing how much of an impact a few words can have on a society, community, and even the world! The ancestors await you Sista Angelou!

Brick Mansions*

Brick Mansions is a French-Canadian action movie that is based on the 2004 French film District 13. This action thriller is directed by Camille Delamarre and written by Luc Besson, Robert Mark Kamen, and Bibi Naceri. The film stars Paul Walker (Fast and Furious franchise), David Belle (District 14, Ultimatum), RZA (Repo Men, Ghost Dog) Catalina Denis (Taxi 4, Le Mac), and Robert Maillet (Sherlock Holmes, Pacific Rim). This is one of Paul Walker’s final roles before his untimely passing on November 30, 2013.

It’s the year 2018 and a dystopian Detroit has fallen on hard times. Brick mansions have become dilapidated, a rise in drug-related crime, and community residents are left to suffer. At the core of its problems, at least according to the politicians, is how to get rid of this building structure and everything within it. Unable to control the crime, the police under the leadership of the mayor have a constructed a massive containment wall around the neighborhood in order “to protect” the rest of the city. This becomes not just a plan of action, but also the problem.

Now as for the residents of Brick Mansions, there is a unique blend of sophistication, humor, and seriousness that we see in the cast members. Lino, one of the protagonists who is played by French actor and Parkour creator David Belle (he also starred in the 2004 original), is an ex-con who wants to protect the innocent residents of Brick Mansion from the thugs, criminals, and villains who are essentially regulating the streets. The other protagonist is an outsider, but insider of Brick Mansions: undercover Detroit narcotics detective Damien Collier (played by Paul Walker) who navigates this dangerous neighborhood in order to bring down a crime lord and his plot to devastate the entire city. Interestingly enough, this character is not a significant stretch from his previous well-known role in the Fast and Furious series. Then there is the “sheriff of Brick Mansions” Tremaine (played by Wu-Tang member RZA), a well-dressed, tough-talking kingpin, who may or may not be what he seems. Viewers are not quite sure where he stands in relation to the uplift of the community. Sadly, in the role of Tremaine RZA does not really provide a developed and quality performance.

One particular relationship worthy of attention is the one between Lino and Damien. Although it is a slow-building rapport, Lino and Damien seem to gradually get past their mistrust and effectively become a force to reckon with on screen. Despite the electrifying chemistry, at times Walker’s character is a bit stilted, off-kiltered and out of place next to Belle particularly during the fight scenes. However, they make a fine duo.

Despite not having an original storyline, the beauty of the film is the human body in motion. The clever interplay between characters is resourceful and engaging. And, since this is primarily an action film remake, most of the scenes are fast and enjoyable. The viewer witnesses the special military, gymnastic style of choreography known as ‘Parkour style’. As a result, these stunts and fight scenes are clearly the star of the film.

Additionally, although the film is primarily action-based and may be difficult to take seriously, there are some significant takeaway moments that can be identified:

• Social and political commentary on the ramifications of social inequality
• Elite power structures taking advantage of the innocent and poverty-stricken
• Humanity for all regardless of the person’s status and/or situation

Needless to say, unfortunately one of the down sides of the film is that instead of the original six month time window depicted in the original District 13, the writers attempt to cram the exact same story into 48-hours without any nuanced changes. There is also a heavy dose of violence, expletive language, and situations of menace and peril (particularly for a film that is rated PG-13), which on several occasions are over the top. Some moments I felt like I was playing “Grand Theft Auto” the video game. Essentially, Brick Mansions is an impatient remake with an underdeveloped narrative, shallow and clichés villains, and thrilling, but disconnected action scenes.

Overall, despite the film not being as climatic, production wise, as one might hope Walker still radiates the same charming, golden-boy effort in this posthumous release. Brick Mansionsdelivers a decent remake effort that will surely disappoint some and please others.

*As posted in The Berkeley Graduate

New Documentary Alert: “Invisible Universe: A History of Blackness in Speculative Fiction”

Utopian Fiction…What is, “Speculative Fiction?”…Who is part of the Science Fiction world?...What does it mean to be a “Second Class Citizen”?…A voyage into a fantastical world…

To answer some of those questions and expound on the above ideas, filmmaker and producer M. Asli Dukan’s has launched her documentary “Invisible Universe: A History of Blackness in Speculative Fiction” which investigates the relationships between the Black body, popular fantasy, horror, science fiction literature & film and the alternative perspectives produced by creators of color. According to Dukan:

From the origins of the genres, images of Black people in fantasy, horror and science fiction or speculative fiction (SF) have been inauthentic at best in the imaginations of white creators. From the “Fantastic Voyages” of the 1700s where Black pirates kidnapped white explorers to far off “alien” lands, to technologically advanced futures where Black people didn’t exist in any significant population, to post-nuclear holocaust America where modern Blacks took on aggressive pre-civilized behaviors, many of these ideas have created lasting impressions in the minds of their audiences and future creators. And though there were a few attempts by some white writers to use the genres for social commentary, for instance on race relations, these efforts were few and far in between.

There is however a significant output of work by Black creators, who used the techniques and themes of the genres to write alternative stories and to produce films that spoke closer to the realities of Black life. At the turn of the 20th century, Black writers wrote utopian and fantastical novels set during the days of slavery and Reconstruction. Independent Black filmmakers created low budget feature films exploring the effects of science and fantastical religious beliefs on the Black imagination. Harlem Renaissance writers jumped into the genre with “mad scientist” and “end of the world” scenarios commenting on the American race relations. In the 1960’s and 1970’s, two powerful and original voices emerged in the SF world writing tales with more inclusive pasts, presents and futures. Also in the 1970s, Black anti-heroes utilized science and the supernatural to secure Black justice. And later, there was the emergence of Black superheroes, who, though ready, willing and able to save the entire universe, first had to fight a homogenous industry.

This 10-year project brings these ideas to life through extensive footage, which features interviews with major writers, scholars, artists and filmmakers (i.e. Samuel R. Delaney, LA Banks, Tananarive Due, Nichelle Nichols, Wesley Snipes). The documentary also explores various mediums such as comics, literature, film, and television by deconstructing stereotypical and archetypal images of people of color (primarily Black) within these genres. Dukan has traveled across the country documenting key conferences, conventions, panels, performances and other events of Black SF at The Studio Museum in Harlem in New York, The East Coast Black Age of Comics Convention and The Afrofuturist Affair in Philadelphia, the AstroBlackness colloquium in Los Angeles, the Auburn Avenue Research Library on African American Culture in Atlanta, The Central District Forum for Arts and Ideas in Seattle, and New York Comic Con and Comic-Con International in San Diego. Essentially, “Invisible Universe” ultimately uncovers how Black and other individuals of color have been minimized and even erased within “popular” Sci-Fi culture, thus as a result of this consciously creating their own universe.

Dukan explains much of her dedication and efforts for this highly anticipated documentary project with a few words from the late, great Black science fiction writer Octavia Butler, “ I was trying to write myself in.” And Dukan does just that with “The Invisible Universe” documentary.

So if you would like to learn more and support the campaign check out the link HERE .

Check out the trailer here:

Invisible Universe trailer (Documentary feature work-in-progress) from Mizan Media on Vimeo.

As posted in The Berkeley Graduate

300: Rise of an Empire*

[Trigger warning: review contains reference to sexual assault]

Seven years since the release of the 2006 fantasy, action-packed film 300, audiences are presented with the prequel and sequel 300: Rise of an Empire, which tells the story of Greek general Themistokles who leads the charge against invading Persian forces that are led by mortal-turned-god Xerxes and Artemisia, vengeful commander of the Persian navy. The events in the film are happening before, concurrently, and afterwards of the previous film (300).

300: Rise of an Empire quite possibly might be better than the first. As a whole, the story is more or less the same – Persians invading Greece for an impending takeover. However, the focal point for this second film is the Persian army specifically seeking to destroy the city of Athens and its people. Unlike the men of Sparta (who are equipped with a perfect set of abs and muscle ripped body), the soldiers come in various sizes and builds and are not nearly as “exotic” in appearance.  Much like the first 300, there are the free flowing fight scenes, choreographed to be reminiscent of a flawless dance routine. Nonetheless, the difference in approach between the two films is found in the nefarious nature of the second; by comparison, the first had a far more romantic predisposition.

To some viewers, 300: Rise of an Empire might be a little different from what one might initially expect. Rather than a simple sequel, it is more of a companion movie – incorporating various viewpoints of previous events in 300 in addition to events during and after. I found the narrative/storyline to be quite compelling and provocative. For example, the Persians are still attacking Greece, but this time the audience is getting the story from the viewpoint of Athenian Themistocles, while the events of 300 unfold elsewhere. As a bonus, the film also reintroduces the backstory of some old and introduces us to several new characters that are very interesting to watch. These back-stories showcase some very stimulating and engaging battle scenes. With a plethora of fantastic battle scenes that take place on land, there are just as many extravagant naval battle scenes. Many of these awesome and entertaining battles ranged from the witnessing of explosive ships wrecks, to beheadings, and well-choreographed one-on-one sword fights. Watching Themistocles engage in naval tactics was particularly thrilling. Certain scenes of combat were actually much better than the first 300–more abrasive, rougher, and just more fun to watch.

Much like the first, 300: Rise of an Empire is visually enticing and aesthetically dark and beautiful simultaneously. Overall, the characters are definitely clothed in typical Greek beauty/fashion, everything from the glowing, chiseled and toned bodies of the male soldiers, to the supple breasts of the women, to the poignant and graphic sprays of blood and body parts, essentially showcasing the bodies and scenery that are being put on display. Herein, this is where the movie really shines in the multifarious visual elements from both of the actors as well as in the special effects. Taking it a step further, the lighting is also quite exquisite as it worked in tandem with the story, both lent very well to the way in which the 3D and CGI were utilized. Instead of certain features “popping” out they rather take the approach of going deep within the film’s soul. Cinematographer Simon Duggan does an impressive job of mapping out the landscape (dark, grimy battlefield) and its correlation between the intensity of the film and how the Persian takeover (that happens on both land and sea) shown in the film is more of an insight to the original story, going deeper than Sparta and the army of 300.

Regarding the actors/actress of the film there are a few standouts. Eva Green (who plays Artemisia) executes an excellent portrayal of one of the main villains, her performance is quite compelling and to some degree is the “Leonidas” of Rise of an Empire. At times she is very terrifying, while nonetheless amazing to watch. One might say she holds her ground and can “roll with the big boys/men.” This is not to say that Sullivan Stapelton (Themistocles) is overshadowed but it is obvious that his role was intended to be more meticulous and precise, very much like how the Queen in 300 is portrayed. Although fighting on opposite sides (but of the same Athenian heritage), the two pull the differing sides of a war story firmly together. Not to mention the chemistry between the two in and out of each other’s presence is disturbingly orgasmic. For example, the sex scene is more sadomasochistic and less love making, borderline rape porn. Without giving any spoilers, this particular scene can be described in this way due to the gender power dynamics that are exhibited. Instead of Artemisia being the victim, she is depicted more as having the upper hand as this blood-thirsty, revenge-seeking dominatrix. The climax of that particular scene becomes a semi-civil talk between two enemies (who do happen to respect each other) that quickly becomes a discussion of surrender and rough-sex. If one recalls the passion between “King Leonidas” and his queen in300 is filled with intense affection and attachment whereas the scene in 300: Rise of an Empire is permeated with force, power and control.

Considering the historical acts that the movie is [loosely] based on, and the personality and writing of the creator [Frank Miller][1] of which the yet to be released graphic novel [“Xerxes”] is based upon the film is bound to includes acts of machoism, sexism, misogyny, etc. And although, the intention of the filmmaker is to entertain the audience, this entertainment is still simultaneously complicated and problematic. What is also unique and interesting about the gender dynamics is the fact the male performances are more at the bottom of “totem pole” and in some ways fall flat, whereas the two main female actresses dominate the film from numerous angles of power. Artemis (Green) is truly the one to watch in that without being over-sexualized she controls the screen with her skillful, graceful and strategic violence and sexuality. In a sense, she owns and advocates for her own body. All in all, on a few occasions, I as a viewer would be willing to die for her on the battlefield.

Furthermore, without delving too deep, but at least acknowledging it, the lack of historical accuracy may annoy or turn off some viewers. However, if you’re looking for that, this was not the movie for you. In many cases, movies that are based on comic books and/or graphic novels are not entirely accurate, nor do the creators aim to accomplish that goal. As a matter of fact, the first 300 was not 100% accurate, but still engaged and entertained the audience (their primary goal). By allowing the film to be an interpretation, this gives the writers and directors to have some sort of creative liberty.

All in all, the 300: Rise of an Empire was very enjoyable and satisfying. One could liken this viewing experience to an intricate, highflying roller coaster ride. In particular, the ending of the movie is very climatic and awe-inspiring as we are presented with the final battle scenes. When it is all said and done, 300 was ground breaking at the time of release in 2006, and300: Rise of an Empire fosters that first step into a world of a distinctive, and possibly more mysterious, way of storytelling.

Rating: 8/10

[1] In previous films such as “300”, Sin City, The Watchmen, Frank Miller is notoriously known for his misogynistic and hyper-sexualized treatment of women.

*As posted in the The Berkeley Graduate