Tag: Stephan James

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If Beale Street Could Talk

Kiki Layne and Stephan James in If Beale Street Could Talk

Let’s get this out of the way: If Beale Street Could Talk is not set in Memphis. It’s not about Beale Street or the blues, or loquacious rights-of-way. In fact, in the opening epigraph, author James Baldwin says Beale Street is in New Orleans.

James Baldwin may have been geographically challenged, but he was a stone cold literary genius. When he invoked Beale Street in the opening of his 1974 novel, one of the country’s first black-owned business districts existed to him as a lost world of African-American freedom. The name represented the realization of the kind of personal autonomy American capitalism always promises, but which was ultimately denied to people like Tish Rivers (Kiki Layne) and Fonny Hunt (Stephan James), two young, working-class kids from Harlem, who happen to be black.

Tish and Fonny are in love like only 19-year-olds can be. As soon as Fonny gets a new place — he’s got a crappy cold-water flat, but the budding sculptor is looking at a fixer-upper artist’s loft — he’s going to pop the question. But then Fonny gets in the mildest of street hassles, just a little pushing and shoving over Tish’s honor, and all the sudden he’s in the crosshairs of the prison-industrial complex. The racist cop he pisses off that fateful night soon gets an opportunity to frame him for a brutal rape that happened on the other side the city. With Fonny on trial for his life, it is not a good time for Tish to announce she’s pregnant.

Director Barry Jenkins has broken the rule that mediocre books make the best movies. He takes Baldwin’s dauntingly nonlinear literary structure and makes it smooth and easily understandable. Each jump forward and backward in time reveals a little bit more of the story in a way designed to maximize the emotional impact. The ending, when it comes, reveals characters who are forever changed, but unbroken.

Jenkins color sense is second to no one working today. I think he invented some new, tastefully early-70s hues especially for this movie. The film’s recreation of 1970s Harlem is flawless, and, knowing Jenkins, done efficiently. Jenkins loves to work in close up, or with his camera fixed on an effortlessly flawless composition. When his camera does move, it flows through space.

Every performance on the screen, from Layne’s heartbreakingly naive Tish, interrupted on the edge of lasting happiness, to Colman Doming bringing laughing gravitas to the role of her father, feels fully human. As Tish’s mother, Regina King puts on a one-woman Strasberg-ian acting clinic.

Regina King as Sharon Rivers

It all comes together in an emotionally epic scene where Tish and Fonny’s families grapple with the reality of a new baby on the way. If my description makes this film sound like a downer, it’s not. Tish’s family’s first reaction is to rejoice at the prospect of a new member. They know Tish and Fonny’s love is real. It’s different with Fonny’s family. His religious mother (Aunjanue Ellis, tightly wound) lashes out at the Rivers family, while the two grandads-to-be hatch plots to pay for it all. It’s a deeply humane and instantly recognizable scene that, if removed from the larger context, would be the best short film of the year.

But the tender pas de deux between Tish and Fonny, told intermittently between scenes of fear and despair, is the beating heart of the picture. Is there anyone who does romance better than Jenkins? The couple’s wide-eyed innocence, an emotion never available to the brutally repressed Charon Harris in Moonlight, is pure joy to behold. If, as Roger Ebert said, movies are machines to create empathy, then Jenkins is our greatest empathetic engineer.

Together, Baldwin and Jenkins celebrate the love that flourishes in the midst of tragedy and injustice. Jenkins came up from the indie underground, emerging from Miami in 2008 with Medicine for Melancholy and going on to win Best Picture for 2016’s Moonlight. He found the perfect material to adapt in If Beale Street Could Talk. Its examination of the human cost of the carceral state and indictment of institutions of justice that wink at racism as long as the conviction numbers stay high is, sadly, as relevant as ever.

If Beale Street Could Talk

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Film Features Film/TV

2018: The Year In Film

If there is a common theme among the best films of 2018, it’s wrenching order from chaos. From Regina Hall trying to hold both a restaurant and a marriage together to Lakeith Stanfield navigating the surreal moral minefields of late-stage capitalism, the best heroes positioned themselves as the last sane people in a world gone mad.

Dakota Johnson in Fifty Shades Freed

Worst Picture: Fifty Shades Freed

In her epic deconstruction of the final installment of everyone’s least favorite BDSM erotica trilogy, Eileen Townsend called Fifty Shades Freed a “sequence of intentionally crafted visual stimuli” that “bears coincidental aesthetic similarity to a movie … But I believe Fifty Shades Freed is nonetheless not a movie at all, but something far more pure — a pristine document of the market economy, a kind of visual after-image created as an incidental side effect of the exchange of large sums of capital…We literally cannot perceive the truest form of Fifty Shades Freed, because to do so, we would have to be money ourselves.”

Sunrise over the Monolith in 2001: A Space Odyssey

Best Moviegoing Experience: 2001: A Space Odyssey in IMAX

The Malco Paradiso’s IMAX screen, which opened last December, has quickly earned the reputation as the best theater in the city. During the late-summer lull, a new digital transfer of 2001: A Space Odyssey got a week’s run to celebrate its fiftieth anniversary. Even if you’ve watched Stanley Kubrick’s film a dozen times, seeing it the size it was intended to be seen is a revelation. Also, all lengthy blockbusters should come with an intermission.

Chuck, the canine star of Alpha

Best Performance by a Nonhuman: Chuck, Alpha

Director Albert Hughes’ Alpha is a sleeper gem of 2018. The star of the story of how humans first domesticated dogs is a Czech Wolfhound named Chuck, who dominates the screen with a Lassie-level performance. Chuck and his co-star, Kodi Smit-McPhee, spend large parts of the movie silently navigating the hazards of Paleolithic Eurasia, and the dog nails both stunts and the occasional comedy bits. Chuck is a movie star.

KiKi Layne and Stephan James in If Beale Street Could Talk

Best Scene: The Family Meeting, If Beale Street Could Talk

Most of Barry Jenkins’ adaptation of James Baldwin’s novel is an intimate, tragic love story between Tish Rivers (KiKi Layne) and Fonny Hunt (Stephan James). But for about 10 minutes, it becomes an ensemble dramedy, when Tish has to tell, first, her parents that she’s pregnant out of wedlock with a man who has just been arrested for a crime he didn’t commit, then his parents. If you pulled this scene out of the film, it would be the best short of 2018.

Rukus

Best Memphis Movie: Rukus

Brett Hanover’s documentary hybrid had been in production for more than a decade by the time it made its Mid South debut at Indie Memphis 2018. What started as a tribute to a friend who had committed suicide slowly evolved into a mystery story, an exploration into a secretive subculture, and a diary of growing up and accepting yourself.

Ethan Hawk stars as a priest in existential crisis in First Reformed.

Best Screenplay: First Reformed

Taxi Driver screenwriter Paul Schrader penned and directed this piercing drama about a small town priest, played by Ethan Hawk, who undergoes a crisis of faith when a man he is counseling commits suicide. 72-year-old Schrader is unafraid to ask the big questions: Why are we here? Is it all worth it? His elegantly constructed story ultimately looks to love for the answers, but the journey there is harrowing.

Michael B. Jordan as Killmonger in Black Panther

MVP: Michael B. Jordan

Michael B. Jordan played a book-burning fireman with a conscience in HBO’s Fahrenheit 451 adaptation and the heavyweight champion of the world in Creed II. But it was his turn as Killmonger in Black Panther that elevated the year’s biggest hit film to the realm of greatness. Director Ryan Coogler knew what he was doing when he put his frequent collaborator in the the villain slot opposite Chadwick Boseman’s T’Challa, making their personal rivalry into a battle for the soul of Wakanda.

Regina Hall in Support The Girls

Best Performance: (tie) Regina Hall, Support the Girls and Elsie Fisher, Eighth Grade

In a year full of great performances, two really stood out. In Support the Girls, Regina Hall plays Lisa, a breastaurant manager having the worst day of her life, with a breathtaking combination of technique and empathy. We agonize with her over every difficult decision she has to make just to get through the day.

Elsie Fisher as Kayla in Eighth Grade

Elsie Fisher started work on Eighth Grade the week after the 13-year-old actually finished eighth grade. She carries the movie with one of the most raw, unaffected comic performances you will ever see.

Emma Stone takes aim in The Favourite.

Best Director: Yorgos Lanthimos, The Favourite

Greek director Yorgos Lanthimos’ previous efforts has been bracing, self-written satires, but he really came into his own with this kinda true story written by Deborah Davis and Tony McNamara. Everything clicks neatly into place in The Favourite. The central troika of Olivia Coleman as Queen Anne and Emma Stone and Rachel Weisz as backstabbing cousins vying for her favor are all stunning. The editing, sound mix, and costume design are superb, and I’ve been thinking about the meaning of a particular lens choice for weeks.

Daniel Tiger (left) and Fred Rogers, star of Mr. Rogers’ Neighborhood

Best Documentary: Won’t You Be My Neighbor?

Once in a while, a movie comes along that fills a hole in your heart you didn’t know you had. Morgan Neville’s biography of Fred Rogers appears as effortlessly pure as the man himself. Mr. Rogers’ radical compassion is the exact opposite of Donald Trump’s performative cruelty, and Neville frames his subject as a kind of national surrogate father figure, urging us to remember the better angels of our nature.

Sorry To Bother You

Best Picture: Sorry to Bother You

Boots Riley’s debut film is something of a bookend to my best picture choice from last year, Jordan Peele’s Get Out. They’re both absurdist social satires aimed at American racism set in a slightly skewed version of the real word. But where Get Out is a finely tuned scare machine, Sorry to Bother You is a street riot of ideas and images. When his vision occasionally outruns his reach, Riley pulls it off through sheer audacity. No one better captured the Kafkaesque chaos, anger, and confusion of living in 2018.

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Film Features Film/TV

Race

The 2016 Olympics in Rio will mark the 80th anniversary of Jesse Owens’ historic wins at the 1936 Berlin Olympics. Hitler meant for the games to provide proof of his racial theories of Aryan dominance, but instead, Owens set world record after world record and showed the world that racial harmony is possible by befriending his German rival Carl “Luz” Long.

I’m a self-described Olympic geek, and it’s stories like Owens’ that are the reason why I find the games so compelling in ways that most professional sports leave me cold. At their best, the games celebrate our common humanity and suggest sportsmanship still has its place, and not all competitors have to be motivated by demonizing their opponents. That’s why Hitler’s racial attitudes were so counter to the Olympic ideals, and Owens’ triumph so profound. That Owens did it while facing down similar toxic philosophy back home in the United States only speaks to the strength of his character, and helped many white Americans take the first steps away from notions of racial supremacy.

Jason Sudeikis (left) and Stephan James finish strong in Stephen Hopkins’ triumphant biopic Race.

Race, director Stephen Hopkins’ biopic of Owens, traces the track star’s critical years as a freshman at Ohio State, where he first turned heads by winning four gold medals at the national NCAA Championships the first year he competed. Casting former teen TV star Stephan James as Owens was one of Hopkins’ best choices. James reportedly stepped in after John Boyega dropped out of the production in favor of playing Finn in Star Wars: The Force Awakens. I’m sure Boyega would have done a good job, but James grabs the baton and runs with it, capturing Owens’ inherent kindness and the stoicism that got him through pressures that would have crushed most men. In the crucial, movie-defining scene where he first steps onto the Olympiastadion Berlin field to face a crowd of 100,000, he seems to physically shrink for a moment before gathering himself up and striding into battle. Hopkins not only has the physicality to portray Owens, but also the timing and chemistry to keep up with former SNLer Jason Sudeikis, who plays Larry Snyder, the Ohio State coach who recognized Owens’ once-in-a-generation talent and taught him the technique to achieve his potential. Sudeikis plays Snyder as a hard-boozing, boisterous man obsessed with track-and-field dominance because he is haunted by the sense that he missed his shot at Olympic immortality. Like Snyder did for Owens, Sudeikis does for Hopkins in their scenes together, pulling him out of his shell and challenging him into greater performance.

Stephan James as Jesse Owens

The sources I consulted listed Race‘s budget at $5 million, but that seems like a lowball considering all of the period production design on display. Like Straight Outta Compton, director Hopkins plays it straight, favoring well-executed but conventional images over any sort of psychological impressionism. When the movie concentrates on the Owens/Snyder story of the struggle for athletic excellence, it soars. But it gets bogged down in some unnecessary digressions, such as the story of the Nazis’ favorite filmmaker Leni Riefenstahl’s (Carice van Houten) struggle to make Olympia, her documentary about the games. But at least that subplot gives us opportunity to see Danish actor Barnaby Metschurat’s ice-cold portrayal of Joseph Goebbels.

Race‘s biggest weakness is its editing, which is often jittery and unsure when it needs to be steady and clear. I guess it’s supposed to be a modernist stylistic choice when it takes five cuts to show Snyder pour a single shot of whiskey from a bottle, but it made me want to scream, “Pick a shot and stick with it! There are Nazis to triumph over!” If this job has taught me anything, it’s that a movie doesn’t have to be perfect to be emotionally effective, and ultimately, Hopkins and Sudeikis carry the day, with a little help from the heroic story of the World’s Fastest Man.