Book of Eli: A Review

I haven’t rushed out to see a Denzel Washington movie since “Malcolm X.” And after splashing my way through a rare Southern California rainstorm, I’m feeling like I could have stayed at home!

"Book of Eli" opens on a post-apocalyptic world where a war has torn a hole in the sky and the sun has burned everything and everyone. Those who survived live in a world of scarcity and violence. Our reluctant hero, Eli, has been on a 30-year journey to bring the only surviving copy of the King James Bible to a safe harbor in the “west.”

On the surface a good plot, but the execution is disappointing. Which is too bad because the first five minutes of the film screams potential. The tone, and what is at stake, is immediately apparent, and Denzel does “alone” well. His is more believable and accessible than Will Smith’s glossy, tricked out version in "I Am Legend"

It is quickly established that Eli is resourceful, spiritual, and apparently invincible. His body might be riddled with scars, but he is still standing and walking toward his destiny. He is a man who carries everything he owns in a backpack and has no problem leaving things behind, well, except for his iPod, and of course the holy grail that he has been protecting for three decades.

Because most film-goers have seen at least one post-apocalyptic story the filmmakers could have done more to establish what is so unique about theirs. They touch on some items: you want to stay away from the people with the “shakes” (which doesn't pay off in any real way) and Anita Ward’s “Ring My Bell” is now considered classic listening music (definitely got a giggle from the audience). But for the most part there are no surprises. In fact, there is little that is memorable about this film. In fairness, Washington does a yeoman's job considering the story is so paper-thin. It is basically Eli shuffling, under green-gray skies, through the desert (New Mexico serves as the burned out world) and occasionally cutting off rapist, murderers and sun-goggled bandits random body parts.

Self-sufficient Eli’s mission is momentarily endangered when he walks into a town run by Gary Oldman’s “Carnegie”. Like our protagonist, Carnegie is from a time before the wars. He can read, which makes him powerful, and he also knows where the treasured water source is and of course he is not telling. Carnegie is also on a mission and is using every resource at his disposal to achieve it. I wont be giving away anything by saying he wants the Bible that Eli is carrying.

I’ve enjoyed Oldman’s performances in the past, but here he is just a caricature. I almost expected him to start twirling his “villain” mustache (which he didn’t have). The two female leads, Mila Kunis and Jennifer Beals, are basically props that get manhandled and yelled at for most of the movie. By the end of the film I can’t believe anyone is invested in Kunis’ “Solara” as a character or that she has what it takes to carry on Eli’s mission. There is simply no depth to these characters. No performance pops off the screen and demands that you watch. Many of their motivations appear to be internal and critical decisions (Beals sending her only daughter off with the machete wielding Eli) are made off screen, robbing the audience of the opportunity to care about anyone.

The Hughes Brothers,Albert and Allen, (Menace to Society, Dead Presidents) helm this picture. In what appears an attempt to take our attention away from the weak plot, they invest most of their energies into staging bloody fight scenes, massive explosions, and intricate camera work. Unfortunately, there is not enough in their bag of tricks to get our hearts pumping or save the movie from a less than impressive ending. The reveal is one that comes with little fanfare and left me feeling indifferent regarding the survival of mankind.

Others who have seen this film say that it left them thinking about how power and religion would play out in a society forced to start over. I think the people who were able to grasp that from this film were already inclined to see the connection. I offer that the filmmakers depended on a good number of their audience members already holding the belief that a bible could be the bedrock in restarting a society, and did none of the heavy lifting required in weaving a compelling tale.

Book of Eli was written by first-time screenwriter Gary Whitta (former PC Gamer editor) and produced by Washington. The film is rated R.

The Soulmate Secret: A Book Review

If you think the concept of having a soulmate is crap or that “attracting” the perfect person into your life is double crap, then you should probably stop reading here. But if you have been romantically attached to a long list of losers or every weekend you find yourself reluctantly sitting on your couch with only the company of a bag of Doritos — then read on.

Arielle Ford’s The Soulmate Secret: Manifest the Love of Your Life with the Law of Attraction just might be the antidote to your partner-less life that you’ve been looking for.

I bumped into this little book of love and joy while searching the new arrival stacks at my local library. I am personally not in the market for a new mate, but Ford’s sunny and hopeful writing style compelled me to check this little puppy out and I have not been able to put it down.

Let me be clear that The Soulmate Secret isn’t bringing us any late breaking information that we have not heard before. What makes this 207 page quick read so compelling is its accessibility. Ford saves you from chapters of psycho-babble, that normally makes you feel like who would want to date you any way, and jumps right into how to find that special person.

The book takes you through a quick soulmate IQ test: Do you believe there is a soul mate out there for you? Are there past lovers who still have their energetic hooks in you — or are yours in them? Are you psychologically ready to receive your soul mate? These are just a few of the probing questions put to you on page one. If you answer “no” to any of the nine questions, Ford lets you know right off the bat that you and the current state of mind is the barrier that is stopping your soul mate from showing up. If you must know I answered “no” to half the damn questions.

But don’t fear; she has a host of activities and testimonies to get you into relationship shape. In many ways the book ask that you accept full responsibility for all the sub-par mates that have been showing up in your life. When you look back on your failed relationships you knew they were trouble or broke or alcoholics or needy or crazy from the very start, but you let them in anyway. From the start they couldn’t give you what you needed and you certainly could not impact change in their chaotic lives, so you were forced to ride it out until the relationship died some horrible, often messy, death. Then you were back on that couch, with your bag of Doritos, feeling like a failure and wondering why you are so unlucky in love.

To combat these unintentional relationships, Ford suggests that you make an exhaustive list of the attributes you want in a partner. I know it sounds super easy but try it. After you scribble down the first five or six characteristics a lot of folks find themselves struggling to come up with the recommended minimum 25 items. Partly, the exercise is about showing you you are not necessarily connected to what you want in a partner. This disconnect is why you accept anything that shows up. Once you get past the cute, nice, good in bed and not allergic to the cat, you discover there is a lot of things you hate about your new love. And there you are, back on the relationship roller coaster. The author suggests you should commit about 30 minutes to making this list.

Making your soul mate list is just the start to the process that leads you through a lot of purging and reflection in your life. When it comes to your physical space, throw away those sheets that are still around from two relationships ago. They are probably carrying around some bad love juju. Make a vision board of what you want your soul mate to look like and what you would like to do with them and hang it in your bedroom. Set up an altar to remind you that you “purposely” trying to attract your true love. When it comes to you, get your butt into therapy or some form of counseling. Take inventory of your life. There is a reason that you keep attracting the wrong person. Find out why, and then stop doing it.

My favorite part of the book is the couple testimonies sprinkled throughout. Ford says that all the couples highlighted took the steps recommended in the book and found their true love. We got people meeting on planes, in gyms, in snowstorms, at seminars, and in parking lots. One guy reports that he woke up one morning, with a random phone number running through his head, and when he called it it was a woman living 50 miles away that he had never heard of. After he told her how he came to call her, and she did not hang up on him, they met for coffee and have been together ever since. Stop rolling your eyes, especially if you are still sitting on that couch covered in Doritos dust.

If I had any criticism of the book are Ford’s “Feelingizations.” These are meant to be meditation that you can do when you want to connect to the idea of attracting your soul mate. I personally could not get through them, but maybe you will have better luck. There is also a website that provides a guided audio of these feelingizations that could make the meditation a little easier.

All in all, I think this book is perfect for those who are ready to take a real hard look at their romantic life and are serious about getting into an intentional and healthy long-term relationship. Happy manifesting!

The Black (Female) Body in Hollywood

Last month I had the opportunity to attend a book release party for a new anthology, The Black Body, edited by Meri Nana-Ama Danquah. The collection of essays and poems explores the idea of what it means to have, or to love, a black body. Danquah assembled thirty black, white and biracial contributors to “take on the challenge of interpreting the black body’s dramatic role in American culture.” The book was robust and provocative and left me contemplating how the black body--specifically the black female body--takes up room in the entertainment machine we call Hollywood. Hollywood - the land of make-believe and glamour – is largely responsible for what we define as beautiful, desirable or sexy in this country.

Recently I was on Rodeo Drive and saw reality star Kim Kardashian (Keeping Up with the Kardashians) in the flesh. I’m aware that she is not black, but follow along anyway. She is the poster girl for “curvy” in these parts. What struck me first was how small she is. Small as in height; even with the six-inch heels it is clear she is barely 5’3”. But she is also small in frame; my guess is she is probably a size 4. Her infamous butt is, well, a butt. There is no denying she has junk in her trunk, but the trunk belongs to a Mini Cooper as opposed to a Ford Taurus. But she, along with a handful of other actresses, has become the anemic measuring stick that is a fraudulent example of “real” bodies in L.A.

Every month a new starlet is dubbed the “It Girl”; magazines run shiny pictorials to support the proclamation. On the rare occasions when a black actress is sprinkled with “It Girl” fairy dust (I think Halle Berry has been our token forever) there are a series of predictable adjectives that are trotted out to describe her. She is sassy, strong, serious, sexy, steely (yes, I am going for serial alliteration) and intense (that one is used for Angela Bassett). And when her body is described the word “curvy” is always on the top of the list. There is nothing wrong with being curvy, except it is the Hollywood euphemism of saying “bigger than a size 2.” In the world outside of L.A. Gabriel Union, Nia Long and Halle Berry would have ham sandwiches forced on them on a regular basis--but those actresses do not inhabit our world. For them to compete for time on the silver screen they must take on all the markers (long weaves, extreme diets, tiny bodies) of their white counterparts. They simply become tea-stained Barbie dolls.
The discussion of how women’s bodies are perceived in Hollywood is one that is age-old. But with the introduction of Gabourey “Gabby” Sidibe in the starring role of Precious, I think there is an opportunity to have a more honest dialogue and to see if Hollywood is ready to embrace a real big girl.

In 2006, Jennifer Hudson was the sassy, big It Girl. She had an extraordinary award show run that ended with a Best Supporting Actress Oscar. Every time she showed up on the red carpet, the words “curvy” and “voluptuous” weren’t too far behind. In reality the big girls in the rest of the country couldn’t help laughing. On her biggest day Jennifer Hudson was a size 16, but more likely usually a 14. What was the big deal? She didn’t look any different than the girl that lived next door.

Well, this award season is being dominated by one Gabourey Sidibe and there is no doubt, tipping the scale at 300 pounds, that she is an authentic big girl. But what is interesting is how the discussion about Gabby’s body has been framed in the context of her alter ego Precious. It’s as if they don’t share the same body. In the litany of reviews the word “obese” is flung around liberally as they describe her character, Clareece Precious Jones, but in interviews with Gabby the writers consistently remarks how “different” she is from the character she portrays in the blistering movie. The difference is her bubbly personality, her Valley Girl voice, the sense that she has somehow escaped the cruelty of adolescence. But most critics don’t take the honest next step and say what is the same: her weight. Interview after interview, she is filling out every square inch of her sized-for-her designer dress. She is taking up every square inch of the chair that is provided for her during the press junket. But no one dares speaks it. Is it because there is legitimate concern that Gabby truly is obese? That they see nothing attractive about her (which I think is absolutely not true)? Or that there is no language in the Hollywood lexicon to describe her? To say she is “curvy” or “voluptuous” (in Hollywood-speak) would be dishonest. So it is simply ignored.

And that is a shame. In many ways Gabby is breaking new ground for actresses larger than a size 22. She is the perfect example: American filmgoers are ready to pay their money to see a woman that has not been created by the Hollywood starlet machine and may not necessarily be relegated to the character parts reserved for the not-so-beautiful or skinny people. The blogosphere has been on fire regarding this very topic. Bloggers have not been shy about talking about Gabby’s weight, but the discussions have taken disturbing turns. What starts out as a critique of Precious quickly devolves into screeds on Gabby’s weight and how it somehow diminishes her credible performance. The argument is that because she started out “fat” she is not really acting. Really?

With that kind of illogical and unfair criticism I can’t help but wonder what is next for her. Will she go the way of Hattie McDaniel or will Hollywood loosen its belt and make room for a remarkable new talent that couldn’t find a size 24 dress on Rodeo Drive to save her life?

Kellie Griffin: A Week with TV Comedy Writers

Kellie Griffin has a great laugh and a thing for dog parks. Kellie is also a comedy writer. In the business for nine years, she has worked on The Parkers and recently as head writer on House of Payne - but don’t hold that against her.

Kellie’s newest project, a half hour, multi camera sitcom, based on a real life experience, is one that puts her in the “creator” seat. I can’t exactly tell you what the show is about because I’ve signed a confidentiality agreement and I am not in the mood to be sued. But after spending a week with Kellie and her team of writers, I can tell you the story is funny, clever, and takes a lot of smart folks to pull off.

Kellie was gracious enough to let me sit in on a few writing sessions as she raced toward a deadline to complete five new scripts for her executive producer.

Anatomy of a Writer's Room

First, let me say that comedy writing is an endurance sport. By the end of a long day you are wrung out and punch drunk. Kellie and her team of five writers spend a minimum of six hours hammering out storylines, punch lines, and logic issues. As head writer/creator, she is the captain of the ship and responsible for encouraging fresh ideas, positive energy, and producing a finished product.

Generally each writer is assigned a script after the team has decided on each story and beat out all the scenes that should appear in the outline. Once the assigned writer has written the script it is brought back into the writer’s room and the staff deconstructs each scene and assist in rewriting.

Kellie says that new writers who are exposed to this team approach can struggle during this rewrite free-for-all. But she encourages them to trust the process and know that the team is only trying to create the best possible story. Because it is a collaborative process involving writers, studio heads, network heads, and actors sometimes the script you submitted is not exactly the same one that is shot — so don’t be sensitive. Besides in the end only your name will appear on the final product.

When Kellie starts pulling together a stellar team, diversity is imperative. Of first order is bringing together folks who will gel. When you are spending that much time together it is best that the right personalities share the same space. It is also important to have writers from various walks of life: married, single, film school graduates, self taught, Black, Asian, men, women. Head writers are also striving for balance when it comes to funny and finesse. Pairing writers who can fire off a joke every thirty seconds with writers who can track down the right flow to the story makes for good television.

Once you get everyone into the writers room, there are do’s and don’ts. Pitching (suggesting an idea for the script) is encouraged while trying to dominate the entire process is not. Be on time and stay off your cell phone. Be respectful of other writers’ work and don’t take yourself too seriously. It is all about creating a fun and productive space.

Anatomy of a Comedy Script

The average comedy script is made up of two acts, 8 scenes, a teaser, a tag and approximately 38 pages. Each page equals about 30 seconds of screen time, which produces a show that runs a little under 20 minutes. Commercials make up the difference, although Kellie says air time for television shows is being shortened to make room for more commercials. The first 4-5 pages is the teaser, which sets up the A/B story that will run through the show for the remainder. The first act sets up all the characters and ends with a cliff hanger at the act break(approximately page 20). The second act is riddled with conflict until about page 37, where a happy ending magically appears, and the show is wrapped with a tag on page 38.

In designing these scripts, efficiency is the key. Once the writers get through a massive game of word association to flesh out backstories and depth for the characters, they are always mindful that there are no throwaway lines or fillers. Scenes are tightly packed, driving toward a solution, button, or joke. The primary rule seems to be "end on a joke." And just because the joke made you laugh doesn’t mean it will survive the rewrite. Funny can be trumped by hilarious in a flash.

The Finish Line

Once the scripts are written and rewritten the team takes one more pass before releasing them. It appears the objective is to cut any “fat” that might slow down the story or jokes.

The danger here is the writers might be tempted to go back into the story and try to “make it better.” The head writer usually steps in and makes sure only the housekeeping gets taken care of and then the team is on to the next script (and the process starts all over again).

And that is the life of a comedy writer working on weekly show.

Kellie's Tips for new writers trying to break in

1. Sit in a writer's room. There is no classroom or book education that can replace that experience.

2. Be a sponge — talk to other writers, take classes and seminars, read articles and books on writing and the business of writing.

3. Watch a lot of television. You will need to write a spec script to get on a show you will have to watch enough of that particular show to get a sense of the “voice” and character arcs.

4. Keep writing — writers write. If you are not writing, you are not a writer. (Or at the very least you are not adding to the portfolio which proves that you are serious about writing!)

Michelle

World AIDS Day

BET Multitude of Mercies Clip 2 from johnalynn holland on Vimeo.

Precious: Not a Ghetto Freak Show

The buzz is at a fever pitch for this movie and for good reason. At least a couple Oscar nominations are guaranteed for this amazingly painful and compelling tale of adversity and ultimately survival.

Based on the 1996 award-winning novel Push by Sapphire, the story, set in 1987 Harlem, follows the tortured and dark life of Clarisse Precious Jones. The obese, illiterate, and pregnant (for the second time by her AIDS infected father) 16-year-old somehow still gets up every morning and makes her way to school, even when her abusive and clearly mentally ill mother thinks she would be better served spending her time at the welfare office.

Director Lee Daniels takes on the challenge of bringing this blistering story, with the help of screenwriter Geoffrey Fletcher, to the screen. Author Sapphire reports that she initially turned him down when he approached her about making the book into a film, but changed her mind after she saw his 2005 directorial debut “Shadowboxer”

Daniels is no stranger to bringing less than attractive, and more often than not, challenging allegories to audience’s attention. Over the last ten years he has tackled issue of racism, pedophilia, and assassins engaged in pseudo incestuous relationships; so one could easily concede that Push was a natural fit in his portfolio.

An Official Selection at the 2009 Cannes Film Festival and winner of three awards at the 2009 Sundance Film Festival including the Grand Jury Prize and Audience Award in the U.S. Dramatic Competition, “Precious” stars Gabourey 'Gabby' Sidibe, Mo'Nique, Paula Patton, Mariah Carey, and Lenny Kravitz.



Newcomer Gabourey Sidibe, in the role of Precious, has everyone talking. Mostly about how different she is from the character that she so convincingly plays. Discovered during an open audition, Sidibe embodies every inch of Precious. Her face seems to easily transform into this blank, but painful mask that barely hides the despair that hangs over her on a daily basis. But it is her three hundred pound body that makes her a target of street hoods and her predatory father. Sexually abused since age three, and pregnant for the first time at 12, it seems the bigger she gets the more her humanity is disregarded. She copes the only way she knows how by constructing fantasy worlds where she is adored by “light-skinned boyfriends” and gets to walk red carpets in beautiful dresses, where she is the center of attention. Daniels uses these fantasy sequences liberally, and at times preemptively, as if trying to shield the audience from what must be experienced if they are to truly connect with the pain and degradation that Precious endures.



The primary architect of that pain is her mother Mary Jones. A shoe in for more than a few awards lists; comedian Mo’Nique is devastating as Mary. Her fans use to her big girl sass and playfulness will find none of it in this boa constrictor tight performance. Mary is cruel with a marksmen precision. Reminding Precious everyday that she is useless and will never be more than the “dumb, fat bitch” that lumbers around their dilapidated kitchen and waits on her mother hand and foot. Her performance also reminds the audience that everyone that has a uterus doesn’t necessarily make a good mother. Mary reeks of pain, which she desperately transfers on to Precious in every encounter. You want to look away, but Mo’nique presents this damaged woman in such a compelling manner that you can’t take your eyes off of her. When Precious brings her newborn son home from the hospital, the audience rightfully dreads what Mary will do once she gets her hands on the baby, because Mo’Nique has artfully convinced us she is capable of anything. For those cinephiles interested in seeing where Mo’Nique first showed potential for compelling characters, check her out in “Shadowboxer”, as the now ironically named Precious.

Of the three major actors, Paula Patton’s performance is the weakest. Her Blue Rain is lifeless, stilted, and unconvincing. Which is a shame since her role as a teacher (who happens to be a lesbian) who goes above and beyond to save this girl is not one we have seen on screen before. By the time Precious is dumping her every thought into her journal you can’t help but wonder how we are supposed to believe she learned anything, and ultimately transformed, as a result of her relationship with this anemic version of Ms. Rain?

Much has been made of Mariah Carey’s diva-free performance as Precious’s social worker Mrs. Weiss. For all those still holding a grudge because of Glitter, I think here is where she makes full restitution. Mariah is believable and accessible. In many ways she is the surrogate voice of the audience, expressing disbelief and outrage at the indignities that has been Precious’s life, and does of fine job of asking the hard questions.

Precious finally meets her light-skinned knight in the form of Nurse John, played by Lenny Kravitz, when she is rushed to the hospital to give birth (her first child was born on her mother’s dirty kitchen floor). Nurse John does the subtle work of convincing Precious, whose world is populated with mostly women, that you can have a grown man in your life that understands boundaries, doesn’t want anything from you and will treat you with respect.

Believe it or not, there are some light moments in this sea of darkness. Precious’s spirited and equally lost classmates, with standouts Xosha Roquemore as diva rapper Joan and Chyna Layne as the wise Jamaican dance hall queen Rhonda, provides the laughter and friendship, however tenuous, that Precious is in desperate need of.

Many cultural critics have come down hard on this little film, especially around the issue of whether putting these long held stereotypes on screen really helps educate mainstream audiences or just validates for them who they believe black people are. I think they are barking up the wrong tree on this one. The performances here are fine tuned and realistic. Daniels and his actors have done the work to make these characters compelling, if not sympathetic. Ask twenty social workers if they have at least one Mary Jones on their case load and 20 Preciouses and they will answer with a resounding, YES! Just because it is difficult to watch doesn’t make it not true. To reduce “Precious” to some ghetto freak show is to do it a disservice - because it has more gravitas than that.

Michelle