All hail single moms raising kids they didn’t birth. Dedicated parents who shepherd children into adulthood. They’re saints.

It’s almost as if this family film’s theme was ripped from the headlines in this twisted era of demeaning mothers who raise youngsters that didn’t come from their bodies. Or people who pour their love and nurturing into cats, dogs and other alternatives. Call novelist Peter Brown prescient for writing his bestseller The Wild Robot. Call writer/director Chris Sanders (How to Train Your Dragon) right on time for his very touching adaptation and eclectic casting that pulls the world together. Kudos to the diverse group of actors that help tell this story that preaches the gospel of love and community in the face of adversaries and naysayers. They should all take a bow.

Somewhere out there a spaceship crash lands on an uninhabited island, that’s if you don’t count animals. The lone survivor is a robot, Rozzum unit 7134 (Lupita Nyong’o). Roz is programmed to assists others—to a fault. As she tries to befriend the animals on the isle, they’re either afraid of her or pushing her around. Fate has it that she stumbles across a nest and an egg. Providence hatches the egg and it’s a gosling. A baby goose. Slowly as Roz parents the bird it grows into a young goose named Brightbill (Kit Connor, Rocketman). She teaches him the importance of eating, swimming and flying. But is perplexed by her bond with the animal. Can’t put a name on it. But Pinktail the possum (Catherine O’Hara, Schitt’s Creek) clues her in: “As far as he’s concerned, you’re his mother!”

As time goes by the hodge podge of animals center their lives around Roz and Brightbill. They’re no longer afraid and forming a community. An extended family. Chief among the furry and featured creatures are Fink the fox (Pedro Pascal), who eyes the others as potential prey when his instincts get the better of him. Pinktail and her tiny brood. The big bear Thorn (Mark Hamill) and busy beaver Paddler (Matt Berry). The day comes when the boy goose must become a young adult goose, and his surrogate mom must let go. The day comes when hostile forces will threaten the animals. They will be tested.

Only the hardest heart couldn’t be touched by this story and its vulnerable characters all trying to survive, learn, grow and adapt as a family. The novel was written with middle grade children in mind, and that’s how the movie plays. Perfect for kids and tweens. The kind of film parents can take their kids to see and then teach them lessons about what family, parenting and children learning to be independent is all about.

From Roz’s first harrowing days on the strange island the script and Sander’s direction pulls you into her plight. She needs to be less subservient and more assertive. It’s a tricky balance, but it’s fun to watch her awkward giant steps forward. Also depicting the tech and AI age, with its advances but dehumanizing and menacing ways is also engaging.

Nyong’o brings a sweetness and naiveté to Roz that remains fresh throughout. All done with her voice. With inflection, phrasing, tone and a mix of joy and concern. As the robot becomes more empathetic and shows a wider range of emotions audiences feel the change. Pascal’s devilish turn as Fink is funny and biting. And the innocence and bravery displayed by Connor become more absorbing as he and his loved ones come under attack by the steely, cold hearted robot Vondra (Stephanie Hsu, Everything Everywhere All at Once).

Kids won’t squirm through this fantasy because editor Mary Blee knows how to keep a beat. The scenery looks fresh and colors vibrant because production designer Raymond Zibach and art director Ritchie Sacilioc are on the job. Cinematographer Chris Stover’s sense of lighting and composition are right on the mark and Kris Bowers’ music intensifies the ups and downs that make this film a roller coaster.

Sanders masterfully turns a book into a compelling family film. A modern, animated parable audiences will relish from beginning to end. If there is an imperfection it is not in the production but more in the timing. There are sequences of Brightbill and the flock he’s joined, led by Longneck (Bill Nighy), that feel too similar to the recent animated movie Migration. That’s a note, not a dealbreaker.

Otherwise, all hail this single mom and bird lady movie that proves once and for all that families and parents come in all sizes, shapes, species and robots.

Trailer: 

Columnist; Dwight Brown

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

In an effort to uplift and sustain these traditions, BeyGOOD has been partnering with the annual Bill Pickett Rodeo, a historic event that has been the heartbeat of Black cowboy culture for four decades. The Bill Pickett Invitational Rodeo, recognized as the longest-running Black rodeo in the United States, is a crucial gathering for Black cowboys and cowgirls to showcase their skills and preserve their legacy. Through its Equestrian program, BeyGOOD has committed $500,000 in grants to support these communities, demonstrating a strong commitment to ensuring that this important cultural heritage is not lost to history.

According to WBLS, the BeyGOOD Foundation has already made a tangible impact by participating in the Los Angeles and Atlanta stops of the Bill Pickett Rodeo. At these events, the foundation awarded $25,000 in grants to various organizations that are deeply rooted in the Black equestrian community. Among the recipients were Urban Saddles, Love This Equine and Horse Rescue, The Black Cultural Enlightenment Society/Black Cowboy Festival, the South Carolina Black Farmers Coalition, and SOOFA Ranch. Each of these organizations plays a vital role in promoting and sustaining Black equestrian and agricultural traditions.

Founded by Beyoncé in 2013, BeyGOOD started as an initiative to support global causes and has now evolved into a 501(c)(3) public charity, known as the BeyGOOD Foundation. Over the past decade, BeyGOOD has engaged in numerous humanitarian efforts, from providing scholarships to addressing the water crisis in Burundi, and aiding families affected by Hurricane Harvey in Houston. Beyoncé’s vision for the foundation is to continue building partnerships through innovative programs that have a lasting impact on communities around the world.

One of the youngest beneficiaries of the BeyGOOD Equestrian Grants is nine-year-old Kendall Rae Johnson, the youngest farmer in Georgia and the owner of Green Heart. Her success story is a testament to the importance of nurturing the next generation of Black farmers and equestrians. The support provided by the BeyGOOD Foundation is crucial in helping young entrepreneurs like Kendall Rae continue their work and inspire future generations.

The significance of this initiative cannot be overstated. By supporting these grants, the BeyGOOD Foundation is not just providing financial assistance; it is affirming the value of Black agricultural and equestrian traditions in the broader American story. These efforts ensure that the legacies of Black cowboys, farmers, and ranchers are recognized and celebrated, rather than forgotten. To learn more about the recipients and the work of the BeyGOOD Foundation, visit BeyGOOD.org

October 4, 2024, at 7 p.m. as part of his “Big Dad Energy” tour.

Known for his signature bowtie and clean comedy, Goodwin has garnered fans nationwide with his refreshing, expectation-defying humor. His performances blend hysterical laughter and heartfelt inspiration, appealing to audiences from corporate events to church functions and everything in between. “I wanted to do comedy where you can bring your grandparents, your parents, and your children,

generational kind of comedy, where you don’t have to be on edge. I just want folks to come out and enjoy themselves and have a great night,” says Goodwin.

A native of Camden, South Carolina, Goodwin’s life experiences shape his relatable comedy. He holds a master’s degree in education from the University of South Carolina, he served in the U.S. Army, and he worked in primary and secondary education. His ability to combine insight with laughter has made him a sought-after entertainer across the country.

“At the core of Mike Goodwin’s comedy is a profound understanding of the power of Laughter to bring people together,” said Morgan Stills, executive director at BPAC. “Mike’s humor connects with people from all walks of life. We’re excited to bring his comedy to BPAC’s Owens Auditorium.”

On NBC’s “Today,”, Goodwin commented, “Some of the most hilarious people I know don’t use [adult] language, like my grandmother is hilarious. And I’m that family member, that friend that has long been in your life who’s funny, and you just have a great time whenever I’m around.”

Goodwin’s comedic journey has led to appearances on platforms such as America’s Got Talent, BET, Dry Bar Comedy, and the USO Europe Comedy Tour.

Discover the enchanting beauty of the Sandhills Horticultural Gardens before the show. Their guided tours offer a serene escape and a unique opportunity to appreciate the natural world. Register for a 45-minute docent-led exploration of this vibrant campus oasis when purchasing your tickets. Sills enthuses, “For the first time, we’re partnering with Sandhills Horticultural Gardens for fun and informative pre-show walks before certain BPAC events. Now, you can visit Sandhills Community College’s gorgeous campus, take a walk in the gardens, head to BPAC Concessions in the Owens Auditorium lobby for a pre-show drink and snack, and then enjoy an evening of laughter. That’s a lovely, unique afternoon and evening right here in the Sandhills.” A link to sign up for the free garden walks is on the TicketMeSandhills event page.

Bradshaw Performing Arts Center (BPAC) was dedicated in 2019 and is the Sandhills region’s premier venue for live entertainment; Oscar, Emmy, Tony, Grammy, and Golden Globe Award winners have appeared on the stage of BPAC’s Owens Auditorium, along with Pulitzer Prize winners and Kennedy Center honorees. Tickets for Mike Goodwin’s “Big Dad Energy” show are available now, with reserved seating and concessions provided. Doors will open at 6 p.m.

Purchase tickets in advance at TicketMeSandhills.com. Mike Goodwin’s YouTube Channel

Contact:                                                                             

Kit McKinley, Agency Director First Flight Agency

910-693-2502

kit@firstflightagency.com

Jomilla, known for her candid storytelling and authentic voice, draws from her own life experiences, including surviving trauma and finding her way back to God. Through heartfelt conversations and thought-provoking monologues, she shares her journey of overcoming adversity, battling depression, and reclaiming her spiritual path. *JOMILLA DENAE* is not just a podcast but a safe space for listeners who are struggling with their faith, life challenges, and personal growth. 

“I wanted to create something that speaks directly to people who feel like they’re trying, but not perfect,” says Jomilla. “This podcast is for anyone seeking healing, inspiration, or a reminder that they are not alone in their struggles.”

With 10 years of marketing experience and a background in journalism, Jomilla Denae brings her storytelling skills to the forefront, offering a mix of personal anecdotes, faith-based reflections, and interviews with other individuals who have faced their own battles. *JOMILLA DENAE* will cover a variety of topics, including faith, resilience, mental health, and the importance of community in healing.

The podcast will be available on major streaming platforms, including Apple Podcasts, Spotify, and Google Podcasts. Listeners are encouraged to subscribe, follow Jomilla on social media, and join the conversation with the hashtag #JomillaDenaePodcast.

### **About Jomilla Denae**  

Jomilla Denae is a Nashville native with over a decade of experience in marketing and journalism. She has worked as a managing editor for Nashville Pride Newspaper and hosted several shows, including the successful MASSCTV podcast. Her upcoming podcast, *JOMILLA DENAE*, is a reflection of her personal journey, blending faith and resilience into powerful storytelling.

For more information, please contact Jomilla Denae at Contact@JomillaDenae.com or visit JOMILLADENAE.com.

**Contact:**  

Jomilla Denae  

Email: contact@jomilladenae.com

Phone: 615-800-8160

She sold her soul to the devil.  Now she wants it back.

It was too good to be true. Frida (Naomi Ackie), a clumsy cocktail waitress at a classy fundraiser for rich folks, eyes the main attraction. It’s tech billionaire Slater King (Channing Tatum). Think Elon Musk, but handsome. They flirt. He seems attentive in a room full of women who are lusting after the richest catch they’ll ever find, if they can land him. It comes as a shock to the young woman, who can’t muster enough money for this month’s rent, when she and her equally poor roommate Jess (Ali Shawkat) are invited to King’s private island for an endless visit. “We’re going to my island for a few days. You guys want to come?” Think Jeffrey Epstein, but no one is underage.

The script by writer/first-time director Zoë Kravitz and co-writer E.T. Feigenbaum pairs the two up again, after they worked on the 2020 series High Fidelity. The setup fits the superficial desires of many young women who were raised on MTV and developed envious fantasies of a hard-partying lifestyle filled with permissive behavior, rich life wannabes and zero responsibility. That and the selfishness of the devious men who baits them is the cautionary tale Kravitz, as a director, tells in dazzling visions.

She’s assembled an expert tech crew who make every single frame look like a fashion shoot or big-budget commercial. Credit production designer Roberto Bonelli for the dazzling Yucatán location and a resort type setup that makes you want to book a trip to Mexico ASAP. Set decorator Fátima Díaz Oliver supplies the curtains, furniture and incidentals that are meticulously placed. The color themes created by art director Derek A. Heckler Díaz emphasize deep shades of red, rust and orange and billowy whites. While costume designer Kiersten Hargroder’s clothes the cast in tropical wear that’s perfect for the destination. Magically cinematographer Adam Newport-Berra (The Last Black Man in San Francisco) captures every detail, lights scenes exquisitely and saturates the footage with the richest hues. It’s all accented by a hip playlist (“The Boss” by James Born, “Ain’t Nobody” by Rufus and Chaka Khan), musical score (Chanda Dancy) and precise editing (Kathryn L. Schubert).

For a while the audience is as seduced as Frida, Jess and all the other guests at Slater’s enclave. Lounging at the pool. Drinking exotic cocktails. Downing hallucinogens. Eating Michelin-star quality meals served by the neurotic chef Cody (Simon Rex). Hard to believe? Yep! Jess: “did we just jet off to a billionaire’s island with a bunch of strangers?” Minutes pass into hours. Hours into days. Something is a bit off. Something nags Frida and makes her feel like she’s been through this before. Slowly Slater’s fantasy island world unravels, and the ultimate host turns out to be the ultimate, sexually, emotionally and psychologically exploitative heel.

Most viewers who hitch a ride on this mind-binding mystery/thriller will be OK with the appetizers but not the entrée. The main course includes the rape, abuse and torture of women in cryptic flashbacks. Graphic enough to be repulsive and make you wonder if there wasn’t another way to express and depict these crimes. Credit the screenplay for trying to tell a feminist tale about women being exploited and seeking revenge. The problem is you’re teasing the abuse like a commercial for porn and exploiting the female characters in the process. Oddly the distinct characters and their dialogue are far stronger and more interesting than the basic narrative and its theme.

The young twentysomething market is a target audience. Women are a target audience. The multiracial cast will appeal to multiracial demographics. All sought will sit down to watch this display of rich people’s excess and then be treated to women being traumatized. No matter what happens in the end, for some viewers the moral of the story won’t be worth what you have to witness. It’s like making a movie about racism and watching Black people be victimized for a majority of the film. There has to be a better way to make the point. This is where audiences may blink, more than twice.

Casting Ackie (Whitney Houston: I Wanna Dance with Somebody) in the lead role was a stroke of genius. She doesn’t look like an unapproachable model or movie star. More like the girl next door or in the apartment down the hall. She has her own beauty, and the camera loves her face, body and skin tone. Ackie never over does it. Not even when it’s time for Frida to retaliate. Tatum plays the billionaire in a titillating way. Flaunting looks, money, charm and sexiness. Easy to see how Svengalis like him get over on victims. Other cast members who play hangers-on and abettors do their jobs quite nicely: Christian Slater, Adria Arjona, Haley Joel Osment, Levon Hawke, Liz Caribel, Trew Mullen, Geena Davis and the very smarmy Kyle McLachlan as Rich the therapist.

Kravitz exhibits the keen eye of an artist or fashion photographer. She should get plenty of offers to direct commercials. Or movies. What she might not get are other offers to write scripts, as the major flaw in this almost-a-gem thriller is the story and the huge miscalculation that watching women get abused is worth the price of admission. Hard to imagine audiences wanting to see this film over and over again, even with the fancy visuals. And that is likely not the intended effect.

Trailer: 

Columnist; Dwight Brown

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

With this week’s passing of Frankie Beverly, his impact on Houston, the South, and the world has become crystal clear. We have all become accustomed to publicly displaying our grief when we lose one of our icons. The obligatory “this one hurts,” on social media has become an overused, common refrain. But honestly and at the risk of sounding cliché, for me, this one hurts.

To best explain what Frankie Beverly meant to many of us, I will explain what he and his music have meant to me. It is almost reflexive to think of Frankie in relation to family reunions, card parties, and festive concerts where thousands of people knew every word to every song and sang every note louder and more passionately than any one person ever could, including Frankie himself. Many people I know have seen Maze at least a half dozen times as it was an annual rite of passage for decades. To be in an audience of 10,000, mostly black folks, of all ages, singing “Joy & Pain” to the top of your lungs is an experience of unity and community that is joyful, rare, and indescribable. There simply isn’t anything like it.

Frankie Beverly. Credit: Screenshot But for me and many others, Frankie’s music meant so much more than just the parties and concerts. Frankie Beverly was the voice of my soundtrack as a young teenager navigating the emotions of a first crush. His songs were the guidance when figuring out how to say what I felt in ways that my words alone could not explain. His songs helped me to understand that relationships are not easy but oh so worth pursuing.

When Frankie sang, “We got our love and no matter how it’s said or done…we are one,” it put all the strife and bickering in perspective. When Frankie passionately proclaimed, “You know there is nothin’, nothin’, nothin’ I would not do, before I let you go!” I had asked, myself, have I tried hard enough? And when Frankie melodically bared his soul singing, “And you’ve given me a reason…you’ve given me a reason to love one more time,” I felt romantic hope and redemption despite never losing love before in my life.

But there is even more. Frankie’s music offered reflection with songs like “Golden Time of Day” and the need for universal love with “We Need Love to Live” and “Happy Feelin’s.” I could go on and on and never truly capture what his rich, beautiful, honest voice did as it conveyed what I felt. What you felt. What we feel!

The bottom line is that he had a long, glowing career of art that did what art is designed to do, move us. His songs were personal and universal at the same time. His voice offered intimacy and community all at once. The music of Maze and the voice of Frankie Beverly is still evolving as I have navigate my way through relationships, love and life. He somehow knew how I felt then and helps me understand what I feel even now. With him, it is not just the words. It is not just the melody. It is the real, raw emotion that tapped into something in all of us.

As the years go on and the long list of important icons in our lives dwindle, I can’t help but feel a sense of gratitude. I am grateful to have had the relationship with Frankie Beverly’s music that I have had. With so many incredible artists and so much great music, Maze featuring Frankie Beverly is still a nostalgic refuge to enjoy a road trip, a gathering with friends and family or alone with my favorite beverage reflecting on the past. But in his own words, why do the things that make us happy, make us sad…seems to me it’s like joy and pain, sunshine and rain. Rest in peace Frankie.

Columnist: Devin Wade

Official website; https://Twitter.com/wadesword

She was a pioneer. A political warrior. A woman who’s earned an esteemed place in herstory.

After Frederick Douglas (1848), Edwin Taylor (1904) and Channing E Phillips (1968). Before Jesse Jackson (1984), Alan Keyes (1992) and Barack Obama (2008). There was Shirley Chisolm (1972). All vied to be president of the United States. She was the only Black woman who dared to enter the ring. First black candidate vying for a major-party nomination. First woman to run for the Democratic Party’s presidential nomination. Distinctions that deserve more than just an honorable mention.

Giving Shirley Chisolm her due has been a passion project for actress/producer Regina King (If Beale Street Could Talk) and her producing partner and sister Reina King. Their love and respect for Shirley is in every frame of their bio/dra/history film. Respectively the movie chronicles Chisolm’s first days in Congress as a U.S. representative from New York City’s 12^th district, which includes Brooklyn’s Bedford Stuyvesant. Then recounts her decision to run for president and all the roadblocks that ensued.

What it doesn’t do is give the audience her backstory. Early events that would help viewers understand how she got her drive, ambition and keen ability to stand up to bullies. Many biofilms just show a section of their subject’s life. A segment or period that’s usually the most profound. E.g., Bob Marley: One Love concentrated largely on the making of his classic album Exodus. But he’s a world-famous figure. Chisolm is not. Viewers will yearn to know more about her childhood, academic accomplishments (Columbia University graduate) and early career.

On the first day of Congress in 1969, on the steps of the Capitol Building in Washington D.C., a new class of freshmen poses for a photo. One member stands out. Shirley Chisolm (King). She’s Black. She’s a woman. The rest are white men. Fighting for her place in the U.S. House of Representative starts immediately, when she’s assigned to the Agriculture Committee. Conventional wisdom says take your first assignment and be grateful. Not knowing anything about a farmer’s life, Shirley fights her way off that committee and onto another. And so, it begins. Conventions thrown out the window. Chisolm finding her own path.

In the paint-by-numbers script, as written by writer/director John Ridley, historical characters are assembled, and Chisolm’s journey is charted. The depth of the characters is never more than surface. The rivalries, jealousies, saviors, detractors, supporters and backstabbers too. Don’t fault the actors, they give solid-to-excellent performances. But none are better than the words on the page. Except King.

When Shirley expresses her intentions to run, her campaign advisor, Wesley McDonald “Mac” Holder (Lance Reddick, The Wire), is blunt: “Shirley if you run you can’t win.” Shirley chides him: “Well not with that attitude!” And so, she builds her inner circle: Arthur Hardwick Jr., (Terrence Howard), who’d served with Shirley in the New York State Legislature helps with strategy. Stanley Townsend (Brian Stokes Mitchell) campaign manager. Robert Gottlieb (Lucas Hedges, Manchester by the Sea), a white Cornel law student becomes her student organizer. While Barbara Lee (Christina Jackson, Devotion), Chisolm’s young protégée, acts as her liaison to the Black community and a link to the influential Black Panthers.

Treachery is sprinkled along the way. Some of the sneaky trickery comes from Black politicians, like Walter Fauntroy (André Holland, Moonlight) and Ron Dellums (Dorian Missick). Add in noted figures George Wallace (W. Earl Brown) and Huey P. Newton (Brad James), and this film becomes a fairly intriguing who’s who in Black politics and American history.

The direction seems perfunctory. No great artistry exhibited. No huge mistakes made. Ramsey Nickell’s (American Crime) camerawork captures the at-home and tense confrontations between Shirley and her overly understanding husband and head of security Conrad (Michael Cherrie). An awkward outdoor meeting between Shirley and Huey at the home of Diahann Carroll (Amirah Vann, Underground) is displayed, too. Shirley “I’m going to force all the politicians to earn our votes!” Huey: “You gonna to do all that? Schoolteacher from Brooklyn?” Shirley: “Yes I am just a schoolteacher from Brooklyn, and Harriet was just a slave.” In general, the dialogue is thoughtful. But it’s likely these conversations are not verbatim, and at times seem too manufactured.

All production elements are adequate for a TV movie: production design Dina Goldman; costumes Megan Coates; set decoration Jon L. Bush and Imogen Lee and art direction Danny Brown. That’s minus some parts of the soundtrack that seem like place holder music, and not a score. A theatrical release would expose flaws. A Netflix release on the little screen is just right. Plot pieces, peaks and valleys are pulled together decently. Slowly it all starts to gel, build momentum and become educational and fascinating. But there isn’t a real climax. No satiating crescendo.

Through it all, Regina King releases a fire that retrieves the spirit of Shirley Chisolm from the less-read pages of history books. The accent, courage and determination are all in King’s bravura performance. She was right to champion this production. For Chisolm’s sake, and as a showcase for her supreme talent. Another acting kudo goes to Terence Howard who shows great restraint as Arthur Hardwick, Jr., the voice of reason. His performance is nuanced. Magnetic in the most subtle way.

This is a history lesson worth learning. A political shero worth knowing. Some viewers will wish Chisolm’s legacy was kept alive in a more unique and distinguished way. While some will be grateful for any introduction to her groundbreaking achievements.

Trailer: 

Columnist; Dwight Brown

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

It’s a start. One day Latino superheroes will be everyday marvels. Not a rarity. This is the beginning.

Blue Beetle first appeared in a comic book back in 1939, in a story about an archaeologist who found a magical blue scarab in Egypt that gave him superpowers. It would eventually become part of DC comics. Ninety years later the blue scarab is still formidable, and it chooses a new host.

Jaime Reyes (Xolo Maridueña), a recent college graduate, returns home to his loving family in Palmera City. He’s dismayed when he discovers that his dad has lost his business and they may lose their home.

Jaime and his sister Milagro (Belissa Escobedo) get a job as pool attendants and housecleaners at the estate of the very wealthy, snooty and sociopathic Victoria Kord (Susan Sarandon), CEO of Kord Industries. Under Victoria’s guidance, the company is developing weapons that can be used for good or evil. Mostly evil. She runs a company that was once co-led by her late brother Ted Kord. The two siblings were diametrically opposed. Ted’s daughter Jenny (Bruna Marquezine) is all that’s left of the good side of the Kord dynasty.

After haphazardly meeting Jaime, Jenny entrusts him with a blue scarab beetle, and he has no idea what it is. It is in fact, an ancient artifact with amazing powers. It enters Jaime’s body, giving him the ability to fly, fight and create new weapons. The former pre-law college student is not sure how to handle his new skills. His evolution as a crime fighter fuels this story’s momentum.

Normally in a superhero movie the protagonist’s powers are the lynchpin. However, as written by Gareth Dunnet-Alcocer, directed by Ángel Manuel Soto and with visual effects by Kelvin McIlwain (The Suicide Squad), none of Jaime’s new abilities are astoundingly unique. They’re generic. In fact, some of his superpower effects look cheesy, like a low-budget Robert Rodriguez film (Spy Kids). Also, the look of fight scenes, bomb blasts and rescues are ho-hum at best. The reason action scenes seem dire is because Jaime is so innocent and the family is so loving you don’t want anything bad to happen to them. So, it is a great relief when the Reyes family finds the will to battle Victoria and her henchmen.

Soto doesn’t establish a directing style that makes his footage distinctive. But fortunately, he has the presence of mind to let the grandmother Nana (Adriana Barraza, Rambo: Last Blood), mother (Elpidia Carrillo), father (Damían Alcázar, Narcos), sister Milagro and wacky Uncle Rudy (George Lopez) showboat. Once the relatives enter the picture and put their fate back in their hands the film takes off. Equally exhilarating is Jamie’s ascension from innocent befuddled victim to superhero in charge of his destiny. Uncle Rudy: “The universe has sent you a gift, and you have to figure out what you are going to do with it.” Jaime’s new attitude as Blue Beetle comes in handy as he fights Victoria’s killing machine, Carapax (Raoul Max Trujillo, Sicario). In fact, Maridueña may be the wide-eyed, photogenic lead, but Barraza and Trujillo are the ones who leave a lasting impression

Production designer John Billington (Bad Boys for Life) authentically creates Palmera City and the Reyes’ home. The surroundings are typical of places in Florida, Texas or California and the homes and interiors look very working class and lived in. Cinematographer Pawel Pogorzelski (Midsommar) deftly captures the action scenes and the simple times when the Reyes congregate around their dinner table. While Craig Albert’s editing keeps everything crisp as it builds to the finale. Hints of reggaeton on the soundtrack (composer The Axon Cloak) make what’s on view feel current.

There is a crucial scene when Jaime looks like he won’t make it. Stranded in a netherworld, he meets someone who helps him finds his bearings. It’s a very heady and mystical scene. Quite touching. More of these moments would have made this film stronger.

Now that the premise and characters have been established, Blue Beetle has room to grow. Certainly, if it upgrades its visual effects (VFX) it could compete with the best superhero movies. The kind kids, tweens and young teens like.

This is a nice start. The beginning of a Latino franchise that can only get better. Especially if it learns from its imperfections and builds on its strengths. A very charming superhero movie.

Trailer: Trailer: 

Columnist; Dwight Brown

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

If a horror film goes for the jugular it has to have fangs. Right?

Taking a chapter from Bram Stoker’s 1897 novel Dracula and adapting it into a fright film is a good start. Great source, good premise, legendary story and characters. The right casting, astute direction, reams of dread, lots of thrills and plenty of astoundingly gory scenes are crucial. Yet, as this interpretation of a captain’s log outlines the fated transporting of Dracula from Transylvania to London, those vital elements are in place, but not glorious. Not at all.

In the late 1800s, a Captain Eliot (Liam Cunningham, Game of Thrones) has his first mate Wojcek (David Dastmalchian, Dune) add new crew members to his merchant ship, the Demeter. They will haul 50 wooden crates from Carpathia, which is near Transylvania, to London. They need the help. Some potential workers are spooked by the cargo, saying evilness is onboard. That frees up a position for Clemens (Corey Hawkins, The Tragedy of MacBeth), a doctor, academic and astronomer, a job hunter who had been turned down previously. Also, saving the captain’s grandson Toby (Woody Norman, C’mon C’mon) from a falling crate puts him in favor.

Something bothers the livestock in the cargo area. Formerly brazen rats hide and disappear. A ship without rodents is abnormal, so says the galley cook Joseph (Jon Jon Briones). Tension rises between the workers. The erudite Black man is envied by the jealous white crew. Friction intensifies further once a female stowaway, Anna (Aisling Franciosi, Game of Thrones), is found. To the brutes, a woman onboard brings bad luck. Bad luck will follow them, but in the guise of a neck biting, blood-sucking being that will bleed them dry. One by one. It is said: “Evil feeds on the blood of the innocent. And this one wears the skin of a man.” It’s Dracula.

Considering the director André Øvredal’s filmography (Trollhunter) and screenwriters Bragi F.  Schut, Jr. (Escape Room) and Zak Olkewicz (Bullet Train), a horror/thriller fan might expect the action and gore to jump off the screen or at least provide giddy depravity. But nothing stands out. Nothing that matters. Not even the demon, who looks like he’s wearing a very scaly bodysuit and in need of a trip to the dentist for veneers. Yawn! Horror lore has it that if the villain’s look isn’t mind-numbingly scary, the film won’t be frightful either.

The period, place and culture are well established by production designer Edward Thomas (Resident Evil: The Final Chapter) and costume designer Carlo Poggioli (The New Pope). Streets, buildings and ship interiors look authentic enough and the clothes are suitably filthy and worn. Cinematographer Tom Stern (American Sniper) captures the verdant countryside, deep blue ocean and grisly murders well, while editor Patrick Larsgaard (The Trip) cuts scenes to their core.

Even with those attributes, the production elements don’t enhance what’s on view enough, and the musical score by Bear McCreary (Outlander) sounds generic, at best. It’s nearly 40 minutes before there’s a good scare—and that’s way too long. As the footage progresses, genre fans may hope for a visually arresting (The Hunger), campy (Buffy the Vampire Slayer), sexy (Bram Stocker’s Dracula), sleazy (The Addiction) or classic (Nosferatu) approach to the horror filmmaking. None shows up.

Øvredal, as a director, is not an auteur or a mischievous filmmaker. Plow ahead, choregraph the scenes, make characters die, count the bodies and build to a feeble ending. That’s it. Any hopes that writer Zak Olkewicz’s wild Bullet Train instincts might kick in and cause indescribable mayhem or lead to an unfathomable climax are dashed.

However, this flat unambitious showcase provides an opportunity for an instinctive, inventive actor to leave an impressive performance, regardless. A Jeffrey Wright, Christian Bale or Daniel Day Lewis would rise above the mire in the most raw or theatrical ways. Hawkins, a fine actor, choses a more subtle approach, which feels sufficient but not extraordinary.

When a crew member calls Clemens “Darkie,” and he responds, “If you call me that again I will…” It’s a weak line and lost moment. A savvy scribe would have him beat the antagonist’s ass or die trying. Like punching the bully in prison on the first day just to gain the respect of others. Briones, as the religious zealot chef, gets it right. He makes more of his character than what is on the page.

The whole production seems lost at sea. Much like the mysterious shipwreck Demeter, it crashes ashore empty.

Trailer:

Columnist; Dwight Brown

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

“I don’t know what I just saw. But I liked it!” That’s what movie fans will say collectively when they stagger out of the theater after being assaulted with adrenalin-pumping action scenes for 2h 21m.

It’s a formula that’s worked for 22 years, ever since The Fast and Furious premiered in 2001. Team up a crew of multicultural drivers and motorcyclists—aka street racers. Give em’ fast cars and bikes and an enemy to fight, then sit back and watch. This new edition follows that successful blueprint, reassembles the base cast and adds a few new characters.

Sitting in the director’s chair and manipulating all the incredible stunts, explosions, chases and elaborate fights takes guts, creatively and ambition. In that way, Louis Leterrier, who cut his teeth on Jason Statham films (The Transporter), is all business. Measure out mindboggling, over-the-top attacks, rescues and escapes throughout. Squeeze in a plot (co-writers Dan Mazeau, Justin Lin) about the leader Dom Toretto (Vin Diesel) and his extended family being stalked and menaced by Dante (Jason Momoa), the son of a crimelord they once killed. Then let the bodies fall where they may. And they do. Ready, set, rob, smuggle and kill.

The gang is back together again. They look older. Muscles aren’t as defined as they used to be. Wrinkles are creeping in. But true fans won’t care. As the group sits at a picnic table in Los Angeles, eating, drinking and socializing, audiences know that these scenes of bliss will be few: Dom, his sister Mia (Jordana Brewster), lover Letty (Michelle Rodriguez). The always squabbling Roman (Tyrese Gibson) and Tej (Ludacris). Ramsey (Nathalie Emmanuel) the tech wizard and Han (Sung Kang) the fierce driver. The new edition is Dom’s young son Brian (Leo Abelo Perry) and Queenie (Rita Moreno) is the matriarch.

Dante draws the group into traps, ambushes, shootouts and combat. You’d think he was trying to murder them all because they killed his dad: “My father was a horrible man. A bad daddy. You took him from me!” But he’s more intent on terrorizing his adversaries and making ‘em suffer, especially Dom: “You’re going to die knowing you couldn’t save your son!” Momoa is fun to watch and gets all the best lines. His interpretation of the villain is an over-affected combinations of Liberace and Prince. Campy flamboyant. Bright-colored nail polish, lavender shirts and purple trousers. He acts silly and effete but kills like a demonic sociopath.

Too much of Dom and the main characters’ dialogue is filled with action-film clichés and over-used metaphors. Sometimes it’s laughable. And Dom’s overuse of his “it’s all about family” mantra is turning him into a mockable caricature. The generic talk makes the characters seem cartoonish. That’s a pity because back in the day, these guys were laconic and real badasses.

The cast is wonderful to watch. Piling into the players box are Charlize Theron, Brie Larson, Scott Eastwood, Daniela Melchior, Jason Statham, Helen Mirren and John Cena. The ensemble is bigger than a football team, but it’s easy to track who’s who and what they do. So much of their wow factor comes from elaborate stunts in elaborately choreographed fight scenes. A high point is when Michele Rodriguez does a pinpoint, one-wheel 360 on a motorbike when an obstacle is thrown in her path. Acrobatic feats like that make the actors and their stunt doubles magicians. And though they are as fine as they can be, the tech team should be crowned MVPs.

Stephen F Windon’s nimble camera follows the fights, chases and comradery from California, to Rome, Portugal, Brazil and wherever the story leads. Dazzling overhead shots, aerial views and combat closeups. Brian Tyler’s toe-tapping, musical score and bass-heavy playlist add a relentless verve. Yes, some of the bricks in crashed-into walls look like foam rubber. But in general, the dank caves, high-tech rooms and lived-in houses look first-rate (production designer Jan Roelfs, Gattaca; set decorator Kimberley Fahey, Spider-Man: Far from Home). Costumes (Sanja Milkovic Hays, Captain Marvel), from puffy Antarctic coats and to skimpy Rio de Janeiro bikinis, are worn well. And film editors Dylan Highsmith and Kelly Matsumoto gut the footage down to the essentials.

Fast X’s break-neck energy is at a level that exceeds other Fast and Furious episodes. Maybe because this time out, realty is just an inconvenience that the director Leterrier, cast and tech crew chose to ignore.

If action/adventure fans are willing to throw logic out the window, they’ll like what they see. They’ll like this road trip.

In theaters on May 19^th.

Trailer:

https://www.youtube.com/watch?v=0wyhc3ADSYo

Columnist; Dwight Brown

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