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FILM REVIEW: Little

NNPA NEWSWIRE — … only one artist can take credit for turning a seed of an idea into a bona-fide comedy, and that’s Marsai Martin. When obstacles were placed in front of her, she broke through them. She took on a challenging role and nailed it. The camera catches all of her weird facial expressions and mannerisms. Her comic timing is impeccable. She knows when to clown around, be demure, introspective and direct. This is a big first step in what should be a promising film career.

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By Dwight Brown NNPA News Wire Film Critic

Regina Hall as Jordan Sanders in Little, co-written and directed by Tina Gordon.

Regina Hall as Jordan Sanders in Little, co-written and directed by Tina Gordon.

Littleis a guilty pleasure. The guilt comes as you watch a 14-year-old actress (Marsai Martin, Black-ish) behaving like a lustful 38-year-old female who flirts with a middle school teacher.It’s kinda pervy. Or when an executive assistant (Issa Rae, HBO’s Insecure) points to her nether regions and gives aman a sexy stare. Fine for adults to see, but do tweens need to look at that? The pure pleasure comes when you laugh at the extremely funny and very animated performances by Martin, Rae and the incomparable Regina Hall. The sisters are crae-crae!

How did all this come about? Word is Martin viewed the Tom Hanks trans-age movie Big(a kid in a grownup’s body) with her parents. She thought it would be cool to reverse the situation and have an adult in in a teen’s body. She approached her agent with her novel idea. He or she balked, as they often do, and Martin fired the agent and got her project on the road. Hence her executive producer credit—at age 14!!!!!!And what were you doing in your tween years?

It’s a simple set-up. Jordan Sanders (Hall) runs her own tech company. Her management style is somewhere between Hitler’s and Idi Amin’s, only she’s less kind. Prissy, exacting, bossy, negative and a dream-killer. She makes everyone suffer. Staff, valet, even the baristas at Starbucks cower in her presence. Her assistant April (Rae) is right in the line of fire. No matter how attentive April can be, it’s never fast or good enough for the very successful and egocentric Jordan. But as they say, karma is a little b—-.

One day in her office’s parking lot, Jordan goes off on a little girl named Stevie (Marley Taylor), an amateur magician who is the daughter of a food truck vendor. The intimidating boss screams at the diminutive tyke, “Check you Boo!!!” But Stevie gives back what she gets. They’re in a standoff, like the Wicked Witch of the West and Dorothy ready to rumble. Then Stevie takes out her magic wand, swirls it around and hurls a curse: “I wish you were little!” Not long after, the evil and older executive wakes up one morning as a 13-year-old girl (Martin). She tries to berate and intimidate like she used to, but the people she encounters are not scared anymore.

(from left) Mr. Marshall (Justin Hartley), little Jordan Sanders (Marsai Martin) and April Williams (Issa Rae) in Little, co-written and directed by Tina Gordon.

If you’re looking for something profound and extraordinary from this formulaic script by Tracy Oliver (Girls Trip) and Tina Gordon (What Men Wantand TV’s ATL), you will be disappointed. If you’re just out for a lark, jump onboard and enjoy the laughs. The characters are modern, urban and living large. The sexy dialogue and inferences just hit the top of the film’s PG-13 rating.

There are sight gags (Martin in clothes too big) and awkward moments (little Jordan pawing big Jordan’s boyfriend). Work humor (the creative meetings skewer office dynamics). Love interests: Luke James (Star) as Jordan’s constantly shirtless boytoy Trevor; Tone Bell (Whitney) as April’s unrequited love; and Justin Hartley (TV’s This Is Us) as the school teacher being ogled by a kid.

All the elements of a decent comedy are in place and director/co-writer Tina Gordon is quite adept at working this female-driven story into a pleasant experience. Though what’s on view is sexy at times, it never reaches the outer limits of Girls Trip. Though some may deem this as a paint-by-numbers film, it’s a bit less predictable than the similar but inferior What Men Want, which also had a female executive character who lived in Atlanta.

When things lag, it’s the woman in a kid’s body gag that helps the film keep an edge. Gordon is great at milking spirited performances out of the entire cast. Her direction is not too stagey, though this does feel more like a Netflix or cable movie than a theatrical release. Still, thanks to her interpretation of the material, the film is likely to attract and partially please female viewers (they’ll like the romance and the woman’s world approach) and young teens (little Jordan deals with everyday school problems and they’ll be amused by her naughty nature).

(from left) Little Jordan Sanders (Marsai Martin) and April Williams (Issa Rae) in Little, co-written and directed by Tina Gordon.

(from left) Little Jordan Sanders (Marsai Martin) and April Williams (Issa Rae) in Little, co-written and directed by Tina Gordon.

The normal background white-noise music (Germaine Franco) seems dull. However, when real songs kick in, the musical choices seem hip. Don’t know how Danielle Hollowell picked or created the over-the-top and brightly colored costumes, but they are a standout. Particularly Martin’s over-sized, window-paned pink suit and Rae’s borrowed gold skirt. The outfits scream contemporary Atlanta. Also of note, the cinematography by Greg Gardiner (Girls Trip, Night School) lights the cast’s divergent complexions perfectly. Everyone looks great, like they should be doing a magazine spread.

Given a premise that is novel but not new, a script that is worthy but not stellar and a location (Atlanta) this is overused, the cast succeeds regardless. Regina Hall is marking her territory. She is a gifted comic actress and her mood swings from mean to meaner to meanest are hysterically funny. She’s a go-to comic actress. The dour Rae makes Hall’s perfect foil. The guys—James, Bell and Hartley—are up to the task. Cameos by SNL’s Mikey Day as the selfish client Connor and Rachel Dratch as a truant officer are humor filled.

However, only one artist can take credit for turning a seed of an idea into a bona-fide comedy, and that’s Marsai Martin. When obstacles were placed in front of her, she broke through them. She took on a challenging role and nailed it. The camera catches all of her weird facial expressions and mannerisms. Her comic timing is impeccable. She knows when to clown around, be demure, introspective and direct. This is a big first step in what should be a promising film career.

If you feel a little uncomfortable when little Jordan winks at her teacher or cozies up to big Jordan’s lover, you aren’t alone. If the scenes of April administering a spanking to a teen make you queasy, it’s because they should. But know that Martin, Hall and Rae will make you laugh your ass off, even as you’re calling child protective services.

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

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Beloved Actor and Activist Louis Cameron Gossett Jr. Dies at 87

NNPA NEWSWIRE — Louis Gossett Jr., the groundbreaking actor whose career spanned over five decades and who became the first Black actor to win an Academy Award as Best Supporting Actor for his memorable role in “An Officer and a Gentleman,” has died. Gossett, who was born on May 27, 1936, in Brooklyn, N.Y., was 87. Recognized early on for his resilience and nearly unmatched determination, Gossett arrived in Los Angeles in 1967 after a stint on Broadway.
The post Beloved Actor and Activist Louis Cameron Gossett Jr. Dies at 87 first appeared on BlackPressUSA.

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By Stacy M. Brown
NNPA Newswire Senior National Correspondent

@StacyBrownMedia

Louis Gossett Jr., the groundbreaking actor whose career spanned over five decades and who became the first Black actor to win an Academy Award as Best Supporting Actor for his memorable role in “An Officer and a Gentleman,” has died. Gossett, who was born on May 27, 1936, in Brooklyn, N.Y., was 87. Recognized early on for his resilience and nearly unmatched determination, Gossett arrived in Los Angeles in 1967 after a stint on Broadway.

He sometimes spoke of being pulled over by law enforcement en route to Beverly Hills, once being handcuffed to a tree, which he remembered as a jarring introduction to the racial tensions of Hollywood. In his memoir “An Actor and a Gentleman,” Gossett recounted the ordeal, noting the challenges faced by Black artists in the industry. Despite the hurdles, Gossett’s talent shone brightly, earning him acclaim in groundbreaking productions such as “A Raisin in the Sun” alongside Sidney Poitier. His Emmy-winning portrayal of Fiddler in “Roots” solidified his status as a trailblazer, navigating a landscape fraught with racial prejudice.

According to the HistoryMakers, which interviewed him in 2005, Gossett’s journey into the limelight began during his formative years at PS 135 and Mark Twain Junior High School, where he demonstrated early leadership as the student body president. His passion for the arts blossomed when he starred in a “You Can’t Take It With You” production at Abraham Lincoln High School, catching the attention of talent scouts who propelled him onto Broadway’s stage in “Take A Giant Step.” His stellar performance earned him the prestigious Donaldson Award for Best Newcomer to Theatre in 1952. Though initially drawn to sports, Gossett’s towering 6’4” frame and athletic prowess led him to receive a basketball scholarship at New York University. Despite being drafted by the New York Knicks in 1958, Gossett pursued his love for acting, honing his craft at The Actors Studio under the tutelage of luminaries like John Sticks and Peggy Fury.

In 1961, Gossett’s talent caught the eye of Broadway directors, leading to roles in acclaimed productions such as “Raisin in the Sun” and “The Blacks,” alongside legends like James Earl Jones, Cicely Tyson, Roscoe Lee Brown, and Maya Angelou. Transitioning seamlessly to television, Gossett graced small screens with appearances in notable shows like “The Bush Baby” and “Companions in Nightmare.” Gossett’s silver screen breakthrough came with his role in “The Landlord,” paving the way for a prolific filmography that spanned over 50 movies and hundreds of television shows. From “Skin Game” to “Lackawanna Blues,” Gossett captivated audiences with his commanding presence and versatile performances.

However, his portrayal of “Fiddler” in Alex Haley’s groundbreaking miniseries “Roots” earned Gossett critical acclaim, including an Emmy Award. The HistoryMakers noted that his golden touch extended to the big screen, where his role as Sergeant Emil Foley in “An Officer and a Gentleman” earned him an Academy Award for Best Supporting Actor, making him a trailblazer in Hollywood history.

Beyond the glitz and glamour of Hollywood, Gossett was deeply committed to community activism. In 1964, he co-founded a theater group for troubled youth alongside James Earl Jones and Paul Sorvino, setting the stage for his lifelong dedication to mentoring and inspiring the next generation. Gossett’s tireless advocacy for racial equality culminated in the establishment of Eracism, a nonprofit organization dedicated to combating racism both domestically and abroad. Throughout his illustrious career, Gossett remained a beacon of strength and resilience, using his platform to uplift marginalized voices and champion social change. Gossett is survived by his children, Satie and Sharron.

The post Beloved Actor and Activist Louis Cameron Gossett Jr. Dies at 87 first appeared on BlackPressUSA.

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COMMENTARY: D.C. Crime Bill Fails to Address Root Causes of Violence and Incarceration

WASHINGTON INFORMER — The D.C. crime bill and so many others like it are reminiscent of the ‘94 crime bill, which produced new and harsher criminal sentences, helped deploy thousands of police and surveilling methods in Black and brown communities, and incentivized more states to build prisons through a massive infusion of federal funding. While it is not at the root of mass incarceration, it significantly accelerated it, forcing a generation of Black and brown families into a never-ending cycle of state-sanctioned violence and incarceration.
The post COMMENTARY: D.C. Crime Bill Fails to Address Root Causes of Violence and Incarceration first appeared on BlackPressUSA.

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By Kaili Moss and Jillian Burford | Washington Informer

Mayor Bowser has signed the “Secure DC” omnibus bill passed by the D.C. Council last month. But we already know that this bill will be disastrous for all of D.C., especially for Black and brown residents.

While proponents claim that this legislation “will make D.C. residents safer and more secure,” it actually does nothing to address the root of the harm in the first place and instead maintains a cycle of violence, poverty, and broken community ties. The omnibus bill calls for increased surveillance, drug-free zones, and will expand pre-trial detention that will incarcerate people at a significantly higher rate and for an indeterminate amount of time before they are even tried. This bill will roll back decades of nationwide policy reform efforts and initiatives to keep our communities safe and whole, which is completely contradictory to what the “Secure” D.C. bill claims it will do.

What is unfolding in Washington, D.C., is part of a dangerous national trend. We have seen a resurrection of bad crime bills in several jurisdictions across the country — a phenomenon policy experts have named “zombie laws,” which are ineffective, costly, dangerous for communities of color and, most importantly, will not create public safety. Throwing more money into policing while failing to fund preventative measures does not keep us safe.

The D.C. crime bill and so many others like it are reminiscent of the ‘94 crime bill, which produced new and harsher criminal sentences, helped deploy thousands of police and surveilling methods in Black and brown communities, and incentivized more states to build prisons through a massive infusion of federal funding. While it is not at the root of mass incarceration, it significantly accelerated it, forcing a generation of Black and brown families into a never-ending cycle of state-sanctioned violence and incarceration. Thirty years later, despite spending billions each year to enforce these policies with many of these provisions remaining in effect, it has done very little to create long-term preventative solutions. Instead, it placed a permanent moving target on the backs of Black people, and the D.C. crime bill will do the same.

The bill calls for more pretrial detention. When our loved ones are held on pretrial detention, they are held on the presumption of guilt for an indeterminate amount of time before ever seeing a judge, which can destabilize people and their families. According to experts at the Malcolm Weimer Center for Social Policy at Harvard University, just one day in jail can have “devastating consequences.” On any given day, approximately 750,000 people are held in jails across the nation — a number that beats our nation’s capital population by about 100,000. Once detained, people run the risk of losing wages, jobs, housing, mental and health treatments, and time with their families. Studies show that pretrial detention of even a couple of days makes it more likely for that person to be rearrested.

The bill also endangers people by continuing a misguided and dangerous War on Drugs, which will not get drugs off the street, nor will it deter drug use and subsequent substance use disorders (SUDs). Drug policies are a matter of public health and should be treated as such. Many states such as Alabama, Iowa and Wisconsin are treating the current fentanyl crisis as “Crack 2.0,” reintroducing a litany of failed policies that have sent millions to jails and prisons instead of prioritizing harm reduction. Instead, we propose a simple solution: listen to members of the affected communities. Through the Decrim Poverty D.C. Coalition, community members, policy experts and other stakeholders formed a campaign to decriminalize drugs and propose comprehensive legislation to do so.

While there are many concerning provisions within the omnibus bill, car chases pose a direct physical threat to our community members. In July 2023, NBC4 reported that the D.C. Council approved emergency legislation that gave MPD officers the ability to engage in vehicular pursuits with so-called “limited circumstances.” Sgt. Val Barnes, the head of MPD’s carjacking task force, even expressed concern months before the decision, saying, “The department has a pretty strict no-chase policy, and obviously for an urban setting and a major metropolitan city, that’s understandable. If our law enforcement officers themselves are operating with more concern than our elected officials, what does it say about the omnibus bill’s purported intention to keep us safe?

And what does it mean when the risk of bodily harm is posed by the pursuit itself? On Saturday, Feb. 10, an Eckington resident had a near-miss as a stolen car barreled towards her and her dog on the sidewalk with an MPD officer in pursuit. What responsibility does the city hold if this bystander was hit? What does restitution look like? Why are our elected officials pushing for MPD officers to contradict their own policies?

Just a few summers ago during the uprisings of 2020, we saw a shift in public perspectives on policing and led to legislation aimed at limiting police power after the highly-publicized murders of loved ones Breonna Taylor and George Floyd — both victims of War on Drugs policing and the powers gained from the ’94 crime bill. And yet here we are. These measures do not keep us safe and further endanger the health of our communities.  Studies show that communities that focus on harm reduction and improving material conditions have a greater impact on public safety and community health. What’s missing in mainstream conversations about violent crime is the violence that stems from state institutions and structures that perpetuate racial and class inequality. The people of D.C. deserve to feel safe, and that includes feeling safe from the harms enacted by the police.

Kaili Moss is a staff attorney at Advancement Project, a national racial justice and legal organization, and Jillian Burford is a policy organizer at Harriet’s Wildest Dreams.

The post COMMENTARY: D.C. Crime Bill Fails to Address Root Causes of Violence and Incarceration first appeared on BlackPressUSA.

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Mayor, City Council President React to May 31 Closing of Birmingham-Southern College

THE BIRMINGHAM TIMES — “This is a tragic day for the college, our students, our employees, and our alumni, and an outcome so many have worked tirelessly to prevent,” Rev. Keith Thompson, chairman of the BSC Board of Trustees said in an announcement to alumni. “We understand the devastating impact this has on each of you, and we will now direct our efforts toward ensuring the smoothest possible transition for everyone involved.”
The post Mayor, City Council President React to May 31 Closing of Birmingham-Southern College first appeared on BlackPressUSA.

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By Barnett Wright | The Birmingham Times

Birmingham-Southern College will close on May 31, after more than a century as one of the city’s most respected institutions.

“This is a tragic day for the college, our students, our employees, and our alumni, and an outcome so many have worked tirelessly to prevent,” Rev. Keith Thompson, chairman of the BSC Board of Trustees said in an announcement to alumni. “We understand the devastating impact this has on each of you, and we will now direct our efforts toward ensuring the smoothest possible transition for everyone involved.”

There are approximately 700 students enrolled at BSC this semester.

“Word of the decision to close Birmingham Southern College is disappointing and heartbreaking to all of us who recognize it as a stalwart of our community,” Birmingham Mayor Randall Woodfin said in a statement. “I’ve stood alongside members of our City Council to protect this institution and its proud legacy of shaping leaders. It’s frustrating that those values were not shared by lawmakers in Montgomery.”

Birmingham City Council President Darrell O’Quinn said news of the closing was “devastating” on multiple levels.

“This is devastating for the students, faculty members, families and everyone affiliated with this historic institution of higher learning,” he said. “It’s also profoundly distressing for the surrounding community, who will now be living in close proximity to an empty college campus. As we’ve seen with other institutions that have shuttered their doors, we will be entering a difficult chapter following this unfortunate development …   We’re approaching this with resilience and a sense of hope that something positive can eventually come from this troubling chapter.”

The school first started as the merger of Southern University and Birmingham College in 1918.

The announcement comes over a year after BSC officials admitted the institution was $38 million in debt. Looking to the Alabama Legislature for help, BSC did not receive any assistance.

This past legislative session, Sen. Jabo Waggoner sponsored a bill to extend a loan to BSC. However, the bill subsequently died on the floor.

Notable BSC alumni include former New York Times editor-in-chief Howell Raines, former U.S. Sen. Howell Heflin and former Alabama Supreme Court Chief Justice Perry O. Hooper Sr.

This story will be updated.

The post Mayor, City Council President React to May 31 Closing of Birmingham-Southern College first appeared on BlackPressUSA.

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