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Memphis Armored Fight Club Swings Swords at Black Lodge

Sword strikes bounce off metal armor, pole arms sweep, and the crowd roars. Memphis Armored Fight Club is a group who has resurrected the European martial arts of the Middle Ages.

Clad in period-authentic (or as authentic as you can get here in the twenty-first century) they spar with swords and shields. This is not choreographed fake fighting, they’re really going at it like competitors at a medieval tournament! Granted, the sharp edges are blunted, and there’s a strict “no stabbing” rule — that’s how you kill knights.

Last Saturday, they held one of their periodic bouts at Black Lodge in Midtown. I was there with a camera to capture some of the hot knight-on-knight action. After MAFC members showed everyone how it’s done, members of the audience got a chance to fight in the arena themselves. Take a look.

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Film/TV TV Features

True Detective: Night Country

Since its debut on HBO in 2014, True Detective has been a galvanizing show. Showrunner Nic Pizzolatto’s first season featured Matthew McConaughey and Woody Harrelson as detectives searching for an occultic serial killer in Louisiana over the course of two decades. It was unique in television, in that Pizzolatto wrote all eight episodes himself, and Cary Joji Fukunaga was the sole credited director. (Normally, TV shows have several writers who collaborate on scripts. The mandatory minimum size of these writer’s rooms was a major issue in last year’s Writer’s Guild of America strike.) 

Each subsequent season of the anthology show has featured a different pair of detectives who can barely stand each other solving weird crimes. For season 2 in 2015, it was Colin Farrell and Rachel McAdams; season 3 featured Mahershala Ali and Carmen Ejogo in 2019. Pizzolatto started to develop season 4, but then left HBO in favor of a new deal at FX. Barry Jenkins and Issa López took over as executive producers, and took the show in a new direction — or least to a new locale. 

Season four carries the subtitle Night Country because it is set in the fictional Alaskan town of Ennis, located above the Arctic Circle where the sun doesn’t rise at all during the depths of winter. Jodi Foster stars as Liz Danvers, Ennis’ chief of police. It’s a major casting coup, since Foster hasn’t been a regular in a TV series since the mid-1970s. And it pays off. Foster is one of the best actors of her or any other generation, and the greatest pleasure of Night Country is getting to spend six episodes watching her construct and tear down a complex character.

If I had to describe Capt. Danvers in one word, it would be “harsh.”  She’s hard on everyone, from her stepdaughter Leah (Isabella Star LeBlanc) to protege Pete Prior (Finn Bennett), to her off-and-on lover of twenty years, Capt. Ted Connelly (Christopher Eccleston). But Danver’s harshest of all to her former partner, Evangeline Navarro (Kali Reis, a former professional women’s boxing champion.) Navarro and Danvers split after their response to a murder-suicide case fell under scrutiny from their superiors, and led to both being reassigned to the backwater (or should I say “back-ice”) of Ennis. 

Navarro sees ghosts, but that’s apparently not unusual in this town, where the veil between worlds seems thin. The former partners are forced back together when the entire crew of an arctic research station is found dead on the ice, frozen together in what Danvers calls a “corpsicle.” One of the few clues is a severed human tongue left behind in the station which belonged to a Native American woman named Annie Kowtok (Nivi Pedersen), whose murder Navarro has been obsessively investigating for years. How are the two crimes connected, and what do they have to do with the mining company that is polluting the community’s water? 

Foster’s virtuosic performance brings it all together, even as some of the subplots spiral off into the arctic darkness. She’s a manic ball of snarling energy, hinting at the secret pain that causes her to lash out at everyone around her. 

Lopez’s direction on all six episodes is exceptional. She brings elements of Lynchian surrealism (quiet northern town exists in uneasy proximity to an ancient supernatural force) and the John Carpenter horror classic The Thing. She knows how to produce a good jump scare, and how to hint at unknowable horrors lurking just offscreen. Like True Detective’s first season, Night Country benefits greatly from being the product of a singular artistic vision. 

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Film Features Film/TV

Music Video Monday: “Simple Song of Freedom” by Memphis Freedom Band

It’s been a tough few years for the cause of peace. The Russian invasion of Ukraine just hit its two-year anniversary, with no end in sight. After the Hamas attacks of October 7, 2023, Israel responded with the most deadly military operation of the 21st century, which has devolved into a quagmire of violence and famine in Gaza, where two million people face hunger in a bombed-out landscape that used to be their home.

These high-profile conflicts have drawn attention from Sudan, where a civil war has displaced eight million people, and millions more are entering into famine while both sides try to starve the other one out. Meanwhile, in the Western Hemisphere, Haiti is slipping into warlordism as Port Au Prince gangs conduct running battles with what’s left of the government. It’s enough to drive you to despair if you’re paying attention.

The antidote to despair is music. Italian (by way of Memphis) musician Mario Monterosso organized the Memphis Freedom Band to put out a message of peace. Last December, he invited a who’s who of Memphis musicians to record with producer Scott Bomar at Sam Phillips Recording, including Kallen Esperian, Rev. Charles Hodges, Dr. Gary Beard, Dr. Keith Norman of First Baptist Church Broad, The Bar-Kays’ Larry Dodson, Priscilla Presley, and a rare appearance by the queen of Memphis soul Carla Thomas. Filmmaker Billie Worley was on hand with a camera to capture the historic moment in the studio, as the big band sang “Simple Song of Freedom,” a 1969 hit by Bobbi Darin.

“Since the middle of the 20th century, Memphis music has been the strongest musical bridge across the world,” says Monterosso. “And now we come together in solidarity as one voice to create a bridge of hope and freedom for the people and children of Ukraine and all those countries hit by wars.”

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

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Film Features Film/TV

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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Film Features Film/TV

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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Film Features Film/TV

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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Film Features Film/TV

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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Film Features Film/TV

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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Film Features Film/TV

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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Film Features Film/TV

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