Category Archives: Beyoncé

#159 Favorite Film, 2006 Films, Beyoncé, Bill Condon, Danny Glover, Drama, Eddie Murphy, Jamie Foxx, Jennifer Hudson, John Krasinski, John Lithgow, Musical, Musical Drama, Top 250 Films

Dreamgirls-2006

Leave a comment

Dreamgirls-2006

Director Bill Condon

Starring Beyonce, Jennifer Hudson, Eddie Murphy

Top 250 Films #159

Scott’s Film Review #792

Reviewed July 20, 2018

Grade: A

Dreamgirls (2006) is a glossy show business-style drama with plenty of glitz and glamour. Adapted from the Broadway production of the same name, the story is loosely based on the trials and tribulations of The Supremes, a popular all-girl group from the 1960s.

Despite the film being heavily focused on the drama and tension between the characters, it boasts a wonderful soundtrack and fantastic acting- most notably newcomer Jennifer Hudson, who garnered a surprising Best Supporting Actress Oscar win for her role.

The film tells the story of the evolution of American R&B music during the 1960s and the 1970s- the action mainly taking place in Detroit, Michigan, where the genre began.

Taking center stage is the incarnation of a girl group called The Dreams, who are controlled by their manipulative record label executive.

A womanizer and creep, Curtis Taylor (Jamie Foxx), guides the girls to stardom, but beds both the beautiful Deena (Beyonce) and the talented yet overweight Effie White (Jennifer Hudson). This leads to conflict as Curtis decides that less talented Deena is more marketable and thus should be the central figure of the band.

With a stellar cast in tow, Dreamgirls contains a plethora of talent and a good history lesson to boot. The main draw in the acting department is the revelation of the talented Jennifer Hudson.

Winner of the talent show American Idol, many pooh pooed her film direction, apparently assuming she was a flash in the pan and a “reality television” star. The challenging role of Effie is perfectly suited for Hudson- brazen, pipes for days, and plenty of attitude.

Her acting aside, Hudson scorches through an unforgettable rendition of “And I Am Telling You I’m Not Going”, which is assuredly what won her the Oscar.

Otherwise, the supporting cast is worthwhile and impressive is Beyonce in a pivotal role. Surely, the singer/actress faced her share of detractors, along with Hudson, but their chemistry is amazing and she nails all of her songs.

Eddie Murphy is a gem in the role mirrored after James Brown, James “Thunder” Early.  The role is perfect for Murphy- a far cry from his standard comedic roles that have grown stale over the years.

This role rejuvenates the actor’s credibility.

Dreamgirls does at times falter a bit with the drama, almost soap opera-like situations. A triangle develops between Effie, Curtis, and Deena, which leads to tension, bad blood, cattiness, and melodrama.

If the film were a standard drama this would undoubtedly make the film suffer from a tired script or generic writing.

But the musical numbers are so riveting that these flaws can be overlooked completely. The ritzy glamour and sparkles that erupt during “Dreamgirls” and “One Night Only” are wonderful fun and the songs are memorable leaving audiences humming along as they dance in the aisles.

The story has been told many times before. A dream of rising to musical stardom and the many trials and tribulations that go along with these hopes and desires.

Comparisons can be made to Chicago (2002), Valley of the Dolls (1967), or even Gypsy (1962), but the mostly black cast and the 1960s Motown theme is interesting, particularly as the Civil Rights movement of the time was upon us.

The film does not invest much time in politics, sticking mainly with drama and music, which may be a wise move to avoid too much of a message theme.

As the film concludes in 1975, Effie is reaffirmed as a meaningful member of The Dreams after her career has tanked and she has wound up on welfare.

A paternity twist is also thrown in for good measure, but the film has a clear “happily after ever” vibe to it which softens the film and keeps it more on the PG-13 level instead of going for darker themes.

Dreamgirls (2006) is a musical that is highly memorable for me because it made Jennifer Hudson a household name and confirms the talent and glory that she is rightfully due.

In subsequent years the star lost weight, softened her image a bit, and became, well, more generic. But thankfully we have a gorgeous performance to always appreciate her for.

Oscar Nominations: 2 wins-Best Supporting Actor-Eddie Murphy, Best Supporting Actress-Jennifer Hudson (won), Best Original Song-“Listen”, “Love You I Do”, “Patience”, Best Sound Mixing (won), Best Art Direction, Best Costume Design

2019 Films, Adventure, Alfre Woodard, Amy Sedaris, Animated, Beyoncé, Chance the Rapper, Children, Chiwetel Ejiofor, Donald Glover, Drama, James Earl Jones, Jon Favreau, Keegan-Michael Key, Musical, Musical Drama, Seth Rogen, Shahadi Wright Joseph

The Lion King-2019

Leave a comment

The Lion King-2019

Director Jon Favreau

Voices: Donald Glover, Alfre Woodard, Seth Rogen

Scott’s Review #981

Reviewed January 17, 2020

Grade: B

An impossible feat would have been to eclipse the magic of the stage version or the loveliness of the animated version. Still, The Lion King (2019) offers a different approach as well.

Arguably, this version is both animated and not, infused with computer-generated animation (CGA) and marvelous visual effects, showcasing creativity.

Partial to the two-former offering, this telling is lovely and perfect for the entire family.

The realism of the animals and scenery is remarkable.

To recap, new viewers, the story centers on a den of lions living among the creatures in the “Pride Lands of Africa”. They hunt, prance, love, and guard their territory, mainly from the hungry hyenas, who are kept at bay during peaceful times.

King Mufasa (James Earl Jones) and Queen Sarabi (Alfre Woodard) are fair rulers and anticipate their son, Simba (Donald Glover), taking over the throne one day, much to the chagrin of Mufasa’s evil brother, Scar (Chiwetel Ejiofor), who was passed over for the crown.

Envious of Simba, Scar tricks him and his friend Nala (Beyoncé) into wandering into the land of the hyenas, hoping to cause their deaths. When a heroic Mufasa foils his plot, Scar ups the ante and hatches a scheme to kill his brother.

He not only succeeds but also makes Simba believe he caused his father’s death. Ashamed, the youngster runs away to begin a new life, unaware that he will one day return to save the day.

Props must be given to the filmmakers for their inclusion and cultural authenticity, as many of the characters, especially those at the forefront, are voiced by African-American talent.

This is a notable achievement, considering the film is set in Africa, and it’s unusual for the voices to be Caucasian.

Heavyweights like Jones and Woodard sound polished, especially Jones with his deep and dominant, yet fatherly voice, perfectly cast as the King. Woodard provides gentle warmth and confident complexity.

The musical numbers are terrific.

The film begins with an energetic and tribal rendition of “Circle of Life,” where a legion of wild animals dances together in a warm display of diversity.

The song appears later in the film. The powerful and romantic “Can You Feel the Love Tonight” is performed against a lovely moonlit sky with decadent stars.

The new song “Spirit” performed by Beyoncé is adequate but does not figure into the story as much as it should, seeming more like an afterthought.

The best parts of The Lion King, however, are the astounding visuals.

The contrasting sequences of bright, sprawling African terrain and a magical oasis of colorful flowers and running water, set against the dark and foreboding landscape of the dangerous hyenas, offer the viewer a multitude of delights to savor.

The orange and red colors during the climactic finale are unrivaled in the dazzling bombast of adventure.

As realistic as the elements are in the film, they are also negative. Watching the animals talk and prowl amid the lush landscape felt wonderful, until I realized that all of it is fake.

Real animals were never used; instead, it is a virtual reality tool that creates the illusion of reality.

This aspect slightly saddens me as the genuine quality left me feeling robbed. The possibility of another alternative would have meant a reboot of the animated classic, and I am not sure that would have been wise.

Favreau, once an actor and now a director, known for creating films such as Iron Man (2008) and Iron Man 2 (2010), certainly knows his way around an adventure film.

The story, while containing some menacing moments, also feels a bit safe and lacks the freshness or edginess that the 1994 version possessed. Something seems watered down, and the excitement and heart of the original feel missed.

I will always go back to the animated 1994 treasure for a cinematic feast, but while The Lion King (2019) could have been a disaster, it isn’t. With modernized songs and enough CGA to last a lifetime, I could easily see some people hating the film, but I embraced it for what it is.

Spectacular visual treats await any fan of cinema, as one will ponder how the project all came together.

Oscar Nominations: Best Visual Effects