Sorry to Bother You

A Taraji Two-Fer: Acrimony and Proud Mary

Almost Christmas

Beyond the Lights

Shooter

Directed by Antoine Fuqua.

2007. Rated R, 125 minutes.

Cast:

Mark Wahlberg

Danny Glover

Kate Mara

Michael Pena

Rhona Mitra

Ned Beatty

Tate Donovan

Elias Koteas

Justin Louis

Rade Serbedzija

Bob Lee Swagger (Wahlberg), what a name, is a former military sniper who was part of one of those missions that can't be confirmed nor denied. Rather salty about how the whole thing went down, he's now become a bearded recluse living in the mountains with just his dog. One day, the government comes calling, in the form of Colonel Isaac Johnson (Glover). The colonel says he has reliable intel that an attempt will be made on the President's life during an upcoming speech and that the shot will be fired from an incredible distance. Since our hero is the only one known to have made such a long shot, they are asking his help in figuring out how and from where the deed could be done in order to prevent it from happening. One thing leads to another and before you know it, Bob Lee winds up with a couple bullets in him and is on the run from the authorities.

This is a movie built on the cat-and-mouse between Bob Lee and the colonel. It works pretty well as the two make formidable adversaries. Wahlberg gives us the scowling hero look which has served him nicely in the past. It does here, as well. Glover is really a slimy sort. He gives the most interesting performance in the film. I don't think he gets enough credit for playing bad guys. I've seen him give audiences a good one a few times. I guess it's tough to escape the long shadow he himself cast as half of the Lethal Weapon duo. Ned Beatty is also solid as a crooked politician. Meanwhile, Kate Mara does nice work as the girl who believes our hero.

Besides Glover, the standouts are Michael Pena and Rhona Mitra. Pena plays the rookie FBI agent who smells a rat and is determined to get to the bottom of things. Mitra is a fellow agent who slowly comes around to the right side of things. They have their own little cat-and-mouse going with the agency at large as they do their snooping from within the system. Neither is doing award-worthy work her, but they provide some nice interludes between the scenes involving our stars.

In all, Shooter is a passable flick. It's solid action fare that provides enough excitement and suspense for us to make it through no worse for the wear. The ending that's better than the rest of the movie may elevate it in some people's mind beyond what it likely deserves. It deserves to be thought of as decent, definitely worth a watch, but not something that really stands out.

MY SCORE: 6/10

Luv

Directed by Sheldon Candis.

2012. Rated R, 94 minutes.

Cast:

Common

Michael Rainey Jr.

Dennis Haysbert

Danny Glover

Charles S. Dutton

Lonette McKee

Meagan Good

Michael Kenneth Williams

Russell Hornsby

Hayward Armstrong

When all of your partners in crime know that you received a twenty year prison sentence, yet you’re home in eight, they’re going to be suspicious of you. This is just one of the issues Vincent (Common) has. As far as he’s concerned, it’s a small one. He’s much more focused on going straight. He wants to open up his own crab shack. To so, he’s trying to secure a $150,000 loan, legitimately. With his mother’s blessing he’s going to use her house as collateral. It’s Friday morning and he’s headed to the bank to get the verdict. On his way, he’s supposed to drop off his ten year old nephew Woody (Rainey Jr.) at school. After an unsatisfactory chat with the lad, he decides to take Woody with him and show him how business is handled. At the bank, he finds out mom’s house is $22,000 in arrears and about to go into foreclosure, obviously making a loan out of the question. However, with assurances he’ll be approved if he gets the money by Monday, he sets out to raise the capital the only way he knows how. Vincent, with Woody in tow, confronting the trust issues of his former colleagues ensues.

More than once on these pages I've noted I’m a fan of Common’s music, not his acting. That’s not the case, here. For the first time, he delivers a truly compelling performance. He really inhabits the role, bringing his character fully to life in a three dimensional manner. Vincent is not only the center of attention, Common helps him command that attention. Most impressively, he still shines when sharing the screen with such thespians as Danny Glover, Charles S. Dutton, and a super slick Dennis Haysbert, who sells something that definitely isn't car insurance. This is a leap forward in the evolution of Common as an actor. Of course, it helps that he has such a layered character to play. This is a guy who has obviously made some bad life decisions. He’s in the midst of another terrible choice, but his grand scheme includes a justifiable end. We root for him.

However, we don’t root for Vincent entirely because we want him to succeed. We just want his nephew to be okay. We hope Woody can somehow gleam the best from the often questionable lessons his uncle is giving. We fear it’s all too much for him. We pray that whatever’s next isn't. As good as Common is in his role, Michael Rainey Jr. stays with him step-for-step. Though asked to do some grown-up things we never get the sense we’re watching a small adult like in many other movies. He seems like a real kid, albeit one who grows up rapidly. His scenes with Common are endlessly fascinating as the two play quite well off one another.

Through all the harrowing situations and man-to-not-yet-man talks, a number of issues are dealt with. Still Luv, cheesy title aside, never gets preachy, weaving things into the ever-progressing plot. Just by being and feeling earnest, it provides us a welcome alternative to the type of urban movies of which we’ve become accustomed. There’s humor here, but this is no zany comedy. There’s also violence and we are dealing with a guy who received his education on the streets, but we’re not watching Menace II Society, either. It’s a well-told story that deserves to be seen.

The Black Power Mixtape 1967-75

Directed by Göran Olsson.

2011. Not Rated, 100 minutes.

Cast:

Angela Davis

Stokely Carmichael

Bobby Seale

Abiodun Oyewole

Danny Glover

Harry Belafonte

Talib Kweli

Ahmir-Khalib “?uestlove” Thompson

Erykah Badu

Kathleen Cleaver
Robin Kelley

America’s tumultuous 1960s have been well documented. As you should know, this includes the Civil Rights Movement. Though large portions of what went on, particularly things not directly involving Rev. Martin Luther King Jr. or a Kennedy, are still obscure to the masses there is plenty of footage out there for one to begin to educate oneself. Of course, almost all of what has been available was shot and reported on by the American media or various civilians. The is where The Black Power Mixtape 1967-1975 differs. It was shot by Swedish media for their own news reports. This is footage most of us have never seen and with a point of view never heard. It’s also commented on by a number of famous African-Americans, seeing it for the first time themselves. Some of them lived through the era while others belong to a younger generation of entertainers and speak more to the lasting effects of the movement.

Much of our time is spent on three aspects: the work of Stokely Carmichael, the trial of Angela Davis and the rise and fall of the Black Panther Party. There are plenty of old interviews with those involved and commentary by the Swedes doing the reporting. It crystallizes the way at least one nation besides our own viewed what was going on. In a few instances we hear from Americans who actually went to Sweden during this time and reacted to the way things were being portrayed. Often, it’s eerily similar to the way we depict certain foreign situations. Imagine a country in which America is sympathetic to the rebels organizing against a corrupt government and “60 Minutes” or “Nightline” doing an exposé on this. That’s effectively what we’re shown. The difference is there is never any threat of Swedish intervention. They’re just curious to see how we will sort our mess.

The film moves forward in sections marked by the changing of each year in the title to the next, ending with ’75. This tactic provides a compressed, but eye-opening look at how much America changed, and some of the reasons why, in less than a decade. Still, this isn't a comprehensive history. We aren't inundated with details on the inner-workings of all things Civil Rights. As our timeline suggests, it’s more interested in what happened post-MLK, the more neglected portion of the movement. The title also tells us it is a mixtape. To oversimplify for those unaware, a mixtape is generally not a homogenized effort by the artist(s). It’s often music made between albums or a collection of the music of various performers mixed and edited in news ways. This is fitting for the movie because what we see was not originally shot with the intended purpose of making a documentary. It’s a collection of footage we’re not familiar with crafted into a poignant story-line.  Because of this, it has a freshness unexpected of a documentary highlighting events from roughly forty years ago.

Alpha and Omega

Directed by Anthony Bell and Ben Gluck.
2010. Rated PG, 88 minutes.
Cast:
Justin Long
Hayden Panettiere
Dennis Hopper
Danny Glover
Christina Ricci
Larry Miller
Kevin Sussman
Chris Carmack
Brian Donovan

Humphrey (Long), a young fun-loving wolf, has a thing for his friend Kate (Panettiere). The problem is its forbidden for the two of them to get together. She is an Alpha, which implies some nobility, while he is an Omega. Even though they’re both part of the Western pack, I think, the two aren’t supposed to mix. The Eastern pack are apparently a more vicious sort and have depleted the source of food in their own region. Of course, this means they’re coming around the Western pack and horning in on all the hunts. Eventually, it’s revealed that it it is Kate’s responsibility to marry Garth (Carmack) of the Eastern pack. This will unite the packs, ending all the fighting and animosity. Of course, before this can happen Kate and Humphrey are captured by humans and dragged off to Idaho. Now, they have to make it back to Jasper National Park to keep the rest of the wolves from killing each other.

I’ve given you, roughly, the first third of the movie. If you can’t figure out the rest, there’s no hope for you. This is standard kiddie-fare from jump with various excursions into being substandard. Narratively, this is a lazy rehash that offers nothing new. Well, maybe the degree of laziness is new. Too many questions go unanswered. I’m not just talking questions folks like me would ask, either. I’m talking simple stuff that my kids would ask. How just a couple of wolves are Omegas? How did they get to be Omegas? Maybe, I just missed those. Maybe, by that time I didn’t care enough to pay attention. If these things were explained, I apologize. As far as the rest of the script goes, it’s…um…meh, at best. Every now and again, something mildly amusing happens. Mostly it’s just there, taking up space I could’ve used to watch a better movie.

Visually, Alpha and Omega doesn’t daze and amaze, either. By today’s standards, the animation is barely adequate, at least in 2D. It was released in theaters as a 3D experience I’m glad to have missed. It’s look isn’t distinctive, nor does it do anything noteworthy within its confines. This is hardly what I would call dazzling to the eye. Much like the story, it mundanely goes about the task of telling us a tale we’ve already heard quite a few times.

A&O is what I call a babysitter movie. It’s one you can put on to mind the kid for an hour and a half while you tend to more important matters like watching grass grow. They’ll likely enjoy it, well enough, not love it. If you’re forced to watch by an unending barrage of pleas you may think your children hate you when it’s over. Why else would they make you suffer through this?

MY SCORE: 3.5/10

2012

Directed by Roland Emmerich.
2009. Rated PG-13, 158 minutes.
Cast:
John Cusack
Amanda Peet
Chiwetel Ejiofor
Thandie Newton
Oliver Platt
Danny Glover
Woody Harrelson
Liam James
Morgan Lily
Zlatko Buric

Plot: A geologist discovers an increase in solar activity that will lead to the end of the world as we know it, socio-political Darwinism ensues. Oh, and dying – lots of dying.

The Good: Forget about Avatar, this might be the most beautiful movie of 2009. The end of the world is a truly spectacular sight. There are skyscrapers crashing into one another as they fall, multi-tier freeways collapsing, entire cities and their suburbs coming apart at the seams as the earth separates beneath them. Likewise for areas surrounding suddenly activated, fireball hurling volcanoes. And if you’re anywhere near any coast, or out to sea, you have to contend with super tsunamis. For the most part, it looks eerily realistic. Since another depiction of hell breaking loose is never more than a few minutes away, it’s lengthy runtime doesn’t feel so bad.

The Bad: This might also be the most disgusting, pointless and stupidest movie of the 2009. It’s disgusting in the sense that it is purely pornographic in regards to death. We literally watch people die by the thousands for two plus hours and are certain that the death toll is in the billions. The problem is we become so desensitized it’s hard to muster up any empathy for our main characters no matter what their situation. Of course, this is why there are kids in the movie. Filmmakers believe we automatically feel for the kids in tough situations. To a degree, they’re correct. However, here it’s not enough. Here, we feel like that one guy in other disaster movies that can only say to everyone “We’re all gonna die!” Besides that, none of the characters in this movie are worthy of our affection, anyway. It’s pointless because of three things. First, everything just kinda stops all of a sudden. Sorry, I don’t think that’s really a spoiler. Second, when the credits roll, we’re left with an overwhelming feeling of “Now what?” There’s no hopeful answer to that question even though the movie wants us to somehow remain optimistic. Third, much lip service, including the movie’s own advertising, is paid to the ancient Mayan prophecy of the world ending on December 21, 2012. However, the movie chucks that out the window and renders the Mayan notion coincidental, at best. Finally, it’s stupid for a variety of reasons. Most of them we’ve already seen play out in other disaster movies so I won’t go into it, here.

The Ugly: : How many government and military officials had to be left behind for Oliver Platt’s character to become acting President? He’s a head scientist of some department or another.

Recommendation: Armageddon, The Day After Tomorrow, Deep Impact, Independence Day, etc. If you liked these movies, this is for you. If you’re into big special fx, this is for you, too. As for the rest of you, move along nothing to see here.

The Opposite View: Dan Kois, Washington Post

What the Internet Says: 6.0/10 on imdb.com (7/27/10), 39% on rottentomatoes.com, 49/100 on metacritic.com

MY SCORE: 3.5/10