#NNPA BlackPress

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.

Published

7 years ago

April 12, 2019

Oakland Post

By Dwight Brown NNPA News Wire Film Critic

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.

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.

Oakland Post

Posts by Oakland Post

Up Next

Growing Lack of Affordable Housing Leaves Low-Income Families with Few Options

Don't Miss

COMMENTARY: Is Baltimore City Broken?

Oakland Post

Click to comment

#NNPA BlackPress

2026 Lucid Air Grand Touring Review — Is This $136K EV Sedan Worth It?

AUTONETWORK ON BLACKPRESSUSA — Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, but it still feels elegant instead of trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Published

2 weeks ago

May 3, 2026

Oakland Post

The 2026 Lucid Air Grand Touring is the kind of luxury EV that makes people stop and ask a simple question: Is this really better than a Tesla Model S, Mercedes EQS, or BMW i7? At $136,150, it has to do more than look futuristic. It has to feel special every time you get in it.

Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, yet it still feels elegant rather than trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Inside is where the Air Grand Touring really makes its case. The 34-inch Glass Cockpit Display and retractable Pilot Panel screen give the cabin a clean, modern look that still feels different from other EVs. The Tahoe Extended Leather and Lucid Black Alcantara headliner lifts the sense of occasion, and the front seats are a highlight. They are 20-way power-adjustable, heated, ventilated, and include massage. That matters because luxury buyers at this price expect comfort first.

Rear passengers are not ignored either. You get 5-zone heated rear seating, a rear center console display, and power rear and rear side window sunshades. Add in the Surreal Sound Pro system with 21 speakers, and the Air feels like a true long-distance luxury sedan.

Lucid also gives this car serious EV hardware. The dual-motor all-wheel-drive system, 900V+ charging architecture, and Wunderbox onboard charger are big talking points. Buyers in this segment care about range, charging speed, and everyday ease, not just raw performance. That is where the Lucid continues to stand out.

On the technology side, the Air Grand Touring includes DreamDrive Premium, with 3D Surround View Monitoring, Blind Spot Warning, Automatic Park In and Out, Automatic Emergency Braking, and a Driver Monitoring System with distracted and drowsy driver alerts. This one also has DreamDrive Pro, which adds future-capable ADAS hardware.

There are still some real-world annoyances. Based on your notes, the windshield wiper control is hard to find and use, and that matters more than people think in a high-tech car. When controls become less intuitive, even a beautiful interior can feel frustrating.

Still, the 2026 Lucid Air Grand Touring succeeds where it matters most. It feels luxurious, advanced, comfortable, and thoughtfully engineered. For buyers who want an EV sedan that feels truly premium and less common than the usual choices, this Lucid makes a very strong case.

AutoNetwork helps serious car shoppers inspect any new vehicle online before walking into a dealership. I’m Roosevelt — I’ve been reviewing cars and shaping digital car buying and credit union auto leasing since before YouTube car reviews existed.
You’ll find detailed walkaround reviews, POV test drives, and buyer-focused breakdowns covering comfort, space, features, and real-world value.
How to use the channel:

Watch the walkaround of the car you’re considering
Visit AutoNetwork.com for the full review
Check CouponsOffersAndDeals.com for current dealer specials
Walk in already knowing what you want — and what it should cost

Live talk show “AutoNetwork Reports” — Thursdays 3:00 PM ET.
AutoNetwork.com
CouponsOffersAndDeals.com
Affiliate disclosure: some links earn a small commission at no cost to you and help support the channel. Insta360 is one of those partners.

Oakland Post

Posts by Oakland Post

#NNPA BlackPress

Snoop Dogg Celebrates 10 Til’ Midnight at the Compound

LOS ANGELES SENTINEL — The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles.

Published

2 weeks ago

May 3, 2026

admin

Snoop Dogg celebrated the premiere of 10 Til’ Midnight at his Inglewood recording studio & multipurpose facility, The Compound, but the night felt like much more than an album release. It felt like Los Angeles. It felt like legacy. And it felt like another major move from one of the city’s greatest cultural architects as he continues to prove that he is not just dropping music — he is building moments, shaping narratives, and pushing the culture forward in real time.

What made the event so powerful was the clarity behind the vision. During a panel conversation with DJ Hed, Snoop opened up about the heart behind 10 Til’ Midnight, explaining that the project was created to help bridge older and younger generations while also speaking to the long-standing divisions between Bloods and Crips in a unique way through film. That alone gave the project a different kind of weight. This was not just about songs. This was about using creativity as a tool for connection. This was about taking a story rooted in Los Angeles and telling it in a way that could bring people together.

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles. The film was shot in the city, including at WePlay Studios in Inglewood, which gave the entire project an even deeper hometown feel. It was not just a West Coast story in content — it was a Los Angeles-made production from the ground up.

That matters because, in a city like this, authenticity still carries weight. Snoop understands how to make sure that what he creates does not just represent Los Angeles on the surface, but actually comes from it.

What also makes 10 Til’ Midnight significant is that it represents another major step in Snoop’s evolution as both an artist and executive. Public reporting around the project identifies it as his 22nd studio album, but the bigger story is what it represents in this season of his life. This is one of several consecutive moves he has made in his 50s that show he is still building, still expanding, and still finding new ways to reinvent what the next chapter looks like.

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Now, as the head of Death Row Records and the newly aligned leader of Death Row Pictures, he is taking the brand into a new dimension. That is what made this moment feel bigger than music. Snoop is not just protecting the legacy of Death Row — he is stretching it. He is expanding it beyond records and into film, visual storytelling, and larger creative worlds that can continue carrying the label’s impact forward. Public reporting has noted that this project arrives as part of that broader cinematic push.

That is a major Los Angeles move because the city has always been built on the intersection of music, film, neighborhood identity, and cultural storytelling. With 10 Til’ Midnight, Snoop is leaning all the way into that intersection.

The room at The Compound reflected that. It felt like a private premiere, but it also felt like a statement — a reminder that Snoop Dogg’s staying power has never been based only on nostalgia. It comes from his ability to remain connected, remain visionary, and remain in tune with how to move the culture without losing the essence of who he is.

That is why this premiere mattered. It was not just about celebrating another album. It was about witnessing a Los Angeles legend continue to evolve, continue to unify, and continue to use art to tell stories that hit deeper than entertainment alone.

In that sense, 10 Til’ Midnight became more than a project launch. It became another example of how Snoop Dogg is still taking Los Angeles to the next level — using music, film, and legacy together to build something bigger than a moment.

admin

Posts by admin

#NNPA BlackPress

OP-ED: Small Businesses Need Minnesota to Act on Pass-Through Tax Policy

MINNESOTA SPOKESMAN RECORDER — A Twin Cities immigrant entrepreneur who built several businesses including grocery stores in underserved neighborhoods is calling on Minnesota lawmakers to extend the Pass-Through Entity tax option before it expires, warning that its loss would hit small businesses already recovering from Operation Metro Surge with higher federal tax bills.

Published

2 weeks ago

May 3, 2026

admin

A Twin Cities Small Business Owner Is Urging Minnesota to Extend a Tax Policy That Could Save Thousands of Businesses

By Daniel Hernandez | Minnesota Spokesman Recorder

I came to the United States as a teenager with a clear goal: to build something meaningful through hard work. I put in long days in construction, restaurants, and landscaping; doing whatever it took to learn, save, and eventually start my own business.

Over time, I built and ran several successful ventures, including an event photography company, a magazine, a tax and accounting firm, and now grocery stores serving neighborhoods across the Twin Cities where other retailers chose not to invest. I’ve created jobs, supported families, and committed to communities that deserve stability and opportunity.

That’s why I’m speaking out now.

Small business owners in Minneapolis and the communities we serve are recovering from serious disruptions, including the impacts of Operation Metro Surge. That event hit immigrant communities especially hard. In my own case, I lost nearly half of my 60 employees and saw revenue drop by about 85%. While I worked to provide competitive wages, health benefits, and paid time off, the real hardship fell on the people who lost their jobs and income.

Even as we rebuild, small businesses are facing another challenge. The Minnesota Legislature is considering letting an important tax policy expire: the Pass-Through Entity tax option.

Here’s what that means in plain terms.

Many small businesses, including mine, are pass-through businesses. That means the business itself doesn’t pay income tax. Instead, the owners report the income on their personal tax returns. But under current federal rules, there’s a limit on how much state tax we can deduct. That often leads to higher federal tax bills.

The Pass-Through Entity option fixes that. It allows the business to pay the state tax directly, which means the business can fully deduct those taxes on its federal return and lower the total amount of income taxed federally. The result is straightforward: small business owners pay less in federal taxes, without reducing what the state collects.

This policy is not new or controversial. Thirty-six states already offer it. It doesn’t cost Minnesota anything, it’s revenue neutral. And it benefits more than 66,000 businesses across the state.

In a state where the cost of doing business is already high, it’s hard to understand why we wouldn’t offer the same basic tax treatment as states like California and Illinois.

Small businesses have carried a heavy load in recent years, through a pandemic, rising costs and public safety disruptions. We’ve adapted, reinvested and stayed committed to our communities. What we need now are practical policies that support that work, not make it harder.

If the Minnesota House does not act soon, many businesses will face significantly higher federal tax bills. That’s money that could otherwise be used to hire workers, raise wages or reinvest in local neighborhoods.

I urge Gov. Tim Walz and members of the House Tax Committee to pass House File 3127 and extend the Pass-Through Entity election.

Small businesses are the backbone of our communities. We’ve proven our resilience. Now we need our state leaders to show the same commitment to us.

Daniel Hernandez is the owner of Colonial Market located at 2100 E. Lake St.

Excerpt:

Photo Captions:

Website Tags and SEO Keywords:

Twitter (X) Tags and Handles: