"Maxine's Baby: The Tyler Perry Story" is a great "rags to riches" success story, but only a cursory analysis of Perry's body of work. Co-directed by. Gelila Bekele, Perry's ex-girlfriend and the mother of his child, the film rarely scratches below the surface of his life and career. People who are familiar with Tyler Perry probably already know about his difficult childhood and how he clawed his way into an industry that didn't really want him. Throughout the film, there are ample self-congratulatory comments by either Perry or his supporters that present opinions as fact and therefore not worthy of discussion. For example, the fact that several of his films opened at number one at the box office is synonymous with quality and/or commercial success, when in fact that is not always the case. Many films that open at number one are both critical and commercial failures, while films that never hit number one can often be huge successes. The little time spent on Perry's critics is limited to familiar soundbites that largely dismiss them as either elites, "haters" or "dream killers." At the same time, Perry's criticism of others is given a forum where his opinions are presented as fact with no interest in presenting an opposing point of view. In short, "Maxine's Baby," will probably appeal to his fans and maybe a few others that appreciate his business sense, but does little win over the unconverted.
Reviews
66 Reviews
Amber Brown
(2022)
Very Worthwhile Series Exploring the Life of a Pre-Teen
20 September 2022
Featuring a strong performance by Carsyn Rose as the title character, "Amber Rose" is an excellent series for parents to watch with their young children. The series explores the challenges that Amber faces as she deals with her changing family situation, school life, and her desire to assert her individuality. This includes a number of situations that promote discussion between young viewers and their parents. The series generally maintains a light tone throughout, but does contain a few emotional moments. You'll laugh, you'll cry, and experience a range of emotions in between. Definitely worth a look for young people in late elementary school and middle school range as well as their parents. Also good for people in search of wholesome entertainment.
Breaking
(2022)
Decent Drama Reminiscent of "Dog Day Afternoon" and "Fruitvale Station"
15 September 2022
Based on a true story, "Breaking" is competently made with generally strong performances by the cast, but doesn't quite live up to its potential. The problem seems to be one mostly of structure and pacing. The tension builds in key moments, but doesn't sustain itself throughout the film. The elements are there, but the filmmakers don't quite have a handle on how to incorporate them into the film. The limited use of locations is very effective. Unless you're really interested in the subject matter or are fans of John Boyega or other members of the cast, it's perhaps best to wait until it reaches the small screen. In other words, it's not a film that demands to be seen on the big screen.
The Invitation
(II) (2022)
Mildly Diverting Horror Flick
15 September 2022
"The Invitation" is the kind of a movie that Roger Corman would have produced in the 1950s or early 1960s and played in a drive-in. It's not terrible. From a technical standpoint the film is competently made. The perforamnces are a bit campy, which is par for the course in this type of film. There are a few guilty pleasures throughout, but the film is largely forgetable. If you have nothing better to do and have a taste for a horror movie, "The Invitation" might be worth a look, but for everybody else, it would be best to stay away and wait for something that makes better use of the talent in the cast.
Unfavorable Odds
(2022)
Predictable and Underwhelming Story
15 September 2022
"Unfavorable Odds" looks and feels like a film that a group of friends whipped up for their own amusement. The story about a husband that bets his friend that he can't seduce his wife is far from original. The script's dialog is obvious and uninspired. The performances while energetic are stilted and generally over the top. Visually the movie is competently shot, but relies too heavily on aerial and tracking shots. The staging is flat and unremarkable. A major technical drawback of the film is the sound. While the dialog is generally audible, the sound re-recording is uneven and choppy. The score sounds generic, but the songs are one of the few highlights of the movie. Filmgoers looking for a wholesome comedy with no sex, violence, or nudity, might be mildly amused by this movie. However, they would be better off avoiding this knockoff of a knock off and instead streaming something written by Preston Sturges.or Garson Kanin/Ruth Gordon from the Golden Age of Hollywood.
Worthwhile, But Struggles to Find the Proper Balance
23 June 2022
Making a documentary about such a broad topic as nudity in film is tricky. On one end of the spectrum it can be about how nudity is liberating and how forces inside and outside the film industry have been threatened by it and have tried to suppress it. On the other hand it could be a diatribe about how women's unclothed bodies have been objectified and exploited by a male dominated film industry. The key is to find a balance between these two perspectives so that the audience can get a more complete picture of the role that nudity has played in motion pictures over the years. The filmmakers don't quite achieve that balance, favoring the former perspective over the latter. This is evidenced by the use of clips in the film. Rather than using clips efficiently to make its various points, the film devolves into a "greatest hits" of (mostly) female nude scenes and participants commenting on them. This is particularly true in the latter half of the film which focuses on the post-code era. Additionally, the film largely avoids the basic question of how nudity has been defined in motion pictures and by the society as a whole. Specifically, the film doesn't examine the differences in how male and female nudity are treated on screen. As a result, the film promotes the misleading narrative that nudity overwhelmingly involves women and not men and children. To the film's credit, it does touch upon challenging situations that women find themselves in regards to on screen nudity and sexuality vis-a-vis the experiences of their male counterparts. Overall, the film is a decent overview than might encourage some viewers to dig deeper into the subject on their own.
Laleh Drive
(2022)
Worthwhile Subject Matter Lacks Subtlety and Depth
25 March 2022
"Laleh".is based on a true story about a woman (played by. Sara Amiri) who attempts to make it in the world of car racing in Iran. It's not the first film to explore a woman trying to make it in a male dominant field, but despite its setting in an ultraconservative Islamic country, the film lacks originality and freshness. It's like the writer/director Essy Niknejad has never seen "Heart Like a Wheel" or any film dealing with race car driving. The dialog is obvious and the situations feel forced. While Amiri's performance as the title character is adequate, many of the supporting actor performances are stilted and amateurish. A highlight of the film are the racing sequences, which provide needed tension and excitement. The family friendly treatment of "Laleh" plays like an ABC Afterschool Special with an obvious message about never giving up on your dreams.
Passing
(I) (2021)
Intelligent and Thought-Provoking Film
3 November 2021
"Passing," based on a 1929 novel by Nella Larsen is stylish, nuanced, and refreshingly smart. Unlike most films that spell everything out for you, "Passing" requires more of an audience. It allows you the freedom to interpret things in your own way. As a result, the film offers an experience unique to the individual viewer.
It essentially tells the story of two light-skinned African American women, Irene (Tessa Thompson) and Clare (Ruth Negga), childhood friends who meet by chance as adults. Clare is passing for White while Irene lives mostly as a Black person in Harlem (but passes when it is convenient). Clare, who yearns to reconnect with Irene, threatens Irene's carefully controlled life.
Besides the obvious issue of passing for White, the film deals with questions about sexuality, how context plays into our perceptions of people, and how to discuss race with our children.
Beautifully shot by. Eduard Grau in black & white in a traditional 1.33:1 ratio, it almost looks like we're watching a vintage film. The gifted actor Rebecca Hall, whose African American maternal grandfather, Norman Isaac Ewing actually passed for White (and Native American) in the early to mid-20th century, directs her feature film debut with a sure hand.
A subtle film with an unhurried pace requires your full attention to fully appreciate.
It essentially tells the story of two light-skinned African American women, Irene (Tessa Thompson) and Clare (Ruth Negga), childhood friends who meet by chance as adults. Clare is passing for White while Irene lives mostly as a Black person in Harlem (but passes when it is convenient). Clare, who yearns to reconnect with Irene, threatens Irene's carefully controlled life.
Besides the obvious issue of passing for White, the film deals with questions about sexuality, how context plays into our perceptions of people, and how to discuss race with our children.
Beautifully shot by. Eduard Grau in black & white in a traditional 1.33:1 ratio, it almost looks like we're watching a vintage film. The gifted actor Rebecca Hall, whose African American maternal grandfather, Norman Isaac Ewing actually passed for White (and Native American) in the early to mid-20th century, directs her feature film debut with a sure hand.
A subtle film with an unhurried pace requires your full attention to fully appreciate.
Solid Documentary Short
8 September 2020
Set in the emergency ward of Montreal General Hospital during the early morning shift, this early documentary short by William Greaves is well crafted and effective. You really get a sense of what it must have been like to work there in the late 1950s. Not as hectic as a modern emergency ward, but intriguing nonetheless.
Last Fool Show
(2019)
Life Imitates Art in Charming, But Fairly Predictable Story
25 April 2019
"Last Fool Show" has a promising start when Mayessa (Arci Muñoz), an independent filmmaker, gets the opportunity to direct a film for a major studio. She wants to make dark, highly original films, but the studio wants her to make a rom com. Mayessa reluctantly agrees because it will give her the opportunity to pay back her family and the other investors of her previous films. Unfortunately for Mayessa, the compromises do not end there as the studio keeps pushing her to make her film more "commercial." These compromises are all the more painful for Mayessa because the story she has chosen to do is based on her failed romance.
While some of the details are different, the plot of "Last Fool Show" is very familiar. The writer/director Eduardo W. Roy, Jr. keeps things very light with a few melodramatic elements thrown in. There's nothing particularly fresh or groundbreaking here, but this film isn't any worse than the typical Hollywood programmer released during the Spring before the Summer blockbusters come out. Outside of a few F-bombs (poorly concealed in often unnecessary subtitles), a little bathroom humor and a parade of half-naked men, this could almost pass as family entertainment. While a good chunk of the dialog is in Tagalog, there's enough English in the film, where you wonder why so much of it is subtitled. Overall, "Last Fool Show" is a bit overlong comedy that offers an attractive cast, appealing locations and a chuckle or two. As long as you keep your expectations in check, you might find it mildly diverting or even entertaining.
While some of the details are different, the plot of "Last Fool Show" is very familiar. The writer/director Eduardo W. Roy, Jr. keeps things very light with a few melodramatic elements thrown in. There's nothing particularly fresh or groundbreaking here, but this film isn't any worse than the typical Hollywood programmer released during the Spring before the Summer blockbusters come out. Outside of a few F-bombs (poorly concealed in often unnecessary subtitles), a little bathroom humor and a parade of half-naked men, this could almost pass as family entertainment. While a good chunk of the dialog is in Tagalog, there's enough English in the film, where you wonder why so much of it is subtitled. Overall, "Last Fool Show" is a bit overlong comedy that offers an attractive cast, appealing locations and a chuckle or two. As long as you keep your expectations in check, you might find it mildly diverting or even entertaining.
Family
(III) (2018)
Eschews Hollywood Tropes While Embracing an Edgier Approach
20 April 2019
In a typical Hollywood film, the protagonist has to be likeable. If she's a career woman, more often than not she's also obsessed with finding a man. "Family" throws those and other familiar tropes out of window. Another is the too-cute-for-own-good sidekick or child, who shows the protagonist how to be a better person. Kate (Taylor Schilling) is a mean and self-absorbed executive when she is forced to take care of her awkward neice Maddie (Bryn Vale), who'd rather be doing roundhouse karate kicks than pirouettes in ballet class. Sure, the two learn from each other, but not necessarily in ways that typical movie audiences would expect. Depending on your sensibility, this could be either refreshing or infuriating, but never boring. The cast of mostly fresh faces keep things moving along. For those looking for a comedy with more of an edge than the typical film showing at the multplex, "Family" is definitely worth a look.
An L.A. Minute
(2018)
Underdeveloped and Unfunny Comedy about the Trappings of Fame
28 August 2018
The talents of Gabriel Byrne and Kiersey Clemons can't save this underbaked comedy about how fame and money corrupt an artist. The main problem is a lack of character development and logic. As a result, too much is left for the audience to figure out what's going on and what's really at stake with the two main characters. Overall, a largely unsatisfying film.
See Gabe and Sam Have a Tête-à-tête
28 May 2018
One of the great things about "Dear White People" is that it alternates the point of view between several of the characters on the series. As a result, we get to know the characters more deeply. "Chapter VIII" of the second season of the show is presented from the point of view of Gabe. In a lot of shows with a predominantly black cast, there's often a token white character thrown in for comic relief or to make a point about another character. In other cases, they are in the form of an authority figure who guides a group of people (like Ken Howard;s character in "The White Shadow"). Rarely are they fully developed characters that are on equal footing with the black characters in the series. "Chapter VIII" of the second volume of "Dear White People" is a notable exception. In this episode, which is written by Jack Moore, one of the show's producers, shows Gabe as a complex human being filled with contradictions. The focus of the episode is an interview that Gabe conducts with Sam for a documentary that he is directing on campus race relations. What ensues is a spirited debate between two equals, not a one sided discussion where the person on the "right side" of the issue routs the other. In the process, much is revealed about Gabe and Sam's complicated relationship as they discuss taboo subjects regarding race relations. I haven't heard dialog that crackles like this since the premiere episode of "House of Cards." As a result, I can't wait to see the final two episodes of the season. What a joy to watch!
Once Again A Lesbian Couple Explored With A Male Gaze
27 May 2018
Watching this episode, one can't help but wonder how an LGBTQ writer would have chosen to explore the relationship between Chase and Jo. In the first season, creator Joe Swanberg explored it by looking at Chase's efforts to modify her diet to accommodate Jo's veganism in "Vegan Cinderella." In this follow up episode, Swanberg explores how Chase's interest in exotic dancing impacts her relationship with Jo. Now if the series were primarily about Chase and Jo's relationship (which it obviously is not), one could imagine after several episodes (if not seasons), the show might get around to one or both stories, but only after other ideas had been exhausted. In "Lady Cha Cha" there are several scenes involving women performing exotic dance routines for the camera, often with little clothing on. I'm sure some lesbian and bisexual women (and even some straight women) may receive some pleasure in watching women perform in such a way, but one senses the male gaze in almost every scene. It's as if Swanberg has taken a story about a guy that has a girlfriend that is interested in exotic dancing and simply replaced the male character's name with Jo's name. Further supporting this is the fact that after two seasons, Swanberg has yet to explore a gay male relationship.
Episode Provides Some Character Insight in Otherwise Familiar Story
27 May 2018
A story about a married couple wanting to spice up their sex life is nothing new. This same concept (with the same couple) was used in the series premiere episode. In that episode the couple (played by Michael Chernus and Elizabeth Reaser) try wearing costumes to spruce things up. Here, the couple (in consolation with a therapist) explore the possibility of an open marriage. Given the history of the characters in the show, it is somewhat surprising in how things develop over the course of the episode, but the viewer is still left wanting more. This episode gets extra credit for attempting to bring some much needed cultural diversity to the show.
Danielle Macdonald is Featured in Season Two's Best Episode
27 May 2018
So much of Easy is preoccupied with rather mundane details in the lives of thirtyish Chicago hipsters. The stories tend to be rather hackneyed and/or underdeveloped. The series is at its best, when it focuses on characters that are either older or younger than that group. In this episode, Danielle Macdonald (who shined as the star of Patti Cake$) plays a privileged teenager that is forced to attend church by her parents as punishment for breaking the house rules. Macdonald gives an understated yet winning performance in her role. What could have been a fairly predictable story has a surprising twist or two that adds meaning and depth to the material.
The Thanksgiving Episode
5 December 2017
Oh, what a missed opportunity! Spike Lee is a very idiosyncratic filmmaker that can come up with some interesting ideas, but he misses more often that he hits. When it works like "Do the Right Thing," he comes up with something that is both brilliant and provocative that will become a part of dinner table discussions for years to come. On the other hand, Spike Lee can completely miss the mark and do something so ill-conceived and misguided (e.g., Bamboozled or She Hate Me) that you can only scratch your head in disbelief. In a rare feat, in this season finale, Lee has somehow managed to do neither. He's taken a setup that is full of possibilities and only skimmed the surface. Rather than taking a Thanksgiving dinner as a way to explore Nola's character more deeply it becomes essentially an extended music video.
The "Do The Right Thing" Episode
5 December 2017
This episode (written by Radha Blank) is filled with artistic flourishes, but as typical of the series, is weak on plot. It begins curiously enough with a cemetery tour where Nola Darling visits the graves of famous people (mostly artists). From there Nola is more reactive than proactive as she confronts various people in her life. Like other episodes in this series, this one reminds you of another Spike Lee film -- this time it's "Do The Right Thing" because of a incident that occurs in the middle section. If you're going to do a homage to another Spike Lee film, "Do The Right Thing" would be the one to do, but what we see here lacks the power of the original. It's just okay. As the penultimate episode of the season, you would expect it to leave you with anxious anticipation of the finale, but it does not.
Fans of Donald Trump Best to Avoid This Episode
4 December 2017
This episode (written by Barry Michael Cooper) starts off with a montage of various characters as they react with horror and sadness on Election Day 2016 to the election of Donald Trump as President of the United States. It's a classic case of preaching to the converted and seems to have no useful purpose here except to express Spike Lee's contempt for Trump. Is this going to payoff in episodes nine or ten? I doubt it. What this episode is really about is that Nola Darling finds herself in a financial bind that may force her to leave her beloved Brooklyn. The stakes are clear, but for most of the episode, Nola seems ill-equipped emotionally to deal with it. It says a lot about Nola's character, but it doesn't make you want to root for her.
More About Greer and Jamie
4 December 2017
While not one of the strongest episodes of the series, in this one (written by Joie Lee) the dialog felt the most natural so far. As is often the case with this series, the dialog comes across as stilted, like characters are reciting excerpts from essays than having a realistic exchange about a particular issue. Thankfully here, Nola Darling and Greer Childs look like they are having a conversation that sounds how people actually talk. The audience learns a lot here about what Greer wants in his relationship with Nola. You also learn a bit about Jamie and his relationship with his wife. Significantly, the episode also pushes some of the story elements forward. There's nothing spectacular here, but also nothing particularly distracting either. In short, the episode does the job that it needs to do.
The Distance Between
(2012)
Cute, But Slight Love Story
3 December 2017
This is the story of two roommates who are secretly in love with each other. Told mostly through the point of view of Jen (played by Amber Stevens) it follows her reactions as her roommate Ian (Andrew J. West) goes through his daily morning routine, as she hopes that romantic sparks will fly. The film uses subtitles to describe each daily activity (e.g., brushing his teeth). The slight material is largely saved by the appeal of its attractive cast (who are apparently a real life couple) and its mercifully short running time.
He Got It All Mixed Up, All Right
1 December 2017
In this episode (written by Cinqué Lee), several story points are paid off that were set up earlier in the series, but it's done in such a random way, that it severely limits their impact. This is particularly disappointing, because it follows two of the most fully realized series episodes so far. Hopefully, this is just a momentary misstep and not a harbinger of things to come.
Jamie Finds His Voice
29 November 2017
Finally, the series seems to be finding its stride. Like several of the episodes so far, this one appears to be inspired by a Spike Lee movie other than "She's Gotta Have It." For example, the previous episode (#LuvIzLuv) seemed to draw inspiration from "She Hate Me." In this one (written by Barry Michael Cooper) it's "Bamboozled" (one can argue Justin Simien's "Dear White People" as well) because of its focus on racial politics. While I appreciate the racial (and sexual) issues addressed in this episode, it is presented in a strident and obvious way, that diminishes it's power. On a positive note, this episode brings some much needed depth to Jamie Overstreet's character, which has been pretty flat and dull up until this point.
Is This a Sign of Things to Come?
27 November 2017
In the first three episodes, the series seems somewhat constrained by the source material. It seems unsure how closely the original characters and situations should be followed in the series. In this episode, the fourth overall, it digresses somewhat from from what happened before (both from the movie and the previous three episodes), but gives us something fresh and new. For once, Nola Darling is less preachy and seems like a living and breathing human being. Arguably, we learn more about Nola as character here than in the three previous episodes combined. While it's not yet clear how this episode fits within the overall season, it gives the viewer hope that the series may eventually justify its existence.
Series Takes a Tonal Shift Here
25 November 2017
In this, the third episode of the series, one senses a significant departure from the film. While the film "She's Gotta Have It" was essentially a light comedy that explored a sexually liberated woman and her relationship with her three very different lovers. In the television series, the material seems to be taking a more earnest approach. It's less of a comedy, but more of a drama with comedic elements. Unlike the film, the series is less about sex and more concerned about making a statement about a woman refusing to let others define who she is. Spike Lee, who can be a very idiosyncratic and heavy-handed filmmaker, runs the risk of letting the more dramatic elements sap all of the vitality and humor out of the series (much as he did in the ill-conceived and joyless "She Hate Me"). As expected, the main source of the comedy continues to be Anthony Ramos as Mars Blackmon. Ramos seems to be settling into his role here. The characters of Greer Childs and Jamie Overstreet still seem very much like archetypes instead of fully fleshed out people.
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