Entertainment

Film Review: American Sniper

Published

11 years ago

January 12, 2015

Reporter II

Luke Grimes and Cory Hardrict as play young G.I. s in the war drama American Sniper.

By Dwight Brown
NNPA Film Critic

This well-produced but flawed bio/war/drama follows the armed forces career and subsequent malaise of ex- Navy Seal Chris Kyle. He was a legendary sniper who did four tours of duty in Iraq. His steely, icy demeanor gave him a steady aim, but didn’t protect him from the fragile aftermath of war, particularly Post Traumatic Stress Disorder (PTSD). The film fluctuates between his achievements in battle and is ordeal back home.

Telling Kyle’s story is the purview of filmmaker Clint Eastwood, who directed Flags of Our Fathers and Letters From Iwo Jima and is well acquainted with the war film genre. As was the case with those aforementioned films, Eastwood’s style is never climactic. He prefers a moderate pace and a straightforward style that doesn’t add anything new to the game. Helicopters buzz over Iraq. Soldiers on both sides of the battle are killed. But nothing stands out and everything appears routine, considering it’s war. The proceedings lack the verve and staccato pacing that made Katherine Bigelow’s Zero Dark Thirty a jaw-dropping experience. His languishing, overly choreographed, and pat approach makes the footage feel flat and undistinguished.

After a grueling training, Chris Kyle (Bradley Cooper) becomes a Navy Seal sniper. A sharp shooter as a kid, his skill peaks in Iraq where, he can protect platoons by accurately shooting a hostile target from as far away as a football field. Deadeye? The man kills 160 insurgents. When fellow soldiers praise him, Kyle is never less then humble. His subdued demeanor is the exact opposite of the anger and rage he incites from enemy forces who put a price on his head. No wonder they call him “Legend.”

Kyle’s Navy Seals, who’ve teamed up with brave Marines, find something to focus on in the helter skelter war. It’s the demonic Al Qaeda terrorist Abu Musab al-Zarqawi and his maniacal partner The Butcher (Mido Hamada); the latter tortures victims and snitches with power drills. As Kyle and his crew hone in on the new enemies, a sharpshooter, whose talents rival Kyle’s, scopes them out. Mustafa (Sammy Sheik), a Syrian sniper, has Kyle and his men in his crosshairs. First one to pull the trigger wins.

The script by Jason Hall, based on the bestselling autobiography by the real Chris Kyle with Scott McEwen and Jim DeFelice, has plenty of slow, forward motion. When things get too tense, the plotline throws in a flashback for relief. Kyle meeting his soon-to-be-wife Taya (Sienna Miller) in a bar, trips back home on leave, the birth of two sons, phone calls from the front lines; these mini scenes flesh out the imperfect human man behind the perfect aim – to varied affect.

You get a vague sense of the soul of this heroic soldier who tries to balance a dangerous existence with an infrequent family life. But it’s hard to feel compassion for him. He’s too strong a man. If the story followed a weaker person, perhaps a less successful marksman trying to prove himself with a save-the-day shot, he’d be a more compelling protagonist. As is, there’s an emotional shield around Kyle that is impenetrable, even as he descends into a living hell: “It’s not the people you saved that you remember. It’s the ones you couldn’t save. Those are the faces and situations that stay with you forever.”

Bradley Cooper’s performances are not known for their range. He lacks the emotional wallop and elasticity of a Christian Bale. He’s O.K. as the goof in the Hangover series. He stumbled across a golden opportunity with Silver Linings Playbook and turned that part, as an ex-mental patient with a bipolar disorder, into the role of a lifetime. However, he does nothing to get you under the skin of Chris Kyle. Nothing. He packed on weight for the role, but that girth isn’t a substitute for an intuitive or gifted character interpretation.

Sienna Miller, in only glimpses as the reluctant girlfriend turned into the concerned wife/mother, shows more depth and proves far more capable of cementing her dutiful and increasingly alarmed spouse persona. She is Kyle’s only beacon out of his darkness. She is believable. Ben Reed as Wayne Kyle, the weaker younger brother, acts the part; never as strong, smart or good as his sibling. Sammy Sheik (Lone Survivor and TV’s 24) as the stealth shooter Mustafa rarely speaks but powerfully commands the screen. Luke Grimes (Taken 2) and Cory Hardrict (Gran Torino) as play young buck soldiers with a very credible G.I. swagger

Tom Stern’s (Changeling) cinematography, Joel Cox (Unforgiven) and Gary Roach’s editing and the production design by Charisse Cardenas and James J. Murakami (Changeling) make the visuals impressionable. If the film has any air of realism, it’s because of their contributions. Clint Eastwood composed “Taya’s Theme,” the main theme music, which enhances the film in the right places. His taste in music is impeccable.

There will be better films that explore PSTD. They’ll be better if they focus on a sympathetic soldier and not a cold-blooded killer. They’ll be better if a filmmaker with more vigor and innovation directs them. Also, if you see this film and walk out the theater feeling like you just watched 134 minutes of pro-war propaganda, it means the film failed as a character study because it spent too much time on the battlefield.

Visit NNPA Film Critic Dwight Brown at DwightBrownInk.com.

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Art

Oakland Director Boots Dazzles Once Again in ‘I Love Boosters’

Riley’s creative output is influenced by progressive ideals. His work, which includes six albums, the 2018 film “Sorry to Bother You,” and the 2023 comedy series “I’m a Virgo,” always shows that the alienation working-class people feel is inevitable under capitalism, he recently told The Guardian.

Published

2 days ago

June 10, 2026

bpusa-syndication

Naomi Ackie, Taylour Paige, and Keke Palmer star in “I Love Boosters” playing now in theaters. Directed by Oakland resident Boots Riley. Image courtesy of Neon.

“I feel lonely,” Keke Palmer’s character Corvette says in the first few minutes “I Love Boosters,” the new comedy adventure film from Oakland-based director Boots Riley.

“I wish I could feel lonely,” Naomi Ackie’s character Sade responds. “Try having kids.”

“I Love Boosters” teems with kaleidoscopic colors, sharp playful social critique, otherworldly plot twists, and fast-paced action, but it’s grounded in its main characters’ simple and relatable motivations: They want to be less isolated, and more free to pursue their own creative endeavors.

They’d like to design clothes and run a fashion boutique, but, unfortunately, they’re mostly busy surviving. Corvette and Sade, along with Mariah, played by Taylour Page, hustle and scheme through their brilliant scrappy organized crime group, the Velvet Gang. The gang regularly boosts clothes in the Bay Area and sells them at discounted prices.

Riley portrays the gang in a positive light in “I Love Boosters,” echoing the sentiment and title of a song he recorded 20 years ago with his hip-hop band, The Coup, where he praises boosters for providing poor communities with nice clothes they can afford: like a Robin Hood of the ’hood. But while morally righteous, materially, the gang is troubled. Corvette is haunted by unpaid bills and fears getting kicked out of the building where she squats, a shuttered fast-food chicken joint.

One thing that separates Riley’s film from most others about criminal gangs is that the Velvet Gang’s members work for a living. Theirs isn’t a greedy fantasy of becoming filthy rich, or for one last hit: Boosting is a job that still doesn’t pay nearly enough.

Visually, the film is a mix of psychedelia, afro-surrealism, noir, and perhaps a comic book.

The villain, Christie Smith, played by Demi Moore, an evil genius billionaire and fashion designer who runs the expensive clothing company the gang boosts from. She repeatedly appears on the news to put a target on the Velvet Gang members’ backs. When the gang ends up connecting with those who Christie directly exploits –workers here in the Bay Area, but also those in sweatshops overseas– the fight against Christie can commence; and uncoincidentally, Corvette starts to feel less lonely.

I don’t want to say much about that fight, but it’s delightful. Sci-Fi elements (which appear connected to Marxist theory) enter into the narrative to tie what’s become a pretty scatterbrained story together. Grounded by Palmer’s acting, “I Love Boosters” is a total joy and a refreshing break from the typical narratives we see these days. It’s totally over-the-top, but it knows it is.

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Art

After 10-Year Wait, Fillmore Heritage Center Reopens in San Francisco

After serving as the economic and cultural hub of the Fillmore’s historically Black community for more than a decade, the center’s closure ended what was called the “Rebirth of the Cool,” referring to the neighborhood’s role during the height of Black Jazz in the United States.

Published

2 days ago

June 10, 2026

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Rev. Amos Brown of Third Baptist Church addresses community members at the Fillmore Heritage Center ribbon cutting. Photo by Linda Parker Pennington.

By Linda Parker Pennington, Special to The Post

Last Saturday morning, the cloudy skies cleared just as the highly anticipated ribbon-cutting ceremony began, marking the reopening of the Fillmore Heritage Center at 1330 Fillmore and Eddy.

The complex – which had once included Yoshi’s Jazz Club, the Lush Life Art Gallery, the Koret Heritage Lobby, a 54-seat microcinema, and the Black-owned 1300 On Fillmore restaurant – shuttered in 2015.

San Francisco Mayor Daniel Lurie announcing the reopening of the Fillmore Heritage Center. Erika Scott, owner of Honey Art Studio, looks on with pride. Photo by Linda Parker Pennington.

“The Fillmore is the most important neighborhood in San Francisco’s history for centering Black culture, music, business, and community, and has shaped this City and influenced the entire country,” said San Francisco Mayor Daniel Lurie to the gathering of more than 100 community leaders, business owners, and public officials. “This building reflects the deep roots of the Fillmore. Urban renewal left deep scars that are still felt today. This Center celebrates a strong Black community that continues to shape San Francisco. I am proud to join the community as we reopen the Fillmore Heritage Center.”

Although the previous stakeholders will not be returning to the center, spaces are available for nonprofit organizations and ventures, such as Fillmore native Ericka Johnson’s Honey Art Studio.

“This Center will be an economic engine and a thriving venue that shines a light on the Black-owned businesses in this neighborhood and lifts the entire district,” Lurie continued. “Our City is committed to this community for the long term.”

“We’re excited to collaborate with the City to finally reopen these doors,” said Ken Johnson, a videographer and community leader who’d been lobbying for the reopening of the center. “It’s an opportunity to showcase the entrepreneurship and creative spirit of this ‘Harlem of the West’ and the ‘Rebirth of the Cool,’ grounded in our uniquely gifted Fillmore community.”

This month, through its Office of Economic and Workforce Development, the city will begin renting the building’s noncommercial spaces for pop-up events celebrating local talent, arts, and entertainment primarily centered in the Fillmore.

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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.

Published

3 days ago

June 9, 2026

Oakland Post

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.

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 11^th Annual Black-Eyed Pea Festival, which will take place on Sept. 12.