(Photo: Robin Marchant/Getty Images)

Film or stage, stories on race are always risky. Look at the heat The Help and Viola Davis received for telling the story of domestic servants. Halle Berry is still criticized for her edgy role in Monster’s Ball, which won her an Oscar in 2002. In 2010, The Scottsboro Boys on Broadway was protested and closed shortly after opening.  There are just some topics that American audiences are not interested in re-visiting, black or white.  Therefore, the production that takes the plunge to delve into a horrific time in American history better make sure it’s near perfection.  Thankfully, the four-time Tony nominated Clybourne Park gets it right.

The play is a unique spin-off of Lorraine Hansberry’s legendary 1959 play A Raisin in the Sun.  The first half is set at the same Chicago house into which the family from Hansberry’s play would later move.  Conflicts arise when the neighborhood discovers the Black family is moving in. The white family who is moving out is encouraged to stop their neighborhood from being integrated — their Black maid and her husband witness the drama.  The second half is set in 2009 in the same neighborhood, which suffered through an economic downfall and is now going through gentrification.

Superbly written by Bruce Norris, Clybourne Park humanly grapples with race and class.  These topics are nothing new, but the conflicts spark fresh, thought-provoking dialogue, once again showing we are not post-racism and there are still residuals of our past that may always remain. In addition, there is a delicate line of entertainment and offensiveness that Clybourne Park masters.  The play goes to the edge, but never falls.

Directed by Obie Award winner Pam Mackinnon, the play presents how racism functions for each person.  Not everyone is an N-word spitting racist.  Not all the white characters are demonized and the Black characters aren’t a woe-as-me tragedy.  The journey is layered and emotive.

The cast, which includes two Black characters (Crystal A. Dickinson and Damon Gupton — remember their names!) and five white characters, are wildly talented, easily making you feel as if you are sitting in someone’s living room versus the Walter Kerr Theatre.  Clybourne Park is a Broadway home-run.

For more information, please visit:  www.clybournepark.com.

(Photo: Marvel Studios)

Summary: Iron Man, Thor, Black Widow, Hulk, Captain America, Nick Fury and a whole lot of explosions bond to save the planet.

Review: When it comes to superhero films, there are legions of loyal fans who disregard poor scripts and are easily swayed by bombastic special effects. There are also the fans who anonymously rage in the comments section, as if men in spandex and metal costumes are as serious as war and the economy.  Captain America, Iron Man, Hulk and all the others are throwbacks to being a child, when you believed that a superhero could possibly save the day.  Is there some type of defensive euphoria in seeing your childhood heroes come to life?  That said, is Marvel’s The Avengers a great film? No. Will people love it? Yes!

Written and directed by Joss Whedon, Marvel’s The Avengers stomps, roars and explodes on the big screen — at least in the last hour. The film, which is six mediocre plots crammed into one, is an exhaustive two hours and twenty minutes of serpent-like machines, New York City being destroyed (it is always New York City, isn’t it?)  and sassy folks in tights. Is the grand running time due to so much action that couldn’t be contained in less than two hours? No. The first hour oozes with forgettable dialogue and weak character building, as if Whedon, who is clearly talented but seemed to be thinking, “See, superhero films can be deep!”  Line after line there are talks about attacks and strategies – take off the Lycra and Avengers could be a behind-the-scenes peak at the art of war.  There is a simple formula to superhero films — stick to the simplicity of the comic book!  Whedon’s stretch to add some brain, only made The Avengers more brainless. 

Within the characters rambling in laborious monologues, there are several campy one-liners that provides a few chuckles — especially from the charismatic Robert Downey, Jr. as Iron Man, who is more enjoyable in an ensemble.  The always excellent  Samuel L. Jackson as Nick Fury blends well as the leader of the pack — although I would’ve liked to see him kick more butt.  The supporting cast is just as strong with actors who have the chops, just not the best script.

After yawning through unnecessary character development, finally, the action kicks in. Yes, the CGI is decadent but audiences crave the epic special effects.  Thankfully, the battles were big and the explosions almost loud enough to make you forget the useless first half.

Like many before it, the film is critic proof.  The money is in the bank and I am sure there is already a sequel the works.  Not a terrible film, but not one to remember.  Thankfully, there are better superhero films making its way to a theater near you this summer.

Marvel’s The Avengers is in theaters today.

(Photo: The Hartman Group via Getty Images)

Morphing hit films into musical theater is the latest rage on Broadway.  The most recent movie getting the Broadway remix is Ghost the Musical.  In case you don’t know, Ghost is the famous 1990 film staring the late Patrick Swayze as Sam, who is shot and killed but refuses to transition to the other-side in order to solve his murder.  His grief-stricken girlfriend, Molly, was played by Demi Moore.  The woman who connectz Molly and Sam, Oda Mae Brown, was portrayed by Whoopi Goldberg, a role which won her an Academy Award.

Ghost the Musical stays true to the original story even down to the film’s signature song, which was “Unchained Melody” by the Righteous Brothers.  Directed by Matthew Warchus with music and lyrics by Dave Stewart and Glen Ballard (who famously co-produced Michael Jackson’s Thriller and Bad albums), the original songs aren’t standard musical theater.  There is a rock, pop or soul element in each number.  Richard Fleeshman, who plays Sam, has a voice made for rock radio, Caissie Levy as Molly delivers the pop vocals with a mix of musical theater and Da’Vine Joy Randolph is stone-cold soul.  Their three voices as the leads help make Ghost the Musical stand out from standard musical theater.

That said, Ghost does have its bumps in the reincarnation on the Great White Way.  Molly and Sam’s connection isn’t as impactful as it was on film, which is no fault of the leads, who clearly give their best.  Unfortunately, the legendary film haunts Ghost the Musical, a tearjerker of a movie that is nearly impossible to equate in musical theater — inevitably, the two will be compared. 

Ghost in 1990 was known for its fascinating yet subtle special effects.  The musical relies on lofty light projections and video montages (projections by Jon Driscoll and design by Rob Howell) that at times feel like Matrix the Musical, which might be a good sign if the production is appealing to a younger audience.  Visually, the show is eye-popping and is never a bore, but the elaborate sets weren’t matched with an emotionally satisfying storyline.

But let’s be clear, similar to the movie: Da’Vine Joy Randolph as Oda Mae Brown steals the show.  She was the comic relief, the big notes and made the crowd jump to their feet at the curtain call.  Da’Vine Joy Randolph, a Philly soul girl, has a heavy task.  The brilliance of Whoopi Goldberg was so powerful that her dialogue is retained nearly verbatim.  Therefore, Randolph has to avoid the criticism that she is simply copying Whoopi.  Fearlessly, Randolph soars in the music, like the gospel-inspired “Are You a Believer?” and the disco-infused “I’m Outta Here,” allowing her to make Oda Mae Brown her own.  The crowd pleaser of the night?  “Molly… you in danger, girl!”  I am hoping Ghost the Musical will get a spin-off: Oda Mae Brown the Musical: Molly, You in Danger, Girl!

Ghost the Musical is currently playing at the Lunt-Fontanne Theatre.

(Photo: Fernando Leon/Getty Images)

A multiracial production of Tennessee Williams’s A Streetcar Named Desire opened on Broadway at the legendary Broadhurst Theatre on Sunday night.  Starring Blair Underwood in the iconic role of Stanley, which was made famous by Marlon Brando, Streetcar is directed by Emily Mann, who was behind Cat on a Hit Tin Roof on Broadway. In an interview with BET.com, Mann, who knew Mr. Williams, explained it was a dream of the legendary playwright to see a multiracial version of his work. Williams would certainly be proud of the remix given to his Pulitzer Prize-winning play.

Along with Underwood as Stanley, there is the consistently fabulous Daphne Rubin-Vega as Stella. Stella is devoted to her husband, Stanley, but struggling with the conflict he has with her sister, Blanche DuBois — passionately delivered by Nicole Ari Parker. Wood Harris of The Wire is DuBois’s love interest, who shows his range as an actor. The polished cast breathed fresh life into Williams’s characters, smoothly relying on the cultural bearings of the African-American experience, but never resorting to stereotypes.

The entire cast had their shining moments, but it was Nicole Ari Parker who gave the most intense performance of her career. Blanche DuBois is no easy task and Boris Kodjoe’s significant other ripped fire into DuBois. Furthermore, Parker, who has an acting degree from New York University’s Tisch School of the Arts, is making her Broadway debut with Streetcar — her portrayal of Blanche looks like the work of a Broadway veteran. As I was leaving the theater, the main commentary was: “Nicole Ari Parker deserves a Tony nomination!”

A Streetcar Named Desire is another example of the needed diversity on Broadway. It can be an arduous journey to get people of color on the Broadway stage, and even when we see ourselves on the Great White Way, the production is often scrutinized with a microscope. Thankfully, Streetcar can handle the scrutiny.  From the superb direction of Emily Mann to the beautiful music from Terence Blanchard, if you are a fan of sophisticated, intellectual theater — with a strong helping of comic relief — you will not be disappointed.

A Streetcar Named Desire is currently playing at the Broadhurst Theatre.

(Photo: Courtesy Cowboy Films)

Summary: Directed by Kevin Macdonald and co–executive produced by Ziggy Marley, the long-awaited doc reveals the journey of the late, great Bob Marley.

Review: Born in 1945, Robert Nesta Marley’s music changed the world.  His music has been the anthem for love, revolution and peace.  Over thirty years since his death, he is still a relevant artist with countless musicians from R&B to rock who attempt to emulate the legendary rasta. There have been many stories told about the “One Love” icon, but none with the backing of the Marley family and zero with the emotion, fever and soul of Kevin Macdonald’s Marley.

In select theaters today, Marley will go down in cinematic history as one of the greatest music documentaries of all time. Even at a whopping two hour and 24 minute running time, Bob’s story is exquisitely delivered with not one unnecessary frame.  The polished narrative takes us to Marley’s Kingston, Jamaica roots, where he grappled with racial identity. We see his rise to stardom, making reggae music a household name. But he was never hungry for fame, he was passionate for progress.  Sadly, we learn of his final days fighting cancer. With unseen archival footage and interviews with his family and close associates (even the wife of the doctor who tried to cure Bob Marley of cancer), there isn’t a stone unturned.

Most importantly, Marley smoothly humanizes the “No Woman, No Cry” singer-songwriter. Yes, he was gifted, but he was not perfect.  Bob was a “rolling stone” with 11 children with seven different women.  Although Bob was married to Rita Marley, in his mind he didn’t believe in marriage. Macdonald tastefully tells the side of the other women in Marley’s life, never sensationalizing the story, but answering all of the whys.

Other details discussed include: the assassination attempt on his life, his love for marijuana, his frenetic musical process and his other-worldly live performances. Even if you are not a fan of Bob Marley, the triumph in Macdonald and the Marley family’s storytelling skills trumps fandom.

When Bob Marley was alive, he was frustrated that Black American audiences did not embrace him. However, in an odd way, Bob Marley’s hopes of one love have come to fruition via his music. Bob Marley and the Wailers are not white, Black, Asian or Latino music; nor is the music solely for the poor or rich, Democrat or Republican. Bob Marley is music for the soul, regardless of your background, a universal sound that the globe has embraced.  Although he died of cancer at 36-years-old in 1981, there will never be a time when Bob Marley is an afterthought.

Hats off to Kevin Macdonald and the Marley family for properly, respectfully and finally telling the story of a worldwide icon. Marley is worth the wait and the first must-see movie of 2012.

Marley is in theaters today.

(Photo: American International Pictures)

Pull out your bell-bottoms, platform shoes and afro picks, this week is the 38th anniversary of Pam Grier’s legendary flick Foxy Brown.  On this day back in 1974, Foxy Brown, directed and written by Jack Hill and starring the Halle Berry of the ’70s, debuted in theaters.

The luscious Pam Grier played a nurse who wanted to get revenge on a powerful drug ring. She ferociously fought back against the government, racism and sexism.

The film was a sequel to 1973’s Coffy and was supposed to be titled Burn, Coffy, Burn! But at the last minute the film studio decided they didn’t want a sequel and slapped on the title Foxy Brown.

Although panned by critics, Foxy Brown was a huge hit for a Blaxploitation film and still has a cult following.

While promoting her book, Foxy: My Life in Three Acts, Pam Grier said to theGrio, “Here I am, this ‘icon,’ if you will, but someone humanized the iconic title and humanized Foxy Brown, Sheba, Jackie Brown, and all the female imagery that I projected so that it was never one-dimensional. I want others to realize that I get my power from them, I didn’t invent it, I get my ‘foxiness’ from all women.”

Fists in the air to Miss Grier. That’s one bad mama jama!

Move over Twilight, another teen dream flick is about to pulverize pop culture.  The highly anticipated Hunger Games is predestined to bring in billions of dollars and lock in a loyal fan base.  However, don’t think Hunger Games is another Twilight. Outside of the initial audience the Lionsgate film will attract; the movie, based on the popular novel, is mostly sophisticated and has the potential for broad appeal.

Surprisingly tolerable from the start, the Gary Ross-directed film opens with a poverty-stricken Katniss Everdeen (Jennifer Lawrence) preparing for the “Reaping,” which randomly selects two teens from each “district” to fight to the death.  The death-match is titled The Hunger Games, an annual televised event that brings in millions of dollars and viewers. A total of 24 teens fight until there is one survivor.

In an era of reality television, where people are stranded on a deserted island (Survivor), eat the genitals of animals (Fear Factor) and fight till blood is drawn (Basketball Wives, Jersey Shore, etc.), the morbid plot isn’t far-fetched.  Many of the characters on reality television are either starved for attention or money.  The twist with The Hunger Games, however, is that these teens are selected by a creepy lottery system and their deaths are publicized (Honestly, we may not be too far away from that today.  We once had the draft, which forcibly sent young men off to the Vietnam War).  That said, the flick is not cramming a message down your throat; it’s your interpretation.

Overall, one cannot deny its entertainment value, especially from lead Jennifer Lawrence, who is miles ahead of  Bella Swan, the victimized damsel in distress from Twilight.  Lawrence represents a strong young woman with integrity and her performance, which could’ve easily gone down cheese ball lane, was as solid as it could be for a pop film.

Hollywood A-listers and Oscar nominees like Woody Harrelson and Stanley Tucci help validate the flick in roles they could’ve played under anesthesia.  Unfortunately, most of the other characters are terribly underdeveloped.  For example, Amandla Stenberg as Rue had a meaty role but her characters needed back-story.  Nigerian-born Dayo Okeniyi as Thresh had one solid sentence, he was the one character who died that got a sigh from the audience.  But these two did add some needed diversity.  Hopefully, these newcomers will receive more chances in Hollywood, considering they both have star quality.

Speaking of the plot, Hunger Games is no groundbreaking story.  You can predict the ending within the first 20 minutes, but it’s the journey of how the characters get there that is most interesting—despite some embarrassing dialogue here and there.  One of the film’s massive flaws was the shockingly awful cinematography during the action scenes.  A spinning camera ruined several high-energy moments.

What made The Hunger Games eventually starve the audience was the ridiculously long running time: two hours and twenty-minutes. By the time the epic finished, people were running out of the theater like they just listened to a three-hour college lecture.   The art of editing has vanished in film.

All things considered, The Hunger Games had just enough attractive people to satisfy pre-teens, enough gore to bring in teen boys, a sweet (and at times annoying romance) to make teen girls swoon and a sophisticated enough plot to engage others outside of their demographic.  Dare I say, The Hunger Games might be a deserving hit.

The Hunger Games is in theatres now.

(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.