I joined CTV NewsChannel anchor Roger Peterson to have a look at new movies coming to theatres, including Spike Lee’s “Highest 2 Lowest,” the action comedy “Nobody 2” and the crime drama “Americana.”
Watch the whole thing HERE!
I join CP24 Breakfast to talk about the big movies hitting theatres his week including the action comedy “Nobody 2,” and Spike Lee’s “Highest 2 Lowest.”
Watch the whole thing HERE!
Fast reviews for busy people! Watch as I review three movies in less time than it takes to make the bed! Have a look as I race against the clock to tell you about Spike Lee’s “Highest 2 Lowest,” the action comedy “Nobody 2” and the crime drama “Americana.”
Watch the whole thing HERE!
SYNOPSIS: In “Highest 2 Lowest,” the new film from director Spike Lee, Denzel Washington plays a music mogul faces a moral dilemma as he attempts to protect his friends and family from a kidnapping plot and stave off the takeover of his legendary record label, Stackin’ Hits Records.
CAST: Denzel Washington, Ilfenesh Hadera, Jeffrey Wright, ASAP Rocky, and Ice Spice. Directed by Spike Lee.
REVIEW: When Spike Lee’s “Highest 2 Lowest,” a modern-day reimagining of Akira Kurosawa’s 1963 film “High and Low,” is firing on all cylinders it is a thing of propulsive beauty. A subway chase sequence, based on the car chase in “The French Connection,” is edge of your seat stuff, and a showdown between music mogul David King (Denzel Washington) and rapper Yung Felony (A$AP Rocky), is an acting masterclass with the intensity of a rap battle.
Those scenes represent the movie in full flight, and they are vital and exciting, the kind of filmmaking and performances that jump off the screen. Both scenes up the stakes for everyone involved, which is lucky, because the rest of the film, while fraught with complications, is never imbued with a sense of danger. Sure, there are guns, a kidnapping and a ransom bag filled with 17.5 million dollars, but this isn’t a crime drama.
Not really.
Spike Lee and screenwriter Alan Fox use the kidnapping as a backdrop to explore fatherhood, relevancy in a changing world, ethical dilemmas, legacy and, of course, Lee’s favorite basketball team, the Knicks.
It makes for a dizzying, but uneven film.
The first hour, wallpapered with Howard Drossin’s melodramatic score, paints the gregarious David King as a man who lives up to his last name. He lives, with his wife Pam (Ilfanesh Hadera) and son Trey (Aubrey Joseph) in a NYC penthouse palace, decorated with museum quality art and mementos from King’s illustrious career. His record label, his life’s work, is about to be sold and he’s willing to risk it all to buy it back. “It’s not a risk,” he tells Pam, “it’s a rebirth.”
The business deal is thrown into jeopardy when a kidnapping plot (NO SPOILERS HERE) throws King’s life and finances into limbo. Forced to reckon with his past, present and future, King must make some very difficult choices.
The second hour, as the kidnapping plot kicks in and the financial talk fades, revs up the film’s momentum as King takes action to resolve the kidnapping and kickstart his personal and professional rebirth.
Howard Hawks once said that a great film has three great scenes and no bad ones, and while “Highest 2 Lowest” has great scenes, and the sheer force of Washington’s work ensures there are no bad ones, it feels as if the puzzle pieces don’t quite fit together. As the character work of the first half gives way to the more exciting second half, the film takes on a disjointed, idiosyncratic feel.
It never settles into a groove, it’s restless, idiosyncratic, mixing tones, themes and even film stocks. Even so, it’s compelling to watch Lee and Washington, two lions in winter, strut their stuff.
Washington hands in a bravura performance, almost Shakespearean in its theatricality. Like Washington said at the Cannes Film Festival before a screening of the film, “King Kong ain’t got s— on me.”
Lee captures that work in a movie that feels like a Spike Lee joint. It’s vibrant, in love with its characters and, even though it feels disordered, it’s a film that feels both contemporary and classic. It’s an utterly unique work that only Spike Lee could have made.
Ultimately, “Highest 2 Lowest” is a story about staying relevant for a new generation, about getting your groove back headlined to two artists who have never lost their groove.
Sidney Poitier, who passed away in January 2022, led a remarkable life, one vividly portrayed in the Oprah Winfrey-produced documentary “Sidney,” now steaming on Apple TV+. “He doesn’t make movies, he makes milestones,” says U.S. President Barack Obama in the film, “milestones of America’s progress.”
In an interview shot with Winfrey in 2012, the “To Sir with Love” actor, staring directly into the camera, tells of his childhood in Nassau. A master storyteller, he recalls how he almost died as a baby, shares wonderful stories about his loving parents, recalls seeing a car for the first time, and marvels at his first glance into a mirror.
His move to the United States from a predominantly Black community in the Bahamas, is fraught with racism and threats of violence from the Ku Klux Klan, but tempered by kindness from a waiter who helps him learn to read, using the newspaper as a textbook.
Landing in Harlem, he is introduced to the world of acting, and has the good fortune to go on as an understudy in a New York City stage production on the same night a big-time Broadway producer is in the house. That leg up set on a path that would see him become the first Black man to win the Academy Award for Best Actor (for 1963’s Lilies of the Field), a civil right activist and diplomat.
It is a comprehensive, linear look at Poitier’s life, one that brings Winfrey to tears, and in the retelling of a pivotal scene in “In the Heat of the Night,” where Poitier, as detective Virgil Tibbs responds to being slapped by a white redneck, by slapping him back, brings a delightful response from Morgan Freeman.
Director Reginald Hudlin assembles a mix of archival footage, new interviews with Halle Berry, Denzel Washington, Spike Lee, Winfrey and others, and plenty of film clips, to present a well told story of a well lived and influential life. The result is an entertaining and informative doc about an extraordinary life. “When I die,” Poitier said, “I will not be afraid of having lived.”
Jonathan Demme’s “Stop Making Sense,” his movie of an iconic a 1983 Talking Heads live show is considered one of, if not the greatest concert films of all time. Elegant and exciting, it made everything before it seem old fashioned and everything that came after feel like an imitation.
What “Stop Making Sense” was to the 1980s a new concert film, also starring Talking Heads frontman David Byrne, is to these uncertain times. “American Utopia,” directed by Spike Lee and now playing on HBO Max, is a joyful film about everything from protesting injustice and police brutality to optimism and the celebration of life.
It’s got a good message and you can dance to it.
Filmed during the show’s 2019 Broadway run at New York’s Hudson Theatre, the film captures the cerebral but exuberant concert that features Byrne, alongside eleven musicians, all dressed alike in skinny grey suits, and all unfettered from amplifiers and the like. With wireless guitars, keyboards and all manner of other instruments on an empty stage with no other gear or risers, Byrne and Company fill the space with intricate choreography, eclectic songs, new and old, and an uplifting social message of fellowship and faith in humanity. Byrne’s enthusiasm is infectious and Spike Lee, using a combination of you-are-there camera angles, including a beautiful overhead shot, captures the jubilant postmodernist performance in glorious fashion.
It is so much more than a Talking Heads greatest hits package. There are familiar songs like “Burning Down the House,” “This Must Be the Place” and “Once in a Lifetime,” but they seamlessly blend with Byrne’s originals, written for his 2018 solo album of the same name.
Highlights, and there are many, include “Everybody’s Coming to My House,” Byrne’s ode to inclusivity and a potent cover of “Hell You Talmbout,” Janelle Monae’s protest song about police brutality. The latter song, a call and response featuring names the names of African Americans killed by police, is given extra clout by the addition of Spike Lee’s graphics that update the names mentioned in the song to include dozens of others. It is a powerful moment and an urgent call for change.
“American Utopia” is a gem. A concert film that, like “Stop Making Sense” redefines what live performance can be.
Spike Lee movies are like onions. Peel off a layer and there’s a new one beneath. Take that off and another reveals itself. His latest, “Da 5 Bloods,” now streaming on Netflix, is even more multi-faceted than usual. The director calls it a “gumbo,” a rich stew of varied ingredients. It’s a two-and-half-hour Vietnam War legacy film featuring a Trump supporter in a leading role. It’s a searing look at how African American soldiers fought in a war for a country that didn’t support them and it’s an adventure film, à la “The Treasure of the Sierra Madre” with action scenes and even buried treasure.
Most of all, it feels like a film that only Spike Lee, the auteur, could have made.
The story centers on the Bloods, MAGA-man Paul (Delroy Lindo), Otis (Clarke Peters), Melvin (Isiah Whitlock Jr.) and Eddie (Norm Lewis), four African American vets who return to Vietnam almost fifty years after their last tour of duty. They hope to recover the remains of, “the best damn soldier who ever lived,” their Squad Leader, Stormin’ Norman (Chadwick Boseman).
It’s a noble mission indeed, but there’s more. A lot more in the form of CIA gold bars intended as bribes for the Vietnamese government but hijacked by the Bloods and hidden in the jungle. “We’ve been dying for this country from the very get,” says Norman in a flashback. “We give this gold to our people.”
It seems like a foolproof plan but almost as soon as the men land in Vietnam they are beset with problems, some new, some a product of their past. “Being back here is not easy,” says Paul.
“Da 5 Bloods” weaves archival footage of Rev. Dr. Martin Luther King Jr., Muhammad Ali, Angela Davis and Kwame Ture among others, and 60s era music into the narrative, creating a vivid portrait of time and place. Add to that a study of the effects of PTSD, political corruption and some interpersonal politics between the main characters—including Jonathan Majors as Paul’s estranged son David—action scenes and a slimy banker (Jean Reno) and you have a big, bold movie that aims to entertain and reckon with social issues that linger years after the Vietnam War ended.
“Da 5 Bloods” explores areas of the African American experience in Vietnam that have never been exclusively the subject of a film. Lee and co-writer Kevin Willmott, with whom the director shared an Academy Award for Best Adapted Screenplay for “BlacKkKlansman,” have crafted a poignant, if slightly overlong, look at the lasting effects of fighting a war for freedoms the Bloods and their counterparts were being denied at home. “Black GI,” taunts propagandist Hanoi Hannah (Van Veronica Ngo) on Radio Hanoi, “is it fair to serve more than the white Americans who sent you here?”
Lee makes daring choices—not de-aging the older actors in the flashback scenes, for instance—but never obscures the film’s central message. “Every time I walk out my front door I see cops patrolling my neighborhood like it’s some kind of police state,” Stormin’ Norman says, circa 1971. “I can feel just how much I ain’t worth.” The pain and anger in those words, and in this film, is undiminished by the passing years.
Check out episode eighteen of Richard’s new web series, “In Isolation With…” It’s the talk show where we make a connection without actually making contact! Today, broadcasting directly from Isolation Studios (a.k.a. my home office), we meet Clarke Peters, one of the stars of the new Spike Lee joint “Da 5 Bloods.” It’s an adventure movie that also examines the role of African American soldiers in Vietnam and how that conflict affected the rest of their lives. We talk about how he was accused of draft evasion by the FBI, how life during the pandemic has taught us to think about more than just ourselves and why he considers himself a stage actor first and foremost.
Here’s Clarke Peters on being a stage actor: “For those actors who understand the magic of it, we also understand that there’s a great responsibility in it. It is not about your ego. You are not the star. It’s the story that you’re telling, that’s the star, and you tell that story as best as you can. Through the years you find ways to hone your craft, so that you know that if I hold on for just two seconds longer before saying this next word that a tear is going to come up in somebody’s eyes over there, or that the whole audience is going to fall out and laughter. That’s a hell of a power to have and a hell of a responsibility, but also very necessary service for society in the situation that we’re in now.”
Then, we meet photographer and documentary film maker Paul Perrier. As many of us sheltered in place at the beginning of the pandemic Paul grabbed his camera and hit the streets, taking photos of people and their masks. The result is The Toronto Portrait Project, a series of photographs that document the face… or I guess… faces of the pandemic.
Watch the whole thing HERE on YouTube and HERE on ctvnews.ca!
What to watch when you’ve already watched everything Part Fourteen! Binge worthy, not cringe worthy recommendations from Isolation Studios in the eerily quiet downtown Toronto. Three movies to stream, rent or buy from the comfort of home isolation. Today, going underground, a gang war in rhyme and the beginning of a franchise. #Buried #ChiRaq #FirstBlood
Listen to the whole thing HERE! (Link coming soon)
