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Entries in Queen Latifah (18)

Wednesday
Aug192015

Actresses of Color Who Deserve Better Careers

Gugu Mbatha-Raw had a GREAT 2014. Will the roles be there for her? (Photo by Paola Kudaki for Elle) Here's a topic always worth discussing. Actresses of Color who deserve better careers. I made a top ten on this topic many moons ago -- 2007 to be exact over at the old blog which went like so: Anika Noni Rose, Regina King, Naomie Harris, Hazelle Goodman, April Grace, Tonya Pinkins, Audra McDonald, Gabrielle Union, and the list was topped by Viola Davis and Kerry Washington. The past eight years were very very kind to about three of them -- this was before Viola's Oscar nominations and before Scandal for Kerry and before Audra's record breaking 5th and 6th Tony Awards), but others were ignored or their careers stayed roughly the same. Do people even know who Hazelle Goodman is anymore? It will always mystify that April Grace proved she could hold her own, charisma wise, with Tom F'ing Cruise at his most intense in a stand-off in Magnolia and not come out of it with a giant career. Hollyweird.

But the subject is always worth revisiting since Hollywood changes slowly. And, to be honest, it's even a topic that applies to white and blond actresses because Hollywood is not exactly a meritocracy. Make the wrong move here, miss an opportunity there, or don't have the right agent and all the talent in the world might not make for a big career. But back to the subject of actresses of color. Remember when Lupita was in discussions for Southpaw and eventually moved on (the part went to Naomie Harris)? Having seen the picture I think we can all now agree that there's zero reason on earth, plot-wise / character-wise / talent-wise why the juicier wife part couldn't have gone to Lupita (or Naomie) instead of to Rachel McAdams. Even when Hollywood discovers someone as exciting as Lupita they don't come up with opportunities for them, opportunities that are all around if you think about it; Maybe you've noticed that the industry makes multiple HUNDREDS of movies a year.

The topic is on my mind again because Dell on Movies made a list and A Fistful of Films countered with another. Naturally, I don't agree on all of the choices. I think Queen Latifah, for example, often phones it in. Maybe subconsciously she knows that her substantial charisma will smooth over the blank spaces? But there are some obvious YES situations here too: Q'orianka Kilcher (The New World), Adepero Oduye (Pariah), and Emayatzy Corinealdi (Middle of Nowhere). I actually wonder if their names aren't part of the problem. Hear me out: I don't mean this in a "too ethnic!" racist kind of way. I've noticed it a lot with white actors, too - especially with stage performers oddly enough. Names are getting SO long and complicated. It seems that "stage names" are a thing of the past but there's something to be said for refashioning your given name towards something that's catchy and easy for the public to remember / obsess over. If it's already catchy like "Lupita Nyong'o" just keep it but if it's hard to remember and difficult to spell why not make it easier for potential fans? Just ask Frances Gumm (who became Judy Garland), Archibald Leach (who became Cary Grant) or Natalie Zacharenko (who became Natalie Wood) and so on. Every once in a while someone new changes their name to something catchier -- did you know that Brie Larson is actually Brianne Sidonie Desaulniers? -- but mostly today's actors are keeping their original names. 

For what it's worth Emayatzy has a series regular role in Amazon's Hand of God starring Ron Perlman (as a businessman who starts speaking in tongues and seeing visions) and Dana Delany as his sharp wife that drops all of its first season episodes in early September. Emayatzy plays Perlman's mistress/prostitute. Pilot reviewed here.

I'm not in the headspace today for a full top ten on this topic but I know it would include Melonie Diaz (such a welcome presence - she always pops), Carmen Ejogo (so gorgeous and talented), Kimberly Elise (just brilliant and so infrequently works in movies), Danielle Brooks (so dependably engaging on Orange is the New Black and I want to see what else she can do), Adriane Lenox (who originated Viola's role on stage in Doubt to a Tony Award), Clauda Kim (Age of Ultron / Marco Polo)... maybe you can help out in the comments with your own? 

Friday
Aug142015

'The Wiz Live!' Has Its Full Cast

Margaret here with your live TV musical update. NBC has just announced the final principal cast members for its live production of The Wiz: R&B singer Ne-Yo as the Tin Man, Elijah Kelley (aka the showstopping dreamboat from Hairspray) as the Scarecrow, and Common as the Emerald City gatekeeper. 

The full cast, then, is set:

Click to read more ...

Monday
May182015

Review: Bessie 

TFE's newest contributor Angelica Jade Bastién on HBO's latest biopic

For over two decades Queen Latifah has been trying to bring the life of Bessie Smith, the legendary "Empress of the Blues" who found success in the 1920s and 1930s, to the screen. Despite Bessie's life being a perfect mix of glamour and tragedy that seems tailor made for a biopic I'm not surprised it has taken Latifah this long to bring her story to life. Bessie Smith (Queen Latifah) is a rough hewn, country, bisexual, and passionate broad. The film doesn't sand off her edges or shy away from her contradictions instead it embraces them. Bessie tracks the legend from her early days as a singer with her older brother/manager, Clarence (Tory Kittles) always in her corner to the Great Depression when all her personal and professional success falters. 

Anyone familiar with women's pictures knows the emotional terrain Bessie is covering. But what makes this women's picture downright transgressive is its sympathetic,multi-layered portrayal of black queer desire...

Click to read more ...

Sunday
Nov032013

Podcast: Blue is the Color Before Midnight

Blue is the Warmest Color, the erotic French drama, has moviegoers and film bloggers talking. Hear what Katey, Joe, Nick and Nathaniel have to say about it in the new podcast (we held the conversation for a week to give more of you a chance to see it). We also revisit the trilogy capping Before Midnight starring screenwriter/actors Julie Delpy & Ethan Hawke.

This week's podcast also features affectionate (?) sidebar shoutouts to acclaimed documentary Call Me Kuchu, cranky moviegoers and ushers, Disney's Frozen, John Cassavettes Faces, the Israeli drama Late Marriage, the Ridley Scott classic Thelma & Louise, Sarah Paulson & Queen Latifah, and movie characters we'd like to drop back in on. 

You can listen at the bottom of the post or download it on iTunes. Join in the conversation in the comments.

Supplemental Reading / Listening:
Blue Is...-Nathaniel's review
These Sapphic Superstar tweets ... referenced in the podcast
Operation Kino - Nathaniel guest stars on Katey & Mister Patches's podcast. We're talking Dallas Buyers Club 

 

Blue is the Podcast's Color

Sunday
Jan152012

Box Office: Dolly & Queen vs. Cher & Xtina?

I would have been all about Joyful Noise this weekend, had I not been suddenly ill. I even had to miss a bestie's birthday dinner. Boo! I think it's worth noting that Joyful Noise had a nearly identical debut to Burlesque in 2010.

Opening Day
Burlesque (11/24/10) | Joyful Noise (01/13/12)
Weekend Gross
Burlesque $11.9 |  Joyful Noise $11.3
Weekend Rank
Burlesque #4 | Joyful Noise #4
Theater Count
Burlesque 3,037 | Joyful Noise 2,735
Per Screen Average
Burlesque $3,934 |  Joyful Noise  $4,148

Given that Burlesque opened during holiday craziness (lotsa movie-going) and Joyful Noise opened in January's dumping ground, you might have to hand this battle to Joyful Noise. But will it be able to beat Burlesque's final gross of $39.4 domestic / $89.5 international? I say this with the caveat that I have not seen it yet but from the stills and trailer it certainly looks cheaper than Burlesque production wise so perhaps it'll turn out a much tidier profit. I can't imagine that it's better than Burlesque though. But we shall see. Or rather I shall see the second I feel like venturing out into the cold again.

Takeaway: $11.5 million opening weekends are the new decorative fanciful glass ceiling for dueling multi-media singing divas.

BAKERS DOZEN (Estimates)
01 CONTRABAND  $24.1 new  
02 BEAUTY & THE BEAST 3D  $18.4 rerelease  
03 MISSION: IMPOSSIBLE -  GHOST PROTOCOL $11.5 (cum. $186.7)
04 JOYFUL NOISE  $11.3 new
05 SHERLOCK HOLMES: A GAME OF SHADOWS $8.4 (cum. $170)
06 THE DEVIL INSIDE $7.9 (cum. $46.2)
07 THE GIRL WITH THE DRAGON TATTOO  $6.8 ($87.9)
08 ALVIN AND THE CHIPMUNKS: CHIPWRECKED $5.8  (cum. $118.7)
09 WAR HORSE $5.6 (cum. $65.7)
10 THE IRON LADY $5.3 wide (cum. $5.9)
11 WE BOUGHT A ZOO $5.2  (cum. $63.6)
12 THE ADVENTURES OF TINTIN $4 (cum. $67.7)
13 TINKER TAILOR SOLDIER SPY  $3.1 (cum. $15.1) 

Talking Points
Beauty and the Beast had a successful first weekend but nothing compared to The Lion King. I hate rooting against such a great movie but the whole 3D craze? Oh, I hate it more and more each month. Do. not. want. I do not want to wear glasses while watching movies. I just don't. It never adds enough to the experience, even in its best moments, to justify changing the whole freaking experience of the movies. GO AWAY.

A Separation continues to fill its theaters but it has yet to expand. Are SPC letting their tiny window on this one close? Let's suppose someone watching this week's awards shows (BFCA thursday & GLOBES tonight) wanted to see it after Thursday's win and tonight's possible win? Nope. They're out of luck. Just 6 theaters for this one in its third week. Carnage finally expanded in its 5th week but interest in it looks to have already crashed. Too bad it didn't open when competition was less severe for all-star adult-oriented films.

Sherlock Holmes: A Game of Shadows just lept-frogged The Help and Bridesmaids on 2011's top box office chart. Now, the top dozen have no originals among them - only franchise movies allowed at the top of the charts. This is why we can't have nice things and it's also our fault as audience members. We need to stop chasing old highs at the box office. Seeking out familiar experiences is what television series are for. That's their whole raison d'etre, the same characters each week but with new twists on the same old via new chapters. That's not what movies should be for. Different strengths and different purposes for different mediums.

What did you see this weekend?