Film Alert for all my ATL, DC, and Seattle Folks!!

TRAILER ALERT!!

I got a new one for you folks. Rising star Nicole Beharie (American Violet, Shame, The Last Fall) is set to star in an upcoming indie flick titled, My Last Day Without You. Since 2011 there has been quite a bit of buzz about this film. For the past few years it has been touring the festival circuit, and also has been released overseas.

My Last Day Without You is set in Brooklyn, NY over the course of one day in which, "a young German business executive (Ken Duken) falls in love with a singer-song-writer (Nicole Beharie) who exposes him to her Brooklyn world and emotions he's never experienced before."

Sounds like a classic love tale, what's not to like about that! Here's a flick that begs to ask the question of "should one let love slip through their fingers, after just one day?"

So here's the good part...The romantic dramedy is set to be released in limited theaters (Seattle, Atlanta, and Washington, D.C.) on October 4th:

AMC Pacific Place 11 (Seattle, WA)
AMC Georgetown (Washington, DC)
AMC Parkway Pointe (Atlanta, GA)

Check out the trailer here:

Finding You in the "Middle of Nowhere"...

DuVernay has done it again!! Opening Night at the Landmark Midtown in Atlanta, GA for the premiere of Ava DuVernay's second feature film, Middle of Nowhere been waiting for this moment since last year this time. But the wait was worth it!!

These days it is very hard to find a film that not only entertains but provides a humanistic experience. Middle of Nowhere does just that, and in a captivating way. It is not often that you find gems within Hollywood (and maybe that is a good thing), but when you do there is a greater appreciation of that film when you are able to view it with your own eyes. With this film, Sundance award-winning director Ava DuVernay is able to create a story that deals with love, trust, the complex prison industry, family, and finding one's self in this thing called life.

Middle of Nowhere tells a story of Ruby (played by Emaytzay Corinealdi), a bright medical student who sets aside her dreams and suspends her career when her husband Derek (Omari Hardwick) is incarcerated. As the committed couple stares into the hollow end of an eight-year prison sentence, Ruby must learn to live another life, one marked with shame and separation. And as a steadfast wife she soon becomes propelled into another world filled with self-discovery and choosing between two worlds and two men. 

In addition to the story, DuVernay should take pride in the actors that she used with this film. Without them there would be no movie. And the lead character Ruby (Corinealdi) is truly the center of it all, and plays this role so beautiful and eloquent. Corinealdi is brilliant in this role as she is able to capture her audience with a breath-taking convincing performance. Even though her specific circumstance may not be the same as yours or mine the character is still relatable in the fact that everyone has to make their own choices for themselves. No doubt about it she brought an Oscar-worthy performance, and look forward to seeing more of her. Her presence is one that will move mountains and shake grounds.

The supporting cast is just as remarkable. Omari Hardwick who plays Derek, Ruby's incarcerated husband, once again challenges his viewers to see him play very complex and intricate characters. Although we as the viewer know very little about him, we know enough that we feel his pain and his hurt as he struggles to be a provider and most importantly a MAN all behind prison bars. If you have ever seen the movie Nothing But a Man, you will have an even better understanding of Hardwick's character in the film. He conveys a performance that makes you feel sorry and angry for him all at the same time. And then there is Brian (David Oyelowo) who is like the wildcard. Oyelowo gives a low-key performance of guy who seizes an opportunity to pick up what another guy has left behind. In this role from Oyelowo, we get to see a more take charge, advancing character doesn't give up regardless of the circumstances. The interactions between Brian and Ruby light sparks and send chills because in the back of your mind you want to cheer for them even though it is technically wrong. These two men in Ruby's life are more than just another love story, but the provide the background and foundation for what she is really supposed to do with her life.

There is also a feminine connection as we get to see Ruby interact with both her mother, Ruth (Lorraine Toussiant) and her sister Rosie (Edwina Findley). The dynamics between these three women is filled with a mix of emotions sadness, survival, sisterhood, and grief. Both mother and sister maintain their sense of pride and dignity that ultimately put a strain on their relationship as well as with Ruby. All in all, each character brings their own personal formula to this chemical reaction of a story. Each relationship is authentic and full of clarity.

The film is to be commended for its ability to give you the whole package deal. Although there were moments where you wanted just a little but more, it kind of adds a bit of mystery to the viewing experience. Sometimes it is more important to focus on one character well than to branch off and do and average job.

Director/writer DuVernay brings a compelling and alluring screenplay to the light, with each scene you can feel each moment as it unfolds. The dramatic pauses, the close-ups, the scenery, the dialogue it all draws you in yearning to see what will play out in the next minute. Middle of Nowhere, is a prime example of a film that blends both an intriguing narrative and an awesome soundtrack. Every song in every scene worked perfectly. It is as though the script and the songs were written at the same time. Middle of Nowhere's soundtrack included such artist as Goapele, Meshell Ndegeocello, Ra-Re Valverde, Fink, J Melodius, and others.

Middle of Nowhere is a film the effectively uses all of it parts the acting, the narrative/storyline, the cinematography, the music, the color, and most importantly the timing. Everything and every person falls into its proper place without seeming forced or out of place. And after watching the film you realize that the title is actually quite fitting. Lest I not forget the way this movie ends... it is genius!! I will not reveal it to you, but just know"it's just something about that walk!!" Overall this is a film will challenge your mind and makes you look deep within yourself. Not only that but it gives you a sense of reality of the prison system (you win some, you lose some). There is an overarching lesson here...life is truly what you make it, whether you are free or seeking to be free...

Rating: 8.5 out of 10

Sidenote: I kid you not this is a film that you do not want to miss. For those who live in Los Angeles, Atlanta, New York, Miami, Detroit, Chicago, Houston, Seattle, Oakland, Washington, D.C., New Jersey, or the surrounding areas this is a MUST SEE!!

"Celeste and Jesse Forever" -Guest Film Review

Is it possible to marry your best friend, divorce, and stay friends? If Celeste and Jesse Forever were a real-life story, then it proves that it’s the most complex of situations. However, it shows that it’s also believable. Co-writers and co-stars Rashida Jones and Will McCormack have been there in a way: The two dated for a few weeks in the late 90s, but felt that they were better suited to be friends more than lovers. Jones and McCormack’s shared history inspired their first screenplay (as individuals and as collaborators). The film is already being lumped in the romantic comedy genre, but the fact that it focuses more on the heartbreak side gives it the realistic edge and makes it a difference-maker in the field. Its unpredictability, authenticity, delightfully crude humor, and multidimensional characters give heart to a solid and highly engaging effort by cast, and crew alike—and bring something new to audiences seeking a laugh but also a serious and somewhat heartwrenching narrative.

Jones plays the female protagonist she penned—a busy, motivated, and successful Los Angeles media consultant named Celeste. Scenes of her and Jesse (Andy Samberg)—a talented but unemployed and slightly lazy illustrator—open the film, featuring the two of them affectionately and playfully speaking to each other in fake accents. After a botched double date, their mutual friend Beth (Ari Graynor) blows up at them, that it’s weird that they’re still so comfortable with each other even though they’re separated and on their way to a divorce. This sets such a great stage for the story and in showcasing the unconventionality of Celeste and Jesse’s relationship. However, that level of comfort is diminished as the two of them try to move on with their lives and with other people. They begin to question their true feelings about each other and wonder if it is indeed possible to maintain their friendship. Behind them is an oddball cast of supporting players: Beth, her fiance Tucker (Eric Christian Olsen), Celeste and Jesse’s pot dealer buddy Skillz (McCormack), Celeste’s flamboyant co-worker Scott (Elijah Wood), and Riley (Emma Roberts), a young airheaded pop star who clashes professionally with Celeste.

The film is a bit lopsided in telling more of Celeste’s side of the story: There is a lot more exploration of her outings, her work life, and her interactions with her friends, colleagues, and suitors, yet Jesse, on his own, doesn’t seem to be around much for the audience to see. However, this perspective does allow Jones to showcase her acting talents, and bring to life the fascinating and emotionally conflicted character she wrote. Unlike many romantic comedy heroines whose sole goal is to find and keep love, Celeste has much more depth to her, and it’s clear that she’s a career woman, even in her heartbreak and desire to mend her heart. One of the funniest plot points is Celeste and her firm’s marketing of Riley’s latest record, and how a hilarious album art mistake leads to a frenzy. Though it’s random, in this film, it’s small points like this that make a big statement about a character. Jones’ performance as Celeste is also a highlight, if not the big highlight of the film. Known more for her comedic roles in films and TV shows (I Love You Man, Parks and Recreation), Jones is effortless in her delivery of sarcastic, sharp-tongued humor. She really stretches herself in emoting the building angst and frustration Celeste lives with in dealing with her separation from Jesse and in her other relationships. It’s one of her most authentic performances to date and it’s difficult to picture someone else in the role. Samberg, also more known for his roles in comedy (Saturday Night Live), turns in a very respectable dramatic effort as Jesse. He does benefit from the lovable and natural chemistry he shares with Jones—the two performers have known each other for a long time through the stand-up comedy circuit.

Aesthetically, Celeste and Jesse Forever’s portrait-like cinematography (featuring the beautiful landscapes of Los Angeles, San Francisco, and Rhode Island) and mellow soundtrack give it a true indie feel.  However, the real spirit comes from how the film takes on a different kind of love story—one that isn’t necessarily one of romance, but one of letting go. It’s one that’s layered and refreshing. Somehow maybe, ‘forever’ is still possible in the most unexpected way.

Rating: 8 out of 10

Guest Film Review: "Hope Springs"

Check out this guest post from my fellow sister site Medium Rare for the film Hope Springs...

Hope Springs is a fun but forgettable romantic comedy about a couple whose relationship has lost its spark. Kay (Meryl Streep) would like to get back the magic in her thirty-one year marriage with Arnold (Tommy Lee Jones) and has enrolled the two in couples counseling with Dr. Feld (Steve Carrel) in the tiny remote city of Hope Springs, Maine. Though enjoyable as a whole, the film is divided into two distinct parts: the first and the second half. The distinction being that the first half drags and the second half is actually enjoyable.

The overarching problem in the first half is the film’s one dimensionality: Kay wants a change and Arnold doesn’t. This seems to be the only thing going on. Arnold makes no attempt to change his ways and spends his time badgering Kay: “How could you bring me here?” “What did I do to deserve this?” “How can you call 31 years ‘not a real marriage.’” Kay, on the other hand, spends this portion of the film looking longingly at the man she loves wishing he would change. Clearly the film makers wish to drive home just how dysfunctional the relationship is but they do so in excess. The point is clear early on, so each new scene illustrating it feels a bit excessive. At some point the viewer has to wonder how these two are together at all.

This one noted-ness also, unfortunately, applies to the comedy of the film. Although it gets slightly better in the second half, the movie is never really that funny. All of the jokes seem to be about the same thing: Arnold and Kay’s awkwardness around each other. Look at these old people trying to be sexy with one another, the film seem to suggest. They can’t even say the words “oral sex!” Isn’t that funny? Yes, at first, but the novelty of adults behaving like cootie-phobic children gets old fast.

Hope Springs finally picks up in the second half after an emotional therapy session between Kay and Arnold. When you learn that Arnold feels that Kay also had a part in the breaking of their marriage a new dimensionality is added to the film. Finally the movie is not just about one character wanting something and the other being reluctant to give it, but about two characters trying to figure out what went wrong and how to change it together. The film is at its best in this second half as we get to watch the characters, in some very touching scenes, remember exactly how it was that they loved one another and what it felt like to do so.

As you could imagine from the cast list for Hope Springs – Streep, Jones, and Carrel – the acting is great. The script occasionally forces the stars into the melodramatic but the cast is always able to tone it back before things get too ridiculous. Streep and Jones show great chemistry and are able to realistically convey how two people could be in love but still so very unhappy. All three of the stars are masters of on screen subtlety, quickly conveying things to the audience with a shift in posture or a sideways glance. Unfortunately, these talents are used a bit too frequently and what should have been subtle often becomes rather blunt. Seemingly afraid the audience will not get it, director David Frankel (The Devil Wears Prada) always uses two strokes when one would do.

At the end of it all the audience is left with a very sweet though not very funny film. Writer Vanessa Taylor clearly has a lot to say about the subject and is able to convey her message in a heartwarming enjoyable way. The actors, always welcome on screen, do a good job and the chemistry between them feels real. Though Hope Springs flounders in its opening, the second half finds its legs and the audience is left with a tender and enjoyable experience highlighting the trials and tribulations of marriage. It’s a shame, though, that it isn’t a bitt funnier.

Rating: 6 out of 10

"Middle of Nowhere" Director Shares Her Thoughts on Sundance!!

Ava DuVernay is the writer/director of the Sundance Film Festival selection “Middle of Nowhere.”*

For the majority of independent filmmakers the world over, Sundance is the brass ring of American film festivals. It’s the one they want. The one where at least one Cinderella story unfolds just about every year. The one where studio honchos congregate and truly pay attention to your film, even for 97 minutes. And, the one that has programmers known fabulously by one name. When you hear “Cooper” in the indie film world, its pretty much like someone saying “Arianna” in the digital world or “Oprah” in, well, the rest of the world. Yes, I just compared Sundance Film Festival head John Cooper to Oprah. But when you hear your film has been selected to unspool in Park City, it does kinda feel like, “You get a car! You get a car!” Except the car is the coolest looking laurels in town.

When I got the acceptance call from prolific senior Sundance programmer Shari Frilot before Thanksgiving, I didn’t have an Oprah audience reaction. It was a quiet moment. A slow-motion moment. My film’s submission to the festival certainly meant something to me, but in the way that a long-shot means something to you. You want it. It’d be so, so lovely to have. But don’t take things too far, kiddo. You know this is not going to happen. Just play it cool. Submit and forget. And that’s what I tried to do. Shari’s call brought an unexpected joy.

One of the things that I love about having the Sundance experience at this point in my filmmaking journey is that I was really happy before that call. Where I was before Sundance selected my second feature, was a beautiful place. My previous work had been embraced by other wonderful festivals – African-American and majority culture fests. I’d seen my previous film, “I Will Follow,” open theatrically to packed houses in New York, Los Angeles and beyond through the black distribution collaborative known as AFFRM. I’d talked to moviegoers at my screenings and really listened and learned from them. I’d read the good reviews – and the not-so-good ones – and dealt with how both make you feel. So while I absolutely love that Sundance will be the space where many of my fellow filmmakers debut their first features as an introduction to a specific film community, I feel fortunate to have a film community of my own that supported my stories early on and hope will continue into the future. I go to Park City feeling free, focused and grateful for the “before Sundance” part of my journey. I love the film we made and simply what to share it. Whatever happens after that, I can’t control and shouldn’t try.

So instead of getting caught up in the sales frenzy and the anxiety that naturally comes with being judged, I’ve been busying myself with the mammoth adventure that is the festival itself, and all its mythology. There is terrificly wacky lore and ritual around the fest, to which I’ve been nine times as a patron and former publicist. Where to stay. How to finagle tickets. Zeroing in on the best parties. Filmmakers who have superstitions about screening in certain venues at certain times. Hollywood execs who book their condos a year in advance. Fest attendees in ticket lines quizzing each other on what the other has seen, inviting actionable critiques. One must drink plenty of water to acclimate to the high altitude. One must always wear your jacket inside the Library Theatre, because it will be freezing until they turn the air off when the film begins.

All leading to the moment when you settle in your seat, and the lights go down and a new world begins. A storyteller spins her or his tale, and invites you to go along for the ride. People who love film, love that moment. The moment right before the first frame appears. In that moment, the film is the only thing that matters. Not the place you watch or the way you watch. When a film seeps into your bloodstream and grabs your heart and imagination, there’s little else greater for a movie buff. I hope that happens to a few folks watching my picture. It’s called “Middle of Nowhere” and it’s been selected for U.S. Dramatic Competition at Sundance 2012. Its about a brave woman whose dream has been deferred – and how she makes something beautiful out of her life despite her circumstances. We shot for 19 days in and around South Central Los Angeles and other parts of my fair city. I’m proud of it, both now and before the reddest, most delicious cherry called Sundance was put on top. I’m proud because, in the end, the film is the only thing that matters to filmmakers. The film is truly the thing we want. We want it to be deeply felt. We want it to be remembered. We want it to illuminate the corners. We want to be heard. That feels even better than a new car.

*You can also check this out on Wall Street Journal and share with others!!