(Photo: CBS/Landov)

The iconic Lena Horne was honored at last year’s Academy Awards by Oscar winner Halle Berry. As we all know, Lena Horne passed away in May of 2010. Horne’s popularity is still strong. Stormy Weather, the biography written by James Gavin, was a bestseller on Amazon.com, receiving good reviews and praise from Oprah’s gal pal Gayle King.

But where is that biopic? Legendary columnist Liz Smith, stated on Variety.com:

“There is, of course, word whizzing about for a movie. In late 2007, Oprah announced her plan to star Alicia Keys as Lena in a biopic. But we haven’t heard anything on that front since.”

Lena Mary Calhoun Horne was born in Brooklyn, New York, in 1917. At 17 years old she had a featured role in the Cotton Club Parade and would go on to join several other orchestras and bands. Lena received immense pressure from management and industry insiders (Black and white) to “pass” for white or Hispanic. Horne aggressively refused, and when she finally came to Hollywood she even refused to play a maid.

Lena Horne was considered to play the lead role in 1951’s Showboat, but Ava Gardner was chosen because interracial relationships were banned in films. However, according to Wikipedia, “MGM executives required Gardner to practice her singing using recordings of Horne performing the songs, which offended both actresses.” Ain’t that something?

This is a biopic that we need and I can’t understand why no one is on it, considering biopics are often successful and sometimes Oscar-worthy.

First, Janet Jackson was set to play Lena Horne but allegedly was booted from the project after the infamous “wardrobe malfunction.” The biopic was set to be a made for TV movie on ABC.

Then, as Smith mentioned, Alicia Keys was to play Horne, but all talks of that have vanished.

I want to see the film made but I would love to see an actor tackle the role instead of a singer. Paula Patton, Jurnee Smollett, or even Nicole Ari Parker would be good choices.

Who would you like to see in a Lena Horne biopic?

(Photo: Courtesy Universal Pictures)

This weekend Denzel Washington is back!  He returns to the big screen in Safe House. In the Daniel Espinosa-directed thriller, Washington stars as Tobin Frost, a rogue CIA agent who is held in a safe house by good guy Matt Weston (Ryan Reynolds).

The problem? When the safe house is attacked, Weston and Frost finds themselves on the run.  Check out the trailer below to see if it’s a cinematic thrill ride you’d like to take.

(Photo: Courtesy Adam Schroeder Productions)

Summary: After three nosy teens find a radioactive hole, they are given unexplainable powers of flight and telekinesis. However, the resident “nerd” of the group, who is constantly bullied, lets his powers get the best of him.

Review: Teens with superpowers is no new concept: examples include X-Men, Heroes and one of the originals, Carrie. Unlike those imaginative flicks, Chronicle is a rehashing of everything we’ve seen before, it’s almost good and almost bad, but not without moments of entertainment. Directed by Josh Trank and written by Max Landis, the 20th Century Fox film struggles to take flight — it could be the overused Blair Witch Project-style of a hand-held cam or the cumbersome special effects that looked like with each passing the scene they were running out of money. By the end of the short 83 minutes, the result is a disappointingly mediocre film that needed some serious creative superpowers versus relying on docu-style gimmicks and trite morality tales.

Chronicle is the type of movie you walk out of and say, “Well, it could’ve worked if they did this,” or “If they only would’ve tried this.” For example, the lead actors (Dane DeHann, Alex Russell and the up-and-coming Michael B. Jordan), have great chemistry. However, their characters are shallow with ridiculous shifts — within five minutes the nerd goes from shy geek to a Magneto-type madman terrorizing the hometown of Starbucks.

Also, references to blogs and “chronicling” life on an HD cam soaks the Chronicle.  Yes, the youth of today might be obsessed with documenting every detail of their lives, but it’s implausible that anyone would be that camera-hungry (unless you’re Paris Hilton) to film as they are about to rob a gas station or fall to their death in a car that is being thrown across the skies of Seattle.  If it didn’t work for Cloverfield, it certainly is an epic fail for Chronicle.

Chronicle had tons of potential and who knows how well it will perform at the box office. There were moments of genuine talent in the work of the director, writer and actors. Overall, Chronicle was a film we have seen too many times, and done much better. One plus: It wasn’t in 3D!

Chronicle is in theaters now.

(Photo: George Rose/Getty Images)

Looks like 2012 might be the year biopics get started.

First, there is the Whitney Houston biopic, which is supposedly being produced by Clive Davis. Last year, Meagan Good expressed interested in playing Whitney. Two other names have swirled around over the past few months: Lark Vorhees and Vivica Fox. While both are talented, I don’t see either one as Whitney. I could see Nicole Beharie, Regina King, Kerry Washington or Wendy Raquel Robinson from The Game.

Miles Davis‘ biopic is a long time down the road, but Herbie Hancock has already been chosen to do the score. The only real name floating around is Don Cheadle, which seems like a perfect match. Other actors that could fit the bill are Chiwetel Ejiofor or Samuel L. Jackson.

Davis was a legendary jazz musician but he also had demons—he had an addiction to heroin and was known to be physically abusive. It would take a true talent to tackle such an iconic and complex person.

Which biopics would you like to see?

(Photo: Courtesy Twentieth Century Fox)

The George Lucas-produced story of the Tuskegee Airmen, Red Tails, opens today and BET.com has got you covered with cast interviews and exclusive video.

Oscar winner Cuba Gooding, Jr. talks Tuskegee Airmen, Black history, saying no to Steven Speilberg and much more.
http://www.bet.com/news/celebrities/2012/01/18/q-a-cuba-gooding-jr.html

Ne-Yo, who has been making a name for himself in supporting roles, discussed how Red Tails inspired him — plus, dished on Bey and Jay-Z being new parents, why Mary J. Blige is his fav, Lindsay Lohan and more.
http://www.bet.com/news/celebrities/2012/01/17/ne-yo-on-red-tails-mary-j-bey-and-more.html

Terrence Howard returns to the big screen in Red Tails.  In the BET.com, he sounds off on making history, blogs and more.
http://www.bet.com/news/celebrities/2012/01/20/q-a-terrence-howard.html

Below, check out the BET.com exclusive peak of Red Tails — presented by the up and coming Elijah Kelley.

For more Red Tails video, click here to see the cast at 106 & Park.

Red Tails is in theaters today!

(Photo: Jemal Countess/Getty Images)

Porgy and Bess debuted on Broadway in 1935. Some of the greatest songs to ever be recorded came from the once four-hour opera: “Summertime,” “I Loves You, Porgy” and “There’s a Boat Dat’s Leavin’ Soon for New York.” Based on the novel by DuBose Heyward, Porgy and Bess is considered one of the greats of American theater. 

The story: Bess is a wanton woman caught up in dope and a bad relationship. Porgy is a crippled, lonely man. The unlikely duo fall in love, but not without the drama that surrounds their home, the fictional Catfish Row in Charleston, South Carolina, which includes Bess’ abusive ex-lover, a hurricane, drug addiction, gambling and judgment from the God-loving church folk.

The 2012 revival is less of an opera and more of a musical, starring the impeccable soprano Audra McDonald as Bess and the ferocious Norm Lewis as Porgy. The cast is rounded out with Broadway favs like Joshua Henry from the Scottsboro Boys. Plus, two-time Tony David Alan Grier as the comical Sportin’ Life.  In the ensemble, no one is miscast and with each note and movement, it’s clear the actors gave every molecule of their body to a musical that will undoubtedly get the side-eye.

Shaved down from four hours to two and half hours, much of Porgy and Bess remains true to the original. Yes, there is updating, like dialogue, and it is not as operatic, but the heart of the story remains the same. That said, the same story is what could be the problem. Even in 1935, Porgy and Bess caused controversy — Duke Ellington slammed the production and original cast members expressed concerns. In the 1960s, Harry Belafonte turned down playing the lead, feeling that it was offensive.  Actress Grace Bumbry, who appeared in the 1985 Metropolitan Opera production as Bess, said the role was beneath her and “we had come far too far to have to retrogress to 1935.” In 2012, does Bumbry’s statement ring true?

There is not a single flaw in the acting, set design (wonderfully executed by Riccardo Hernandez) or direction from Diane Paulus. The problem is the content—1935 was an atrocious time for African-Americans, especially for whites to tell the stories of Blacks—a known theme in African-American art then and, to some degree, now. For many, Porgy and Bess revives a darkness that most people of color may not want to revisit—again. References to fried chicken, picnics and cries to “Doctor Jesus” in a heavy Southern dialect — all which come from an outside perspective of the Black experience (in case you didn’t know, the Gershwins and the author of the novel, DuBose Heyward, were white) — felt wildly uncomfortable to watch on the stage. There is an undeniable gore of racism that is unconsciously and consciously woven into Porgy and Bess, which was recognized 77 years ago and it would be remiss of me to not acknowledge it today.

I grapple with my feelings about Porgy and Bess. I adored seeing the talented, award-worthy Black actors on stage. Similar to Viola Davis in The Help, Audra McDonald humanized a stereotypical character, fleshing out her wounds and elevating the production as high as it could go. No one else but Norm Lewis could have embodied the troubled-but-powerful Porgy. But, again, similar to The Help, there is the stain of Jim Crow that is handled from a point of view, which is clearly skewed. Sure, it’s a love story, but it is not a story that transcends race. The racial element is in it’s blood and no amount of adapting will change that.

Maybe Porgy and Bess is not for a Black audience—just like it wasn’t in 1935. Maybe the iconic production is reaching exactly who it should, from a perspective that is relatable versus authentic.  On the other hand, I was moved to think when Porgy and Bess debuted 77 years ago, I would’ve had to sit in the back of theater. I am sure the original company of Porgy and Bess would’ve never thought the production would be revived nearly eight decades later in a time of President Barack Obama, segregation being a thing of the past, and more than one Black show appearing on Broadway at a time.  I salute with hesitation the revival of Porgy and Bess.  As Nina Simone sang and Bob Dylan wrote, “The times they are a changin’…”

Porgy and Bess plays on Broadway at the Richard Rodgers Theatre, 226 W. 46th St.

(Photo: Film4, UK Film Council)

Summary: The biopic on the first and only female Prime Minister of the U.K., Margaret Thatcher, shows the controversial politician reflecting on her life while nearly senile and dealing with the death of her long-time husband.

Review: The Iron Lady, which stars the Aretha Franklin of acting, Meryl Streep, as Margaret Thatcher, is another film in the Oscar race. However, the praise for the Phyllida Lloyd-directed film is solely for Meryl Streep’s performance rather than for the movie as a whole.  Due to its mild script, casual avoidance of the controversies that surrounded Thatcher and not teaching audiences anything new, The Iron Lady does not live up to its potential.

All of the elements were there for a biopic home-run: Meryl Streep, big Hollywood budget and iconic figure in history. But somewhere between the montages of the U.K. in unrest and flashbacks to a conservative Thatcher, Iron Lady went down arduous biopic lane, which has known the likes of Amelia, Evita and the hodgepodge of Cadillac Records—all movies that had strong actors but a dead script.

The most troublesome element of Iron Lady is the iron-clad praise of Thatcher being the first and only female Prime Minister of the U.K. Despite the history, she was a rigid conservative known for disregarding the poor in a way that would make the current Republican candidates blush. Thatcher being the “first” is not enough to ignore her failed and hurtful policies.

Nonetheless, the script, Margaret Thatcher, the history—that’s all the background. The Iron Lady is solely about Meryl Streep landing her third Oscar. But it’s going to be a tough battle to beat out Michelle Williams in My Week with Marilyn and what seems like the current favorite, Viola Davis in The Help.  However, it is still fascinating to watch Streep’s transformation, saving an otherwise forgettable film.

The Iron Lady is in theaters Friday.

2011 was a wildly rough year for film.  The box office suffered and audiences finally grew tired of 3D and remakes. However, there were a handful of unforgettable movies over the past 12 months. Check out my third annual list for the best films of 2011 (click on the quote to go directly to the review).

10. Gun Hill Road

(Photo: SimonSays Productions)

“ Raw, disturbing and educational, Gun Hill Road is sure to shake up what the average audience might think of someone who suffers from being born in the wrong body.  The first must-see indie of the summer.”

9. Johnny Mad Dog

(Photo: MNP Enterprise)

“ Educational, truthful and important.”

8. London River

(Photo: Arte France, 3B Productions)

“ Bouchareb’s greatest accomplishment is successfully tackling class, grief and Islamophobia.”

7. Attack the Block

(Photo: Studio Canal)

“ Deserves the praise it’s received. ”

6. The Skin I Live In

(Photo: Canal+ España)

“ Almodovar ups the sicko factor with arguably one of the best plot twists in the past ten years of movie-making.”

5. Beats, Rhymes and Life: The Travels of A Tribe Called Quest

(Photo: Rival Pictures)

“ A hip-hop version of The Rolling Stones’ Gimme Shelter and one of the best music docs to come out in recent years. Whether you love hip-hop or not, this is a documentary not to be missed and one that will not be forgotten.”

4. Kinyarwanda

(Photo: Blok Box IMG)

“ All respect to Alrick Brown for giving audiences a fresh take on the Rwandan genocide. In a movie that was shot in 16 days, viewers will be educated and moved. ”

3. Desert Flower

(Photo: Desert Flower Film Productions, Majestic FilmProduktion)

“Desert Flower is a superbly told story with unapologetic conviction, noticeable fire, and the purest intentions of moving your soul. The first must-see movie of 2011.“

2. Bridesmaids

(Photo: Universal Pictures)

” The funniest movie of the year. Unlike Hangover, the film doesn’t rely on sexism, homophobia and racial epithets to hit a punch line.“

1. Pariah

(Photo: Focus Features)

“It takes a village to get a film like Pariah on the big screen. But the village came together for the best movie-going experience of the 2011.“

Honorable mentions: Shame, Being Elmo: A Puppeteer’s Journey and Limelight.

I’ve seen more films that I can count in 2011: some brilliant and others were two hours of my life I will never get back. So it’s time to celebrate the best of the worst. Check out my third annual list of the ten worst films of 2011 (click on the quote to go directly to the review).

10. The Hangover Part II

(Photo: Courtesy Warner Bros Pictures)

“If there’s such thing as plagiarizing your own work, Hangover Part II is the best example. Also, for those folks who drink to get plastered, fist-pump at the club, splurge on a hooker and say racial epithets for fun — you’ve finally found your franchise!”

9. Pirates of the Caribbean: On Stranger Tides

(Photo: Courtesy Walt Disney Pictures)

“ This ship has sailed, wrecked and sunk right into a Hollywood abyss of nonsense.”

8. Martha Marcy May Marlene

(Photo: Courtesy of Fox Searchlight Pictures)

“ ‘Indie’ is a marketing label that gives lazy films credibility. Martha Marcy May Marlene is the perfect example. Every flaw can be summed up with: ‘Well, it’s an indie!’”

7. Insidious

(Photo: Courtesy Stage 6 Films)

“ The most the James Wan film offers is ear-piercing sound effects with quick cuts to scary faces. Of course you’ll jump, but you’ll also jump if someone runs behind you and screams in your eardrum — this is the same effect as Insidious.”

6. The Rite

(Photo: Courtesy Warner Bros Pictures)

“ None of the greats could’ve made this poorly crafted, lethargic, unoriginal gush of foolishness work onscreen. The Rite is all wrong.”

5. The Thing

(Photo: Courtesy Morgan Creek Productions)

“ Blame it on the script? Blame it on the CGI? Blame it on the director? I can’t pinpoint what is to blame, but The Thing should’ve remained buried in 1982. ”

4. Straw Dogs

(Photo: Courtesy Screen Gems Pictures)

“ As the movie poster reads, ‘Everyone has a breaking point.’ Hopefully Straw Dogs is a breaking point for Hollywood to stop spitting out terribly done remakes.”

3. Don’t Be Afraid Of The Dark

(Photo: Courtesy Mirimax Films)

“ Dark falls into many trappings that ruin a horror movie: Characters who stupidly refuse to leave a haunted house? Check! All gloss and no scares? Check! A spooky brunette child? Check! Previews that are better than the movie? Check!”

2. New Year’s Eve

(Photo: Courtesy New Line Cinema)

“ The worst sin of New Year’s Eve is the insulating presentation of New Year’s Eve in the Big Apple. Hopefully, no one thinks New Year’s Eve in New York City is this boring, clichéd and common.”

1. Footloose

(Photo: Courtesy Paramount Pictures)

“ I never want to dance again.”

Honorable mentions: Thor, Abduction and X-Men: First Class.

(Photo: Courtesy MBK Entertainment)

Summary: A coming-of-age story about a Black lesbian teen in Brooklyn struggling with identity.

Review: The tragic LGBT teen in films is starting to become a Hollywood cliché. However, the debut feature-length film from Dee Rees, takes what you might assume of a Black lesbian teenager in Brooklyn, cracks it in half, mixes it up and pours out a story that we have yet to see properly told on the big screen. Just when you think every story has been told, here comes Pariah.

With Rees as director, Pariah introduces a flock of undiscovered talent. Adepero Oduye as the lead, Alike, transformed herself into an insecure but hungry-for-life teen. Her performance was so authentic that it had the Gabourey Sidibe in Precious effect—you assume Alike was plucked from a lesbian club in Brooklyn, but this character couldn’t be further removed from her life (Oduye is neither a lesbian nor a teen—she is 33!).

Pernell Walker as Laura, Alike’s BFF, throws some soul on the stereotypical “butch” lesbian we’ve seen in the media. For those who rant, “Why would a woman want to be with a woman who acts like a man?,” please watch Pariah and you will understand that mannerisms do not equate sexuality. If someone is attracted to the same gender, it is their energy that pulls them in—not a fitted cap. Fortunately, Dee Rees, who is openly gay and a native of Tennesse, bucks stereotypes without trying to shove agenda-pushing messages in the viewers’ face.

Kim Wayans is phenomenal as Alike’s homophobic mother who is struggling with her own issues of love. Because we know Wayans as comedic actress, the natural reaction to her performance is: “I didn’t know she could do that!” But if you’ve seen Wayans in one of her live stage shows, you would know she is a beast with any genre. In Pariah, she takes a chunk out of a character that could have easily been the angry Black woman. But with a nuanced script from Rees, we realize she is just as affected by homophobia as her daughter.

It takes a village to get a film like Pariah on the big screen. But the village came together for the best movie-going experience of the year. From the exquisite cinematography to the on-location shots in Brooklyn to an unpredictable story line—Pariah doesn’t end with a Hollywood bow-tie—Dee Rees carved out a gem that rises above gender, sexuality and race. The Focus Features film, which started as a short, is an inspiration for anyone who has a story to tell. Furthermore, any movie that opens with Khia’s “My Neck, My Back” is my kind of flick!

Pariah opens in select cities Dec. 28.