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Now Playing: Godzilla vs. Kong vs. Ghostbusters vs. Kung Fu Panda

Godzilla x Kong: The New Empire

Adam Wingard’s sequel to 2021’s Godzilla vs. Kong ads a weird “x” to the title. The big lizard and the big ape team up to fight off a mysterious threat from beneath the Hollow Earth. Expect extremely large things smashing into other extremely large things. Also, King Kong’s got a robot arm.

Ghostbusters: Frozen Empire

The second film with “Empire” in the title on screens this week features the old Ghostbusters cast, Bill Murray, Dan Ackroyd, and Ernie Hudson, teaming up with the new Ghostbusters cast, Paul Rudd, Carrie Coon, Finn Wolfhard, and Mckenna Grace, to battle a supernatural force so scary it literally freezes everyone and everything. 

Kung Fu Panda 4

Jack Black returns as Po the Dragon Warrior panda who is given a new assignment by his master, voiced by Dustin Hoffman: He is to oversee the Valley of Peace. Will the hot-headed warrior warm to his life change? Or will he open a can of panda kung fu whoop-ass on The Chameleon (Viola Davis)? 

Immaculate

Sydney Sweeney stars as a Sister Cecilia, a nun headed to a new convent in Italy on the express invitation of Father Sal Tedeschi (Alvaro Morte), who is definitely not trying to clone Jesus and use Cecilia as a surrogate Virgin Mary, because that would be blasphemy, right? 

Days of Heaven

On Thursday, April 4th, the Crosstown Arts Film Series presents Terrence Malick’s second film, 1978’s Days of Heaven. It stars a very young Richard Gere as Bill, who flees the Chicago police to Texas, where he competes for the love of Abby (Brooke Adams) with a stable, handsome farmer (Sam Shepard, also very young.) The 1978 Academy Award winner for Best Cinematography is one of the most gorgeously shot films ever made.

My Neighbor Totoro

If Malick ain’t your speed, April 4th is also Anime Night at Black Lodge. Hop on the Catbus for Hayao Miyazaki’s 1988 cult classic.

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Coming to Africa: Welcome to Ghana

Anwar Jamison set out to do something very few people have ever done: The Memphis-based filmmaker wanted to shoot a movie in Ghana. The second-largest country in West Africa is undergoing a period of economic expansion, and Jamison was fascinated with the young democracy’s success story. It was a long fight, but after enduring setbacks such as the lead actor bailing on the project right before he was supposed to get on the plane, Jamison finally completed Coming to Africa — just in time for the 2020 Covid pandemic to shut down movie theaters worldwide.

“The premiere was at the Las Vegas Black Film Festival, which I believe the first physical film festival that opened back up during that time,” says Jamison. “Then I had the chance to come back and do Indie Memphis. … I took it to Ghana, had a great response over there in the cinemas. But, again, it was somewhat slow because I guess we were kind of pioneers in that space. We were one of the first movies that came out as their cinemas reopened because they had been closed a lot longer than ours over here due to Covid.”

After an indie theatrical release in the U.S., Coming to Africa was released on Amazon Prime Video, where, Jamison says, “It was really, really well received! Then I moved it over to Tubi and [Roku streaming channel] kweliTV, who I really enjoy working with. DeShuna Spencer runs it right here out of Memphis.”

But if the original Coming to Africa was a struggle, things were easier for the sequel, Welcome to Ghana. In the first installment, Jamison took over the lead acting role out of necessity, playing Adrian, an ambitious American business executive who has his life changed on a visit to Ghana’s bustling capital, Accra. Much of that life-change is thanks to Akosua, a charming schoolteacher played by Nana Ama McBrown. “It was my first time in Ghana, literally,” he says. “In a way, that helped me play the character because I was in the same situation as the character. I literally was seeing these things for the first time. This time, I was able to have more of a game plan ahead of time and say, ‘This is how I want to do things.’”

As a result, Welcome to Ghana is considerably more ambitious. Akosua and Adrian are planning to get married, but her family doesn’t approve — and that’s just the first complication. Jamison wanted to make an ensemble comedy, and the success of the first film in Africa and the opportunity to work with McBrown, the biggest star in Ghana, helped open lots of doors. “It really turned into a who’s who of actresses and actors who are the cream of the crop over there. It is a true ensemble cast. They were looking around at each other on the set like, ‘Wow! We’ve never really been in a movie together!’ I was able, from the outside, to kind of pull people together. In Ghanian film, you’re going to have political ties. This actor works with their director only, or, this actor works with this production company. But me from the outside, I was able to just grab people who I was familiar with, who are some of my favorites in Ghana and Sierra Leone, and pull ’em all together.”

The film had its world premiere in Accra on the same day last summer as Barbie. “The biggest Hollywood movies are big in Ghana,” says Jamison. “So I was proud that we smashed Barbie that day! Barbie had a nice crowd. But for us, Coming to Africa: Welcome to Ghana, it was out of control!”

The film is now streaming on Amazon Prime and Tubi. “The story is very universal, so it crosses geographical, cultural, racial, ethnic boundaries,” says Jamison. “You’re getting all of these cultural things, but once you sink into the story, you realize they do a lot of the same things we do. So you get to see differences in the culture, but you also get to see those similarities.”

Jamison says he’s finishing his doctoral dissertation on African cinema before he starts prepping the final film in the trilogy. “I want Memphis to know that this was made by a Memphis filmmaker, and I want them to know that we took a lot of pride in putting it together, and that we put Memphis on the map in Ghana!”

Coming to Africa: Welcome to Ghana is streaming on Amazon Prime and Tubi.

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The Blues Society, A Song For Imogene Take Top Prizes At Oxford Film Festival ’24

At a packed ceremony in Oxford’s The Powerhouse on Saturday, March 23, the Oxford Film Festival awarded the best films of the four-day festival.

The Blues Society by producer/director Augusta Palmer took the Best Documentary Feature award. The film chronicles the history of the Memphis Country Blues Festival, which was held at the Overton Park Shell from 1966-1970, and had its premiere at Indie Memphis 2023.

Best Narrative Feature went to A Song for Imogene by writer/director Erika Arlee. The film is the story of a musician played by Kristi Ray trying to escape her abusive boyfriend who is faced with big decisions when she discovers she’s pregnant.

Allison Waid won both Best Documentary Short and Best Mississippi Made Documentary Short for her film “Please Ask For It.”

The Best Mississippi Made Feature was Raising Hope by director Theo Avgerinos, a cinematic portrait of poverty in the Mississippi Delta. For Mississippi Made short films, “The Chair At The Edge of the Woods” by Mary Charles Ramsey was chosen by the jury as Best Narrative.

Here’s the full list of winners from the 21st Oxford Film Festival:

Best Foreign Language Short

Specter of Innocence dir. Mathis Tayssier

Best LGBTQ Short

“Panic Attack” dir. Anthony Assad

Best Documentary Short

“Please Ask For It” dir. Allison Waid

Best Music Video 

“Comfort Zone” dir. Jason Affolder

Best Animated Short 

“Slower Animals” dir. John Christopher Kelley

Best Experimental Short 

“Living Reality” dir. Philip Thompson

Best Narrative Short 

“The Old Young Crow” dir. Liam LoPinto

Bests Sci Fi or Horror Short 

“Marbles” dir. Kyle Hatley

Best Family Friendly Short

“Wider Than The Sky” dir. Philip Taylor

Best Comedy Short 

“Barely Breathing” dir. Derek Evans and Neal Reddy

Best Mississippi Made Music Video

 “Black Boy Cry” dir Kira Cummings

Best Mississippi Made Narrative Short

“The Chair At The Edge of the Woods” dir. Mary Charles Ramsey

Best Mississippi Made Doc Short 

“Please Ask For It” dir. Allison Waid

Best Mississippi Made Documentary Feature 

Raising Hope dir. Theo Avgerinos

Best Documentary Feature 

The Blues Society dir. Augusta Palmer

Best Narrative Feature 

A Song for Imogene dir. Erika Arlee

Spirit of the Hoka 

“One Happy Customer” 

Ron Shapiro Award for Storytelling 

Mississippi River Styx dir. Andy McMillian and Tim Grant

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Music Video Monday: “Whisper In Your Ear” by Richard Wilson

Memphis blues man Richard Wilson has a new album. You Can Have It All was laid down at the historic Sam Phillips Recording studio by producer Scott Bomar, featuring heavy hitters Al Gamble on keys and Justin Walker on drums.

“Whisper in Your Ear” is a sweet come-on of a song, which Wilson and Walker perform in the stark black and white video. Take a look.

If you would like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.

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Now Playing: Who You Gonna Call?

It’s officially spring, but the weather is looking cool and breezy this weekend, so here’s what’s on tap in movie theaters around Memphis.

Ghostbusters: Frozen Empire

Following up on Ghostbusters: Afterlife, this one reunites the cast of Finn Wolfhard, Mckenna Grace, and Carrie Coon as the Spengler family who leaves Oklahoma to return to the old firehouse HQ in NYC. They arrive just in time to battle a new supernatural threat that will literally freeze the world with fear. 

Kung Fu Panda 4

Jack Black is back as Po, the Dragon Warrior who is ready to ascend to a higher plane of existence, according to his master Shifu (Dustin Hoffman). He takes on a new sidekick Zhen the fox (Awkwafina) to help defeat Chameleon (Viola Davis), the shape-shifting sorceress, and her army of lizards. You can tell she’s bad because she says, “We are not so different, you and I,” to the hero.

Immaculate 

Sydney Sweeney stars as Cecilia, a nun sent to a new convent where something is clearly amiss. When she becomes pregnant, although still a virgin, Father Sal Tedeschi (Alvaro Morte) reveals that the real purpose of this convent is to breed a new Jesus from cloned tissue recovered from one of the nails that pierced the savior’s flesh. What could possibly go wrong? 

A lot. A lot of stuff could go wrong.

Dune: Part Two

But half a billion dollars worth of Frank Herbert fans can’t be wrong! Paul (Timothée Chalamet) fights against his fate alongside his lover Chani (Zendaya) as they battle the Harkonnens’ occupation of Dune, led by the psychotic Feyd (Austin Butler). Denis Villeneuve’s sand wormy sequel is the best sci fi film since Mad Max: Fury Road.

Paul Reubens passed away last summer, but Pee-wee Herman is immortal. Sunday morning at 11 a.m. you can have brunch with Pee-wee at Black Lodge. Breakfast, mimosas, and Pee-wee’s Big Adventure will get your day off to a rollicking start. To get you hyped, here’s one of the greatest scenes Tim Burton ever directed.

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Love Lies Bleeding

I’m a sucker for a good film noir, or even a mediocre film noir that pushes all the right buttons. Director Rose Glass’ new flick, Love Lies Bleeding, has got my number. Glass, whose first film for A24 was the psychological horror Saint Maud, has studied the classics, and it shows. But Love Lies Bleeding is a neo-noir that uses the form as a jumping-off point, rather than being shackled to the past.

When we first meet Lou (Kristen Stewart), she is shackled to her past. She’s working at a gym in small town Texas, somewhere near the Mexican border. Much of her job entails bailing out a toilet that is perpetually clogged by the pumped up patrons. Some of that foul bowel activity may be the side effects of the black market steroids she slings on the side. The year is 1989, so it’s not a great time for Lou to be an out lesbian in Texas. Then Jackie (Katy O’Brian) walks in.

Jackie is an aspiring bodybuilder from Oklahoma, who happens to be currently homeless. In one great early shot, she does pull-ups on a pipe under a bridge while trucks rumble by overhead. She gets a job at the local shooting range by showing the manager J.J. (Dave Franco) a good time in the parking lot of the club. Before she even has a place to stay, she uses the money to join Lou’s gym. Jackie’s ultimate goal is to compete in a bodybuilding competition in Las Vegas, and from the looks of her extremely stacked body, she’s got a shot at a trophy.

Lou certainly notices Jackie’s assets, and after the two of them run off some alpha males who aren’t bright enough to realize they’re barking up the wrong tree, they fall into bed together. Glass has a lot of fun shooting the sex scenes, bathing these two unconventional beauties in blue light like an erotic thriller from the 1980s. Over a morning-after omelette, Jackie admits she doesn’t have a place to stay and asks if she can crash on the couch. Lou makes clear that’s not where she’ll be sleeping.

Another 1980s trash cinema trick Glass has down pat is the training montage set to pop music. I’m sure they would have loved to have had “Eye of the Tiger” play while pushing in on Jackie’s ripping muscles, but Clint Mansell’s pulsing electronic score gets the point across nicely. Jackie’s single-minded pursuit of physical perfection gets a boost when Lou introduces her to steroids. Unfortunately, this new chemical enhancement proves destabilizing to Jackie’s already fragile psyche. Glass uses flashes of psychedelia to draw us into her deteriorating mental state. The gun range where Jackie works just happens to be owned by Lou’s estranged father Lou Sr. (Ed Harris) who, it turns out, is using the range as a front for his gunrunning operation, supplying weapons to Colombian drug cartels. There’s always an element of Greek tragedy in a good film noir, where the characters carry their doom in them, just adjacent to their strength. Lou Sr. teaching a woman in the throes of spiraling steroidal psychosis to use a gun certainly qualifies.

Lou’s cut the old man off, but she keeps in touch with her older sister Beth (Jena Malone), who is being brutally abused by her husband J.J., the amorous gun range manager. When J.J. puts Beth in the hospital, and Lou finds out about Jackie’s prior carnal knowledge of J.J., the pressure becomes too much, and Jackie lashes out. The repercussions of her violence spread through this small town in true noir fashion, with framing, counter-framing, bushwhacking, and betrayal around every corner.

Glass’ direction is confident and occasionally daring, and her two leads sizzle off the screen. The ending swerves hard toward the magical in a way I’m still not sure I’m on board with. Film noir is outwardly cynical, but the greats, like Out of the Past, always have a romantic core — even if the fire of love ultimately consumes the lovers. Compared to the corrupt world of Love Lies Bleeding, Lou and Jackie’s toxic relationship looks downright healthy.

Love Lies Bleeding is now playing at Malco Collierville, Paradiso, Stage, and Wolfchase cinemas.

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Oxford Film Festival 2024 Brings Indie Greatness to North Mississippi

Four years ago, the Oxford Film Festival was the canary in the coal mine. It was the first film festival to cancel because of the rapidly-spreading Covid-19 outbreak that would, before the month was out, become a full fledged pandemic. 

The festival survived the uncertain plague years and is now back for 2024 with a huge lineup, beginning on Thursday, March 21st, with Adam the First at the University of Mississippi’s Gertrude Castellow Ford Center. Director Irving Franco filmed Adam the First in Mississippi, and he will be in attendance at the Oxford opening night festivities, which will also be the movie’s regional premiere. Oakes Fegley stars as Adam, a 14-year-old living deep in the country with his parents, James (David Duchovny) and Mary (Kim Jackson Davis). But one fateful day he finds out that James and Mary aren’t his real parents, but fugitives hiding in the woods from some mysterious bad guys who just found them. Adam flees, but not before his foster father tells him the name of his real father is Jacob Waterson. The boy looks up all the people he can find by that name and visits each of them, trying to discover who his real father is. 

The screening at Oxford’s Ford Theater will be proceeded by a recording of Thacker Mountain Radio Hour, the syndicated radio show that has longtime ties with the festival. Thacker Mountain is broadcast in Memphis by WYXR on Fridays at 6 a.m. Original Brat Pack member Andrew McCarthy, star of Pretty in Pink and Less Than Zero, who went on to direct 15 episodes of Orange Is the New Black, will be the guest of honor. 

On Friday, the festivities move to the Malco Oxford Commons Studio Grille. Three Memphis-made feature films will be screening during the festival. The first is Juvenile: Five Stories (Friday, March 22nd, 4:45 p.m.), the documentary directed by Joann Self Selvidge and Sarah Fleming. The film traces the stories of Ariel, Michael, Romeo, Shimaine, and Ja’Vaune, who were all thrown into the juvenile justice system as children for a variety of reasons and are now helping others who are in the same place. The film is an examination of a deeply broken system by its own victims. 

The Blues Society (Friday, March 22nd, 7:30 p.m.) by Augusta Palmer is a self-described “moving image mixtape” about the Country Blues Festival held at the Overton Park Shell in the mid-1960s. The director’s father Robert Palmer, music writer and author of the landmark cultural history Deep Blues, was one of the organizers of the festival, which proved to be crucial in reintroducing the blues artists of the Depression era to rock-and-roll obsessed hippies, and securing recognition of the music’s cultural value. But selling the blues to affluent white audiences entailed compromise and distortion which have shaped music ever since. 

The third Memphis movie at the Oxford Film Festival is the most unlikely. Scent of Linden (Saturday, noon) is the only movie in the program with dialogue in Bulgarian. Producer/Director Sissy Denkova and writer Jordan Trippeer created story about the Bulgarian immigrant community in Memphis. Stefan (Ivan Barnev) comes to the States in search of a good paying job to support his ailing mother back home, and instantly falls in with a small but tight-knit group of eccentrics who are also chasing the elusive American dream. Scent of Linden recently completed successful theatrical runs in Bulgaria and Europe, and is now expanding to select screenings in the United States. 

After the awards ceremony on Saturday night, March 23rd, the winners will have encore screenings on Sunday. For a full lineup, tickets, and more information on the weekend’s events, visit ox-film.com

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Music Video Monday: “No Angels” by Justin Timberlake

Every week on Music Video Monday, we bring you a video by a Memphis musician or filmmaker — usually both. These can range from relatively simple imagery to complex visions. But they are, for the most part, handmade, grassroots productions.

Today on Music Video Monday, we have something special. Justin Timberlake is the biggest star to come out of Memphis in the last twenty five years. His new album Everything I Thought It Was just dropped after a spectacular soft opening show in Memphis at the Orpheum. Timberlake tapped director Ti West to make a visual for the first single “No Angels,” and it’s something special. West is the director behind modern horror classics X and Pearl, and his hand is evident in this super creepy video. It’s got blood, doppelgängers, and lotsa sexy ladies. Timberlake sings “there’s no angels on the dancefloor,” but there’s no shortage of demons pulling shapes in this supernatural banger. Take a look, if you dare!

If you’re not Justin Timberlake (and maybe if you are) and you’d like to see your music video on Music Video Monday, email cmccoy@memphisflyer.com.

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Now Playing: Love, Magic, and Kung Fu Panda

Here’s your weekly guide to what’s new and worth your time on the big screen in Memphis.

The movie with the buzz this weekend is Love Lies Bleeding. Kristen Stewart stars in this erotic thriller from director Rose Glass and A24. Stewart is Lou, a gym manager in the steroid jungle of Las Vegas in the 1980s. Her life is upended when Jackie (Katy O’Brian from The Mandalorian) starts training at her gym, and spending the night in her bed. When Lou’s mob boss dad (Ed Harris) gets involved, bodies start to hit the floor. 

The second film opening this weekend which premiered at the Sundance Film Festival is The American Society of Magical Negroes from first-time helmer Kobi Libii. The magical negro, a stock Black character who shows up in stories to make white people feel better about themselves, is a long tradition in American fiction. David Alan Grier stars as a trainer for the secret society, designed to keep on a lid on race relations, who bites off more than he can chew with his hapless new recruit Justice Smith. 

The Malco Summer Drive-In is reopening for spring, and Time Warp Drive-In is back with Night In The City: The Deadly Urban Worlds of Martin Scorsese. The first of the triple feature is a favorite of Marty heads everywhere. Goodfellas is a flawless film about the lure of the underworld and the consequences of the lifestyle. Early in the film, Scorsese drops one of the all-time great long takes, called a “oner” in movie parlance. Watch as Marty simultaneously introduces Ray Liotta and Lorraine Bracco’s characters Henry and Karen Hill and paints the world around them in a single tracking shot that lasts a little over three minutes.

Taxi Driver is where the legend of Marty really got rolling. Robert De Niro stars as Travis Bickle, a cabbie with a violent streak who develops a crush on a campaign worker played by Memphian Cybill Shepherd. On set, De Niro served as a mentor to Jodi Foster, who was twelve years old when she was cast as a child prostitute who Bickle tries to rescue from a life on the street.

I’m just going to say it: Oppenheimer was mid. Killers of the Flower Moon should have won the Best Picture Oscar. It’s now my favorite Scorsese joint. Anyway, here’s the trailer to my now second-favorite Scorsese, and the third film on the Time Warps’ killer triple bill, which rolls on Saturday at dusk, After Hours.

Credit where it’s due, Kung Fu Panda, the animated series of furry wuxia parodies is way better than it has any business being. That’s mostly thanks to the flawless voice work of human cartoon character Jack Black, but you gotta give the inventive animators props, too. The fourth one in the series is currently the number one movie at the American box office.

If you haven’t caught Dune: Part Two yet, the sci fi epic is worth seeing on the biggest screen you can find. If you have seen it, maybe go again. 

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Music Video Monday: “Afterthought” by Anna Rose Baker

Nothing warms the heart of Music Video Monday like a little Memphis DIY video. Anna Rose Baker, a young singer-songwriter from the Bluff City, is also an emerging video auteur. In “Afterthought,” Baker appears in two guises: as the shy would-be lover (which the credits identify as “herself”) and the confident rock star Ramona. It’s the “Jolene” dynamic, with Ramona pausing mid-song to take a call from the guy she’s toying with (Emmett Carlson as Glen the office guy), while Anna watches helplessly from the sidelines.

Most importantly, the music is great. “Afterthought” features a soaring, beautiful chorus and tough-minded lyrics about loss and longing. Baker’s future seems bright, if she can just get over that loser Glen. But don’t take my word for it, take a look:

If you’d like to see your music video featured on Music Video Monday, email cmccoy@memphsflyer.com.