Sorry to Bother You

Sparkle (2012)

Directed by Salim Akil.

2012. Rated PG-13, 116 minutes.

Cast:

Jordin Sparks

Whitney Houston

Carmen Ejogo

Derek Luke

Mike Epps

Tamela Mann

Tika Sumpter

Omari Hardwick

Brely Evans

Michael Beach

Cee Lo Green

Terrence J

Sparkle (Sparks) is a songwriter with stage fright. Since she still wants her music to be heard, she recruits her oldest and most brazen sister named Sister (Ejogo), no less, to take a bus across town and sing her songs at a nightclub. Eventually, the girls meet up with Stix (Luke), a budding promoter. With dreams of making them into the next Supremes, by the way this is 1968, he recruits their middle sister Delores and transforms the trio into a girl group. He then begins getting them work all over Detroit in hopes of making it big. Even though the girls are grown, Sparkle is the youngest at 19, all of this requires repeatedly sneaking out the house of their tyrannical mother Emma played by Whitney Houston in her final feature film before her death in February of this year. Yes, this is a remake of the 1976 ‘hood classic.

If the title leads you to believe this movie is about Sparkle, you’re only partially right. We don’t focus on her until the final act. Honestly, the original did the same so that, in and of itself, isn’t a major complaint. The difference is the girl’s relationship with their mother takes center stage in this version while it was only occasionally touched upon in its predecessor. This moves our title character down to third on the totem pole. It’s probably just as well. Jordin Sparks isn’t a very good actress so lightening her load makes some sense.

In the older movie, the mother is a supportive sideline player. Here, she’s the complete opposite. To make sure we know who’s in charge, Whitney Houston is in full blown, stark raving mad lunatic warden mode. You get the feeling the girls have to ask permission to use the restroom or risk her wrath. She embodies the role well. Sadly, it’s a role that feels specifically written for her. Emma is a woman who has battled drug addiction along with the ups and downs of the music business and now wants to protect her daughters from suffering the same fate, or worse. As she continually rages, it’s difficult to watch her, listen to the sounds come from her obviously shredded voice box and not think of her tumultuous real life and the once flawless pipes with which she serenaded us all. It’s distracting and depressing which makes it a morbidly effective portrayal.

Also of more importance than Sparkle is Sister. She’s clearly the most like her mother. Indeed, much of the film’s fireworks are made up of shouting matches between the two. In the role, Carmen Ejogo gives a powerhouse portrayal rivaling Lonette McKee’s in the same role in the original. Sister’s story also contains another excellent performance, albeit from a surprising source. As comedian Satin Struthers, the movie’s lone unrepentant villain, Mike Epps turns in what is easily his best work. Though playing a comic, which is how he started in his real career, he really does bring this character to life and not just rehash the old Mike Epps schtick.

People who love this movie, and there will be plenty, will do so on the strengths of the aforementioned performances, the music and prerequisite ups and downs of high octane melodrama. However, there are serious problems. Beginning with the second act, the movie shifts into overdrive, propelling itself forward at breakneck speed. The various strands resolve themselves suddenly and/or predictably, leaving plot holes in their wake. In this regard, it pretty clearly follows the Tyler Perry template of filmmaking: scream, bicker, fuss and fight until an instant moment of clarity, kiss, make up.

In comparison with the original, Sparkle also suffers mightily in the charm department. That one is flawed, but it has a much more genuine feel. The grit and grime of the Harlem setting infused the characters not only with a sense of urgency about changing their station in life but also a naiveté about the temptations even minor success may bring. It also gives us a sense of danger. The same could’ve been achieved for this movie in Civil Rights-era Detroit. However, we’re given what feels like a glamorized version of the city wherever the girls perform. At their nicely sized suburban home they want for nothing tangible and can retreat from one another in a way the girls in the original could not. There is a real sense of a unit breaking up as the older movie progresses. Here, each of the sisters wears their individuality proudly on their sleeve, weakening both their bond to one another and ours to them. The glossiness of the sets, flossiness of the outfits and four ladies constantly proclaiming “I am woman, hear me roar!” mark this effort as falling off the assembly line of movies aimed at black females over the last decade. Girl power is great and I generally applaud movies for the attitude but it misses the point of its predecessor.

MY SCORE: 5/10

For Colored Girls

Directed by Tyler Perry.
2010. Rated R, 133 minutes.
Cast:
Kimberly Elise
Loretta Devine
Thandie Newton
Janet Jackson
Anika Noni Rose
Kerry Washington
Phylicia Rashad
Whoopi Goldberg
Michael Ealy
Omari Hardwick
Hill Harper
Macy Gray

Three troubled women live next to one another in a walk-up apartment building. Crystal (Elise) has a live-in baby daddy who is just home from “the war." Apparently suffering from severe PTSD, he drinks all day long and slaps her and the kids around. Tangie (Newton) literally brings a different man home every night from the bar she works in, has a religious fanatic mom (Goldberg) who pops up from time to time demanding money, and a little sister she can’t stand. Gilda (Rashad) is the least troubled, but tries her best to help the younger ladies and doesn’t seem to be having much success.

Very quickly, we meet some more ladies with problems. There’s Jo (Jackson), a magazine tycoon who is suffering through a bad marriage and some sort of health problem. If you’ve paid any attention to Tyler Perry’s previous work, you should figure out what’s wrong with her in about ten minutes. Kelly (Washington) is a social worker married to a cop and has a health issue of her own. Juanita (Devine) has a part-time boyfriend who moves in and out of her apartment at will, or more accurately, at the whim of his other woman. Then there’s Yasmine (Rose), the local dance teacher. She appears to be worry free. How long do you think that will last?

The ladies struggle with their issues and often have heart-wrenching moments. These moments will lead to many to hail it as Perry’s crowning achievement, artistically. That really isn’t saying much, but the point is taken. The director takes a more adult approach to his material and actually goes straight for drama. The bit of humor that is sprinkled in is much more derived from the human condition than his usual over the top slapstick. The overzealous attempts at comedy present in his other films never show up here. There are no buffoons in loud clothing, no old people smoking weed and thankfully no signs of Perry in drag. What we’re left with are these women and their pain.

Their pain drives the movie. It’s the crutch Perry leans on, rather effectively I might add. This part is easy for him because he’s always had two things going for him. First, he knows his target audience. It is no secret that target is African-American females. He has a good feel for what moves them emotionally and how to concoct just the right amount of melodrama to rile enough of them up. Second, he always elicits strong work from his cast. Across the board, the performances are fantastic.

In For Colored Girls, Perry is a skilled illusionist. As one powerfully acted scene after another depicts painful occurrences he knows many in his audience relate to, all too well, the illusion is we’re watching a great movie. The fact is all these wonderful scenes don’t quite gel into a cohesive unit. They’re short snippets of people, mostly women, pouring their hearts out quite literally through their tear ducts. Yes, there is lots of crying. The actors eagerly and earnestly attack their lines, leaving us and them exhausted from the effort. Unfortunately, the story the scenes combine to tell is predictable and uninspired man-bashing. Far in advance, we can see what’s coming. This stems from something the Tyler Perry canon is plagued by. It seems that in his world, Black men who aren’t the embodiment of pure evil are a rare commodity, except for the clowns of his other movies, of course. What happens is the scenes eventually devolve into a string of tragedies with hardly enough triumph to notice. To help us with this as much as possible, Perry eschews his normal all curing trip to church with another chick-flick cliché remedy, the group hug. Seriously.

As much formula is evident, there is some serious ambition with regards to dialogue. The first thing is the free-flowing of four, seven and twelve letter words that earn ‘R’ ratings. For most, this is not a big deal in any way. For Perry, it runs the serious risk of alienating his most ardent fans. Within the rather large and diverse population of Black women, the seemingly unshakeable core of his audience is those who regularly attend church. His work is seen as religious, with a secular slant. This brazenly flips the agenda.

The other risk is with how much he incorporates the source material. For those that don’t know, FCG is based on the play “For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf.” Written by Ntozake Shange, it’s really a collection of poems centered around several characters. It had a pretty decent run onstage in the mid-seventies, even being nominated for the “Best Play” Tony and winning a number of other awards. I was intrigued going in because even though I’ve never seen the play, I have read it. Though that’s been long enough ago to forget most of it, I was curious to see how it could translate to the big screen. It’s a wonderful piece of writing that anyone interested in poetry should give a chance. Indeed, large chunks of Shange’s work are directly inserted into the screenplay. Characters talk normally, then suddenly break out in verse. Occasionally, this works to perfection as in the scene in which we’re treated to a cameo by Macy Gray. Its perfect mix of persona and content provides us with a truly frightening two minutes. Other times, this tactic feels a bit off, or just plain odd. Still, I give him kudos for trying.

FCG is a most difficult movie for me to gauge. So much of it works, I’m tempted to join the ranks of those who swear by it. However, just as much doesn’t work. It reminds me I am a member of the “Tyler Perry Must Be Stopped” club. Approach this with guarded optimism.

The A-Team

Directed by Joe Carnahan.
2010. Rated PG-13, 117 minutes.
Cast:
Liam Neeson
Bradley Cooper
Jessica Biel
Quinton “Rampage” Jackson
Sharlto Copley
Patrick Wilson
Gerald McRaney
Brian Bloom
Henry Czerny
Omari Hardwick

Overkill is underrated. That phrase is used in the trailer for The A-Team and somewhere along the way our fearless leader, Col. Hannibal Smith (Neeson) actually does utter these words. This movie treats that statement like a plague to be cured. Nothing is done that isn’t overdone. Another line of dialogue helps ease us into suspending our belief. Cpt. Sosa (Biel), hot on the trails of our heroes, tells her own team that these guys “specialize in the ridiculous.” This flick knows its just dumb fun, and makes sure you do, too.

If you have any knowledge of and/or recollection of the 1980s then you know this movie is based on the television series of the same name. For you youngsters that only see him in commercials, or know of him through his Chuck Norris styled “facts”, that series, along with Rocky III is the reason Mr. T is famous. From its first episode, it told us these guys were fugitives from the law based on a crime they didn’t commit. While fleeing the government and trying to gather information to clear their names, they were hired by the good citizens of Anytown, USA to take on the local bad guys. The movie is a prequel to this. It examines how our boys found themselves in that predicament. Honestly, going this route is a wise decision. We get the origin story we never really got from the series.

Even if this is all a bit goofy, and wholly unrealistic, it’s a fun, brainless adventure. As brainlessness goes, this is top notch. There’s plenty of narrow escapes, elaborate plans and pure zaniness, a lot like its source material. Much of this formula’s success hinges on the work of Liam Neeson as Hannibal. As was the case with Taken, his booming voice and unshakeable swagger elevates the material he’s given to work with. He’s helped most in this department by Bradley Cooper as Face. Sharlto Copley is adequate as Murdoch. The only suspect performance is turned in by MMA fighter Quinton “Rampage” Jackson as B. A. Baracus. The problem is his Mr. T impersonation comes and goes. Either do it, or don’t. That said, I was hoping to hear him use Mr. T’s iconic catch-phrase “I pity the fool”, but I don’t remember him using it. However, this version of Baracus forgoes all the gold chains and instead rocks a tat on his left hand that reads “pity” while one on his right reads “fool.” I guess that covers it.

Overall, The A-Team is a popcorn flick with no pretentions of being otherwise. This enables us to enjoy it even as it revels in its own stupidity. Of course, for some it will just be entirely too dumb. Once again, it knows this and doesn’t mind one bit.

Kick-Ass

Directed by Jane Goldman and Matthew Vaughn.
2010. Rated R, 117 minutes.
Aaron Johnson
Christopher Mintz-Plasse
Mark Strong
Chloë Grace Moretz
Nicolas Cage
Omari Hardwick
Michael Rispoli
Clark Duke
Garrett M. Brown
Dexter Fletcher

Like a lot of boys, Dave (Johnson) wonders what it would be like to be a superhero. He even carries the fantasy one step further and tries to act it out in real life. He gets his hands on a green wetsuit, names himself Kick-Ass and takes to the streets looking like a jade ninja. From there ensues a wild ride full of perfectly just over the top violence and fueled by an absolutely wicked sense of humor. It’s based on the graphic novel of the same name.

This isn’t Batman Begins so there’s no real training for superhero. Things don’t go smoothly. They go about as good as if you yourself decided to don tights and become a crimefighter. Actually, they go better because he doesn’t wind up dead within the first few minutes. Despite becoming a media sensation, he’s not a very good superhero.

Closer to the real deal, but more homicidal than most, we learn, is Hit-Girl (Moretz), a pint-sized killing machine and her father Big Daddy (Cage). Like everyone else who’s watched this movie I have high praise for Hit-Girl. She totally steals the show. We need more Hit-Girl. However, I’ve not seen anyone give Nicolas Cage his just due. I get that there’s a lot of Cage hatred out there. He’s done a lot of dreadful movies. I also understand that most of KA’s audience is too young to remember what Cage is making fun of. His parody of Adam West’s version of Batman is just dead-on and completely hilarious. Well, it’s hilarious if you have the old TV series as a reference point. If so, you’ll recognize everything he does and might laugh yourself to tears.

This brings me to my next point. KA isn’t just an action-comedy. It’s a brilliant spoof of all things superhero. It’s simultaneously reverential and irreverent. It lovingly skewers the genres of literature, television and cinema that birthed it, holding their feet to the fire even as it gives them a hug. Comic book fans will notice the subtleties that make KA special. For instance, notice the unspoken joke of our hero wearing glasses in his regular life but not when dressed as his alter-ego. What makes it great is that even if you miss those little touches you can still have a great time watching it. This is because the best spoofs use the genre they’re spoofing for inspiration, making fun of that genre’s absurdities while also working within its confines and stand alone as narratives.

In those dreadful “____ Movie” (Scary, Date, Dance, etc) flicks there appears to be no love for whatever they’re trying to parody. It’s all mean-spirited and void of creativity. They merely reenact a scene from some other movie and add something gross to it. When they’re over, you can’t really remember the story it’s trying to tell. Here, you needn’t have seen any specific movie to get most of the jokes. You only have to be familiar with a certain type of movie. This is why Young Frankenstein works for people who’ve never actually seen the original Frankenstein or Scream for people who aren’t necessarily fans of slasher movies. Kick-Ass is one of the best spoofs.

The Opposite View: Stephen Himes, Film Snobs

What the Internet Says: 8.1/10 on imdb.com (#183 all time as of 8/20/10), 76% on rottentomatoes.com, 66/100 on metacritic.com

MY SCORE: 10/10