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FILM REVIEW: Alita: Battle Angel

NNPA NEWSWIRE — As a self-contained film, this sci-fi/anime/action/thriller is fascinating but not perfect. Viewed as a set-up for a future franchise, it makes more sense. Studied as the next advancement in 3D anime, it’s groundbreaking. And, a teenage Latina lead is unique and could bring a host of young movie goers into the theater to see what’s up.

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By Dwight Brown, NNPA Newswire Film Critic

Rosa Salazar stars as Alita in Twentieth Century Fox’s ALITA: BATTLE ANGEL. Photo Credit: Courtesy Twentieth Century Fox.

Rosa Salazar stars as Alita in Twentieth Century Fox’s ALITA: BATTLE ANGEL. Photo Credit: Courtesy Twentieth Century Fox.

As a self-contained film, this sci-fi/anime/action/thriller is fascinating but not perfect. Viewed as a set-up for a future franchise, it makes more sense. Studied as the next advancement in 3D anime, it’s groundbreaking. And, a teenage Latina lead is unique and could bring a host of young movie goers into the theater to see what’s up.

Even if you didn’t know who the filmmakers were, you’d get a hint based on what you see: The main cyborg creation, Alita (Rosa Salazar), is reminiscent of James Cameron’s Avatar characters. The manic pacing of the film and its rough-around-the-edges, aggressive style and perceptive look at youth plays like a combination of Robert Rodriguez projects (From Dusk Till Dawn, Spy Kids, Sin City). If Cameron and Rodriguez had a lovechild, their offspring would be this teen-friendly movie.

Far into the future, in 2563, after the great apocalypse called “the Fall,” only remnants of civilization remain. One of the surviving homesteads on Earth is Iron City, a gutted metropolis. There’s nothing but ruins, killer robots and those—people and cybernetically-enhanced-humans—who have found ways to survive by repurposing tech. Lurking above the horizon is the ominous looking Sky city Zalem. The unwritten rule is “nobody ever goes up to Zalem,” so transport between the landbound town and the one up high is nearly non-existent. That separation has made Iron City residents covet a trip above.

Co-writers Cameron, Rodriguez and Laeta Kalogridis based their script on the book Gunnm, part of a graphic novel series by Yukito Kishiro. The exterior sets often look like helter-skelter way stations from a Star Wars movie or the darkened streets of New Orleans, with curious looking people filling crowd scenes, hoverboards whizzing by, an incessant din and people running to and fro.

The visuals are intriguing: Caylah Eddleblute and Steve Joyner production design; Jeff B. Adams Jr. art direction; and David Hack set decoration. The digital-FX is progressive. Two high-definition cameras recorded Salazar’s face, giving her eyes more definition than the entire Gollum character from Lord of the Rings. Ninety-nine percent of the footage was shot with state-of-the art 3D-cameras (cinematographer, Bill Pope, The Matrix), when other films are shot and then converted to 3D. So, the cyborgs look vivid, the cityscapes are striking and there’s plenty of eye candy for everyone—especially sci-fi freaks.

People fend for themselves, so it is no surprise when Ido (Christoph Waltz), a cyberphysician, is rummaging through a scrap heap and discovers the torso and head of a young angelic looking cyborg. Back in the lab, after a body is attached to her, she is revived. Ido’s creation, Alita, can’t remember who she was or how she got to the junkyard. Slowly she adapts to life, exhibiting latent fighting skills and killer instincts.

Hanging out with street kids, like Hugo (Keean Johnson) and his crew, she learns more and more about her capabilities. Her actions are noticeable in her community, and not by the right people. Alita is under the gaze of Vector (Mahershala Ali), an evil dude who runs the corrupt forces in the city, and he is controlled by a much higher power—someone on Zalem.

As the story evolves and Alita slowly learns of her past and masters her warrior powers, the audience is taken on an intriguing journey of self-discovery. Fortunately, this ride-along counteracts the film’s imperfections: The post-Armageddon municipality is not the most original setting in the world. The mysterious city hovering overhead will remind audiences of the film District 9, when a stealth spaceship floats over Johannesburg, South Africa. Also, Alita doesn’t exhibit any superpowers viewers haven’t seen before.

The introduction of the ultra-competitive and deadly sports event Motorball—a combination of roller blading, basketball, skate boarding and rugby—as a central focus is a tough sell. The game plays out like chariot racing in Rome’s Colosseum or a frenzied NASCAR event. This sports shtick is consequential to Alita, Hugo and other participants because the winner is promised a trip to Zalem, which is about the only way anyone will ever get there. Initial skepticism regarding this plot strategy will subside and make more sense as the film ends.

This very ambitious production could lose some weight. The constant barrage of minuscule plot points, names, rivalries and heavy exposition can be confusing. Adults may have trouble sorting out all the details. Young people may not care or be intimidated by the minutia. The pacing of the action scenes could keep their attention (2hr 2min runtime), the peculiar mechanics of the cyborgs may enthrall them—and there’s always Alita.

Rosa Salazar (Alita) and Keean Johnson (Hugo) star in Twentieth Century Fox’s ALITA: BATTLE ANGEL. Photo Credit: Courtesy Twentieth Century Fox.

The heart of the film is this vulnerable young hybrid amnesiac woman. She falls in love, is haunted by her past and fights the bad guys. It’s a lot on her shoulders, and with Rodriguez’s sensitive feel for kids, the film allows her to embody the challenges and insecurities tweens/teens encounter—especially girls and young women. Alita questions Hugo: “Does it bother you that I’m not completely human?” Hugo: “You’re the most human I’ve ever met.”

Rosa Salazar (Bird Box, Maze Runner: The Death Cure and a voice in the video game Batman: Arkham Origins) uses her voice, facial expressions and movement to make an alluring mark on the character. Her acting magically brings Alita to life. Mahershala Ali as the venomous antagonist underplays his role, making Vector seem all the more deadly. The rest of the supporting cast with Jennifer Connelly as Ido’s ex-wife, Jorge Lendeborg, Jr (Bumblebee) as Hugo’s pal, Idara Victor as Nurse Gerhad along with the aforementioned Waltz and Johnson keep emotions piqued.

Granted, there’s room to improve and grow. Still, Alita: Battle Angel is a solid start to what could be a welcomed series of films. It takes FX to another level and teens and sci-fi fans could gladly jump on a bandwagon that features a new and iconic Latina heroine.

Visit NNPA News Wire Film Critic Dwight Brown at DwightBrownInk.com and BlackPressUSA.com.

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Arts and Culture

COMMENTARY: Black Music is the Sound of Black Freedom: Let Us Reclaim Both This Juneteenth

Black Music Month started when Black Music Association members Ed Wright, Kenny Gamble and his wife, journalist and radio host Dyanna Williams were able to persuade President Jimmy Carter to establish the observation on June 7, 1979.

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Robert Johnson (1911-1938) is thought of as the godfather of blues music, especially Delta blues. The 29 songs recorded by him during his short life have been of massive inspiration to guitarists and musicians over the last 80 years. Public domain photo.
Robert Johnson (1911-1938) is thought of as the godfather of blues music, especially Delta blues. The 29 songs recorded by him during his short life have been of massive inspiration to guitarists and musicians over the last 80 years. Public domain photo.

By Wanda Ravernell

Black Music Month and Juneteenth are inextricably linked – Black music is the sound of our freedom.

From the plaintive moans of the enslaved Africans’ ‘sorrow songs,’ to the fields of Civil War battle where Black soldiers picked up abandoned bugles, to the upright piano played in juke joints on Saturday night and churches come Sunday morning, our ancestors’ innovation in the face of want, fear, degradation, and hopelessness has yielded genres of music imitated ’round the world.

Black Music Month started when Black Music Association members Ed Wright, Kenny Gamble and his wife, journalist and radio host Dyanna Williams were able to persuade President Jimmy Carter to establish the observation on June 7, 1979.

In 2000, Congress made it official. In 2009, Pres. Barack Obama changed the name to African American Music Heritage Month and in 2023, Pres. Joe Biden changed it back to Black Music Month, two years after he declared Juneteenth a national holiday, the result of a movement led by Opal Lee.

Our ancestors battle for freedom over these last 400 years and the music that allowed them expression of their humanity deserved to be honored.

But we may be losing sight of the value of their sacrifices.

‘Sing a Song Full of the Faith That the Dark past Has Taught Us…’

Along with the long-known exploitation of Black musicians whose recordings were stolen by record companies, the commercialization of Juneteenth feels like another kind of theft.

I had never heard of Juneteenth until I moved to the Bay Area from my hometown of Philadelphia. I didn’t know it was one of many freedom festivals celebrated by descendants of enslaved people in the United States.

Emancipation Day was Jan. 1 in Pennsylvania, April 16 in Wash., D.C., May 20 in Florida, and Aug. 8 in Kentucky. But Juneteenth, June 19, has the most renown, known in Texas as the ‘colored peoples’ Fourth of July.’

It was marked by parades, beauty pageants, rodeos, backyard barbecues and church picnics.

Yes, church.

The formerly enslaved began the day praying in thanks for their freedom just as they had prayed for Jubilee – the day of freedom – when they had chains on their feet and hands. They ‘testified’ about their past suffering and how they had managed to overcome.

And they sang.

Although, we will not hold it this year, Omnira Institute’s Juneteenth Ritual of Remembrance recalled this part of Juneteenth with prayers in the languages of the African captives. In the middle of the ceremony, a soloist would lead us in singing “Many Thousand Gone” while we took turns reciting portions of the Emancipation Proclamation, the news of freedom that took more than two years to reach Texas – two months after the Civil War ended.

“Many Thousand Gone” was famously recorded by Black luminary Paul Robeson in 1947:

“No more auction block for me,

No more, no more

No more auction black for me

Many thousand gone.”

Other verses refer to the ‘pint of salt’ and the ‘driver’s lash,’ the realities of enslavement that they had survived.

‘Sing a Song Full of the Hope That the Present has Brought Us’

All of the genres of African American music have at their root songs like that, the essence being, as Stevie Wonder, wrote, “the joy inside our pain.” So Black music is not just music. It is our story, our history, our very strength.

During the Civil Rights Movement, which peaked 100 years after slavery ended, the people testified that it was the freedom songs – based on spirituals – that gave them the heart to march, face attack dogs, fire hoses, beatings, and shootouts with vigilantes.

The music reminded them that power was in the people. That music, our music, can do so again. We don’t have to accept the commodification of the products of our culture.

The power of those songs is showing a resurgence across the South as we battle again for the right to self-determination through the ballot box.

Those songs are the voices of our ancestors, voices forged in their blood, their sweat, their tears, joy and, above all, faith.  Those songs, those prayers live in our blood and our very breath.

This Juneteenth, let us reclaim those holy voices expressed in Black music for ourselves. It is our birthright. It can neither be bought nor sold.  No more. Never again.

Wanda Ravernell is the executive director of Omnira Institute, sponsor for 18 years of the Juneteenth Ritual of Remembrance and Oakland’s 11th Annual Black-Eyed Pea Festival, which will take place on Sept. 12.

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Activism

Oakland Post: Week of June 3 – 9, 2026

The printed Weekly Edition of the Oakland Post: Week of June 3 – 9, 2026

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#NNPA BlackPress

Study: Waiting Lists for Child Care Assistance Nearly Doubled

BLACKPRESS USA NEWSWIRE — “Since the expiration of tens of billions of dollars in federal child care funding in 2023 and 2024, an already fragile child care system has been pushed even closer to the brink.”
The post Study: Waiting Lists for Child Care Assistance Nearly Doubled appeared first on BlackPressUSA.

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By National Women’s Law Center

The National Women’s Law Center released its annual State Child Care Assistance Policies report, finding that the number of children placed on waiting lists for federally funded child care assistance nearly doubled between 2024 and 2025 — and that number has only continued to grow.

The report serves as a key resource for state lawmakers, advocates, and policymakers by tracking state child care assistance policies and identifying where states are strengthening support for families and early educators — or falling behind.

“This deeply troubling increase in the number of children on child care waiting lists is the result of a failure to invest in this crucial sector,” said Karen Schulman, senior director of state child care policy and author of the report. “Since the expiration of tens of billions of dollars in federal child care funding in 2023 and 2024, an already fragile child care system has been pushed even closer to the brink.”

Key findings in the report related to waiting lists for child care assistance include:

• 17 states had waiting lists or a freeze on intake for child care assistance in February 2025, up from 13 states in February 2024.

• Approximately 106,700 children nationwide were added to waiting lists between February 2024 and February 2025, bringing the total to 225,500 children in February 2025 — a 90 percent increase compared to February 2024.

• The numbers climbed even further between February 2025 and summer/fall 2025, with more than 175,000 additional children added to state waiting lists in just a few months — a 78 percent increase.

• At least seven states newly began placing families on waiting lists or freezing intake, while at least 10 additional states saw their waiting lists grow, after February 2025.

The report also includes state-by-state data on key child care assistance policies, including income eligibility limits, parent copayments, provider payment rates, and eligibility policies for parents searching for work.

Click the link to learn more: Warning Signs: State Child Care Assistance Policies 2025.

The post Study: Waiting Lists for Child Care Assistance Nearly Doubled appeared first on BlackPressUSA.

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