Category Archives: Alfre Woodard

2019 Films, Aldis Hodge, Alfre Woodard, Chinonye Chukwu, Danielle Brooks, Drama, Independent, Independent Drama, Richard Schiff, Wendell Pierce

Clemency-2019

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Clemency-2019

Director Chinonye Chukwu

Starring Alfre Woodard, Richard Schiff

Scott’s Review #1,068

Reviewed October 7, 2020

Grade: A-

I will be candid. Clemency (2019) is not a film that will appeal to everybody’s taste.

The topics of prison, execution, and psychological conflict among its characters are pretty heavy.

After a long day of work and the desire to snuggle on a comfy couch with a tall glass of wine, this film may not be recommended. But, for those seeking a thought-provoking experience about timely and serious social issues, with racial overtones, Clemency is a riveting and powerful story.

This film is written well, and it matters.

Haggard, prison warden Bernadine Williams (Alfre Woodard) trudges along day after day, managing the multitude of tasks that her job requires of her. She is committed to overseeing the prison executions and experiences her twelfth at the start of the film.

The procedure is botched, causing the prisoner excess pain, and an investigation is launched. Bernadine is conflicted and consumed by her job, causing her marriage to Jonathan (Wendell Pierce) to deteriorate and her visits to a local watering hole to increase.

When Bernadine takes interest in Anthony Woods (Aldis Hodge) a prisoner slated for execution in a case receiving national media attention and prison protests, her conflict escalates.

Anthony’s ex-girlfriend (Danielle Brooks) and attorney (Richard Schiff) play vital roles, especially when the convicted cop killer’s innocence is called into question.

Will he or won’t he receive a last-minute pardon from the governor sparing his life?

Chinonye Chukwu, a rookie director, is a black, Nigerian female with lots of interesting things to say and a bright future ahead of her. She also penned the screenplay and tackles a weighty issue of great controversy in the United States.

The age-old debate of whether capital punishment is inhumane or even deters crime is not the focus of the film’s narrative, but neither is it about that per se.

The fact that Chukwu and her characters, Bernadine and Anthony, are both black introduces an additional racial element.

In the time of “Black Lives Matter”, this is a powerful statement.

To say that Clemency is a downer is an understatement, though it leaves the viewer with some sense of hope amid an ambiguous ending. I won’t spoil the film, but we wonder what will become of Bernadine.

Has she had enough of the prison lifestyle and decided to fly off in a new direction, or does her work so consume her that she is trapped for life, too far gone for any growth?

The final sequence is brilliant.

An impending execution, emotional goodbyes are said, and a full minute or so of a close-up scene focused on Woodard’s face taps a range of emotions that include compassion, disgust, and unbridled sadness.

The gloomy and stark atmosphere that Chukwu presents fills the film with a bleakness that is eclipsed ever so slightly by the possibility of change.

A common theme, and not only with Bernadine, is the need to be heard and the frightening perception of being invisible. Jonathan, in a strong supporting role by Pierce, is the perfect husband. A teacher, he is responsible, loyal, and even prepares a surprise dinner on their anniversary.

He feels diminished by Bernadine and resides in a motel after he has had too much. Anthony’s attorney and a priest, both of whom plan to retire soon, feel their jobs are pointless, as they are not heard and their work is neither appreciated nor noticed.

Interesting that Chukwu does not reveal which state within the United States the twelve or thirteen executions take place in, though we can only guess it’s somewhere in the south.

Clemency (2019) is a bold offering fraught with debate, questions, and character conflict. A slow build, there is much to savor and mull over, and the story feels personal.

Woodard delivers a soaring performance, backed by exceptional work from all the supporting players.

I cannot wait to see what Chukwu comes up with next.

Independent Spirit Award Nominations: Best Feature, Best Female Lead- Alfre Woodard, Best Screenplay

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

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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

2014 Films, Alfre Woodard, Annabelle Wallis, Gabriel Bateman, Gary Dauberman, Horror, James Wan, John R. Leonetti, Ward Horton

Annabelle-2014

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Annabelle-2014

Director John R. Leonetti

Starring Annabelle Wallis

Scott’s Review #186

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Reviewed October 17, 2014 

Grade: B+

Annabelle (2014) is a classic, edge-of-your-seat, ghost story that is effective in its creepiness and element of surprise.

Set in California circa 1969, John (Ward Horton) and Mia Gordon (Annabelle Wallis) are an all-American happy young couple.

He is a Doctor and she is beautiful and pregnant with their first child. They attend church each Sunday, are friendly with the neighbors, and have a strong sense of community.

As a surprise, John bestows a life-sized doll on Mia as a present and addition to her existing collection of interesting dolls. Soon strange events begin to occur: a home invasion, a fire, a bizarre experience in an elevator, and creepy drawings by the neighbor’s children.

The film eventually dives into murkier territory when a strange, religious woman, played by Alfre Woodard, is introduced, and the film then shifts focus to spirits, taking one’s soul, and the occult.

What sets Annabelle apart from similar horror contemporaries is the power of suspense. We as the audience know something bad will happen, but we don’t know when.

Unlike many horror films that slice and dice for shock value, Annabelle does not. Rather, foreshadowing and anticipation are common within the film, making the eventual jumps scarier!

Mia’s constant use of an electric sewing machine and Mia’s attentive watching news coverage of the Manson murders are clues as to what will come next.

A scene set in the middle of the night as a home invasion takes place next door is shot exceptionally well, like Alfred Hitchcock’s Rear Window (1955), with no dialogue. What the audience sees inside the house from across the yard as violence occurs- is frightening.

Within the same scene we know the home invasion will gravitate to Gordon’s house, but when will it strike?

Another effective scene shows a seemingly innocent little girl running towards another character in a separate bedroom but turns into a maniacal fiend and the foot thudding makes this terrifying.

I found myself genuinely scared during a few scenes!

Wisely choosing to avoid the all too frequent CGI effects, Annabelle instead goes the traditional route with genuine scares harvested from the unknown and the feeling of anticipation and dread of events to come.

The fantastic musical score composed by Joseph Bishara adds to the anticipation. Annabelle is a prequel to the equally scary The Conjuring (2013). The very first scene is, in fact, the same scene from that film where two nurses explain how they obtained the doll, named Annabelle, and cannot get away from her.

The final act delves into the spiritual world of evil- a soul (presumably Mia’s or her babies) must be sacrificed to relinquish the curse put upon her by Annabelle’s original owner.

A surprising figure aids in the conclusion of this film. Annabelle (2014) is an old-school horror film done very well.

2013 Films, Alfre Woodard, Benedict Cumberbatch, Best Feature- Independent Spirit Award Winners, Best Picture Oscar Winners, Bill Camp, Bill Pohlad, Brad Pitt, Chiwetel Ejiofor, Drama, Independent, Independent Drama, John Ridley, Kelvin Harrison Jr., Lupita Nyong'o, Michael Fassbender, Paul Dano, Paul Giamatti, Quvenzhané Wallis, Sarah Paulson, Scoot McNairy, Steve McQueen-Director, Storm Reid

12 Years a Slave-2013

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12 Years a Slave-2013

Director Steve McQueen

Starring Chiwetel Ejiofor, Lupita Nyong’o, Michael Fassbender

Scott’s Review #62

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Reviewed June 24, 2014

Grade: A

At the time of 12 Years a Slave’s (2013) release, a ton of buzz began circulating. Was it that good?

Considered the front-runner to win the Best Picture statue, it did go on to win the top honor.

The film is not easy to watch. It is brutal and heart-wrenching at times. I will spare the details, but the most intense scene involves a whip.

There are scenes of torture, degradation, and cruelty against the slaves by the slave owners.

While tough to watch, I applaud the film for not glossing over the atrocities of slavery. Some have criticized it for being a retread of similar films, but I disagree. It is worlds more intense than watered-down versions.

However, the film is not a downer.

Yes, a class of people is beaten down and victimized, but they also rise above and never give up hope. The fact that it’s a true story and a book was written on the subject by the real Solomon Northup makes it all the more powerful.

The performances are outstanding (Ejiofor, Fassbender, Paulson, and Nyong’o).

The look and cinematography are sharp and I love the distinctiveness of the north and south scenes. The setting is stifling hot and dreary.

There are at least two scenes where the camera pans on a shot and holds it for seemingly an eternity until an action occurs, which makes the scenes effective.

While difficult to watch, 12 Years a Slave (2013) should be viewed by everyone to see how far society has come, not forgetting how far we still need to go to eliminate discrimination and victimization.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-Steve McQueen, Best Actor-Chiwetel Ejiofor, Best Supporting Actor-Michael Fassbender, Best Supporting Actress-Lupita Nyong’o (won), Best Adapted Screenplay (won), Best Production Design, Best Costume Design, Best Film Editing

Independent Spirit Award Nominations: 5 wins-Best Feature (won), Best Director-Steve McQueen (won), Best Male Lead-Chiwetel Ejiofor, Best Supporting Male-Michael Fassbender, Best Supporting Female-Lupita Nyong’o (won), Best Screenplay (won), Best Cinematography (won)