Tag Archives: Mahershala Ali

2018 Films, Animated, Best Animated Feature Oscar Winners, Bob Persichetti, Chris Pine, Hailee Steinfeld, Jake Johnson, Kathryn Hahn, Liev Schreiber, Lily Tomlin, Mahershala Ali, Nicolas Cage, Oscar Isaac, Peter Ramsey, Rodney Rothman, Shameik Moore, Super Hero, Zoë Kravitz

Spider-Man: Into the Spider-Verse-2018

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Spider-Man: Into the Spider-Verse-2018

Director Peter Ramsey, Rodney Rothman, Bob Persichetti

Voices Shameik Moore, Hailee Steinfeld, Lily Tomlin

Scott’s Review #881

Reviewed March 30, 2019

Grade: B+

There have been many film versions of Spider-Man.

To my recollection, the first series consisted of three installments, directed by Sam Raimi: Spider-Man (2002), Spider-Man 2 (2004), and Spider-Man 3 (2007), all starring Tobey Maguire in the title role.

These were the good old days.

Andrew Garfield took over in 2012 and 2014 to mixed reviews before the superhero was merged into Captain America and The Avengers films, as well as one or two additional solo outings. This is where I lose track.

Finally, through all the incarnations comes the very first computer-animated film based on the Marvel Comics character.

Spider-Man: Into the Spider-Verse (2018) was an enormous box-office success as well as a critical success, winning the coveted Best Animated Feature Oscar.

My choice would have been for the dark and sarcastic Isle of Dogs, but the former has impressive merits and grand animation that are astounding to the eyes.

Towards the climax, the film teeters into familiar and predictable territory from a story perspective, though admittedly, the superhero and animated genres are not my favorites.

Miles Morales is a Brooklyn teenager, bright, energetic, and likened to an average city kid. His father, Jefferson Davis, is a muscled policeman who is no fan of Spider-Man, the heroic masked man who prevents city crime, outshining the cops daily.

While close to his father, Miles is much more connected to his uncle, Aaron Davis, despite his father and uncle having a distant relationship.

When a hungry spider bites Miles, he immediately begins exhibiting Spider-Man-like abilities and stumbles upon others with similar stories.

The teen meets super-villain Wilson Frisk (a not-so-subtle Donald Trump parody if ever I saw one), who is intent on accessing a parallel universe to retrieve his deceased wife and son. Events involving a USB drive and the “real” Spider-Man, Peter Parker, also living in a parallel universe, come into play.

The overly complex story is not the best part of the experience, and I began to lose interest in the hows and whys, especially when compared to the escapist and marvelous, super-cool animations.

Spider-Man: Into the Spider-Verse deserves great praise for making the film’s central character ethnically mixed (Hispanic and Black), a first in the franchise’s history.

This diversity, evident in Black Panther (2018), is all the rage now in the superhero genre, along with gender equality, a slogan once deemed a “guy’s movie.”

This is a delight to witness, with hopefully even more of a slant towards richer diversity. Are Asian, gay, or physically impaired characters coming next?

The film looks fantastic, with creative and slick modern animation and graphics that never waver throughout the nearly two-hour running time, which is lengthy for an animated feature.

Styled and bright, the film’s most striking appeal lies in its colors, shapes, and sizes. The metropolitan New York City is a treat to witness, as the creators not only focus on Manhattan, but also on Queens and Brooklyn, boroughs that are often forgotten in favor of Manhattan’s glitz and bustle.

The clever re-titling of FedEx trucks to Red Ex is worthy of mention.

With its glitzy look, fast-paced action, and interesting villains, Spider-Man: Into the Spider-Verse (2018) is an impressive feat and a deep dive into the possibilities of combining the superhero and animated genres.

This is around the corner due to the critical, audience, and award notices that surround this film. If only the story contained more twists and turns and fewer standard genre-pleasing qualities, the possibilities would be endless.

Oscar Nominations: 1 win- Best Animated Feature Film (won)

2018 Films, Best Picture Oscar Winners, Drama, Mahershala Ali, P. J. Byrne, Peter Farrelly, Viggo Mortensen

Green Book-2018

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Green Book-2018

Director-Peter Farrelly

Starring-Viggo Mortensen, Mahershala Ali

Scott’s Review #839

Reviewed December 10, 2018

Grade: A

To be candid, it was not originally on my radar to see Green Book (2018) despite the high regard and the bevy of award nominations reaped upon the film.

From the trailers, and admittedly my assumptions, the production looked somewhat of a Driving Miss Daisy (1989) role reversal with the standard over-saturation and glossy view of racism.

I confess to being wrong in my initial assessment as Green Book is a wonderful film with a multitude of worthy efforts, successfully crossing the drama and comedy barriers delivering an astounding message of compassion and benevolence.

Viggo Mortensen and Mahershali Ali show tremendous flair and exhibit fine chemistry as an Italian blue-collar driver and an astute African-American classical pianist, respectively.

The men travel together in the Deep South circa 1962 on a concert tour requested by the renowned musician despite the dangers of southern racism and prejudice.

Mortensen’s Tony Lip is a struggling New York City bouncer who needs any gig for two months while the club he works for is closed for renovations. Ali plays a sophisticated musician who needs a driver with a measure of toughness, and Tony comes highly recommended.

The two men initially are strangers but form a close-knit bond and a deep understanding of each other as they become better acquainted during their journey.

The first half of the film focuses on Tony.

As viewers, we experience his Italian lifestyle. He possesses a strong family unit, a dedicated wife, Dolores, (Linda Cardellini), and loves to eat, winning a hot dog eating contest for $50 to pay the rent. He thinks nothing of beating an unsavory character to a bloody pulp if they are out of line and has more than one link to the mafia.

Still, he is a decent man, with a salt-of-the-earth mentality, and loves his family.

“Doc” Don Shirley (Ali) is the opposite of Tony. Raised as a highly gifted musical prodigy, he surrounds himself with high culture, well-versed in many languages, and of affluent means. Nonetheless, he is a wounded soul and drinks himself into oblivion each night, frequently deep in thought pondering life and its problems.

Despite being black he knows nothing about black culture.

Don is highly uncomfortable in his skin while Tony is happy with who he is, a major point that the film hits home on as the men have conflict. Don feels Tony can do so much better to educate himself while Tony sees nothing wrong with being who he is. The men forge a middle ground as they come to respect each other.

Ferrelli does a wonderful job in showing Tony as Don’s protector as he is accosted by rednecks or is caught with another man at the YMCA.

In turn, Don helps Tony write warm love letters to Dolores.

Green Book is a film about friendship and how different backgrounds can result in closeness and respect.

The film is humanistic in its approach to an overall message and is the feel-good film of 2018 without the slightest thread of sappiness or any contrived situations. The film is best about two real-life men who remained friends until their deaths.

Director, Peter Farrelly, known mostly for silly films such as Dumb and Dumber (1994) finds breakthrough success with Green Book.

The film is mainstream material, but of a sort that can be appreciated for the good it exudes. Don exhibits racism on more than one occasion- Birmingham and Mississippi specifically- but also experiences kindness from other folks.

Worth noting is that Don experiences discrimination and abuse not only from whites but also from blacks. Farrelly avoids the usual stereotypes or elicits humor from them as in the scene where Tony teaches Don to enjoy fried chicken, a food theretofore foreign to Don.

A key point to the film occurs early on when Dolores graciously invites two black workers to repair thinking nothing of treating the men to a refreshing lemonade.

Tony, witnessing the empty glasses in the sink throws them in the trash not wanting to drink from the same glasses. Is Tony along with his family, racist or uncomfortable with blacks? Regardless of the answer, after the film, they think very differently which is monumental.

The final sequence of Green Book is teary, heartfelt, and provides a feeling of incredible warmth.

In the tumultuous times of current American history, Green Book (2018) is sentimental and inspirational in a day where racism has once again reared its ugly head thanks to the chaotic political environment.

The film is a lesson learned in how far we have come as a society, but also how things have not changed so much and how much further we need to go creating equality for all. Farrelly creates a timely and wonderful film that everyone can appreciate.

Oscar Nominations: Best Picture (won), Best Actor-Viggo Mortensen, Best Supporting Actor-Mahershala Ali (won), Best Original Screenplay (won), Best Film Editing

2016 Films, Aldis Hodge, Biography, Drama, Glen Powell, Janelle Monáe, Jim Parsons, Kevin Costner, Kirsten Dunst, Mahershala Ali, Octavia Spencer, Taraji P. Henson, Theodore Melfi

Hidden Figures-2016

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Hidden Figures-2016

Director Theodore Melfi

Starring Taraji P. Henson, Janelle Monae, Octavia Spencer

Scott’s Review #619

Reviewed February 26, 2017

Grade: A-

Hidden Figures (2016) is a mainstream, “Hollywood” style film produced, written, and acted very well.

The film tells the story of three female African American mathematicians who faced many struggles and were somewhat overlooked in the early 1960s.

The women achieved historical success and allowed John Glenn to orbit planet Earth.

From a film perspective, the story is feel-good but not contrived. It feels quite fresh and features an excellent ensemble cast with good chemistry.

I enjoyed this film immensely.

Blessed with good smarts, Dorothy Vaughan (Spencer), Mary Jackson (Monae), and Katherine Johnson (Henson) were fortunate enough to work for the Langley Research Center – in 1961.

In those days, segregation still existed, and the women worked as temporary workers and used separate “colored” bathrooms and were largely excluded from the white workers.

The three women are best friends and drive to work together- each has an individual specialty, and the film focuses on each woman’s story.

The more prominent role and main story are about Katherine. Since the Russians had already achieved success in outer space, the race was on for the United States to follow suit. Katherine is assigned as a “computer” in the Space Task Group, led by Al Harrison (Kevin Costner).

Initially, Katherine is dismissed by her colleagues but eventually is accepted due to her smarts.

In subplots, Dorothy struggles to be given a Supervisory position. Mary aspires to be the first female engineer despite needing to enter an all-white school to take the necessary classes.

My favorite of the three performances is Taraji P. Henson.

The actress impresses with her spunky, well-mannered portrayal, specifically her fantastic scene when she has had enough of the segregation and difficulty performing her job.

She loses it in front of the entire team and rails against them- expecting to lose her job, instead, her boss Al, (a fantastic nice-guy role for Costner), sees her point and declares NASA will see no distinction of color.

Henson is the lead actress in the film and carries it well.

The chemistry between the three actresses makes Hidden Figures work so well and appear believable. The women always have each other’s backs and are friends outside of work, attending church and picnics together.

The film is wise to feature women’s lives outside of their professions.

A nice side story of single mother Katherine (her husband, who has died) meeting and being courted in lovely fashion by handsome National Guard member Jim Johnson (Mahershala Ali) is a sweet story, genuinely told.

The two also have nice chemistry together.

The film’s finale, as the attempted launch of John Glenn is met with problems, is compelling. Due to their genius of Katherine, she must save the day as Glenn trusts only her judgment and calculations of the ever-so-important numbers.

The scene is a “just desserts” moment for Katherine as the country rallies patriotically behind the events.

Hidden Figures plays it safe, and the actual struggles of the real women undoubtedly had darker and meaner situations, as the discrimination they faced had to have been more intense.

Still, the film strives to downplay some of the grit in favor of light-hearted, crowd-pleasing fare, but I fell for it hook, line, and sinker and enjoyed the film ride that I was given.

Oscar Nominations: Best Picture, Best Supporting Actress-Octavia Spencer, Best Adapted Screenplay

2016 Films, Alex R. Hibbert, André Holland, Ashton Sanders, Barry Jenkins, Best Feature- Independent Spirit Award Winners, Best Film of the Year, Best Picture Oscar Winners, Drama, Independent, Independent Drama, Janelle Monáe, Jharrel Jerome, LGBTQ+ Drama, LGBTQ+ Films, Mahershala Ali, Naomie Harris, Trevante Rhodes

Moonlight-2016

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Moonlight-2016

Director Barry Jenkins

Starring Trevante Rhodes, Andre Holland

Scott’s Review #512

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Reviewed November 6, 2016

Grade: A

Moonlight (2016) is an excellent film rich in character and grit. It tells the story of one man’s life, from childhood to teenage years to adulthood, sharing the bonds he forms and the demons he wrestles with.

The acting is fantastic, and the story is poignant and truthful.

The film is not preachy but instead tells a story, leaving the audience to sit and observe, quietly formulating their opinions.

Moonlight is a mixture of beauty and heartbreak and is told very well.

The film is divided into three chronological chapters that describe the central character’s life.

Chiron is a shy, docile young boy of six or seven living in the drug-filled world of Miami, Florida, in the 1980s. He is bullied for being “different,” though he does not know why he is shunned. Chiron is introverted and distrustful.

A kind-hearted drug dealer named Juan (Mahersala Ali) takes a shine to Chiron, whose own mother becomes more and more absent and emotionally abusive to her son.

Naomie Harris plays Paula, mother to Chiron and herself a drug addict. Juan and his girlfriend Theresa (Janelle Monae) become surrogate parents to Chiron and share their home with him as needed.

Chapter two focuses on Chiron as a teenager, still bullied and coming to terms with his sexuality and feelings of insecurity. By this time, his mother has spiraled out of control, and his life is a sad one.

He is filled with emotions such as rage, despair, and confusion. An experience with his best friend, Kevin, changes the direction of his life. Kevin is his saving grace and a decent person amidst his troubled life.

In chapter three, we are re-introduced to Chiron as an adult, having wholly reinvented himself and become a changed man, but is he changed for better or worse? People from his past resurface at this time, and Chiron must face various demons and emotions and come to terms with himself and the others surrounding him.

Does his story have a sad or a happy ending? This is the question we are left wondering.

The aspect that impressed me the most is the storytelling and the ground broken with this film.

From an LGBTQ+ perspective, by this time (2016), we have experienced numerous offerings on the subject. Still, the fact that Moonlight is not only a character study but a love story between two black men has not yet been done to this degree in cinema, or arguably at all, especially in mainstream fare.

Happily, Moonlight is receiving critical praise. The fact that Chiron lives in a macho, male-driven society makes his self-acceptance all the more challenging for him.

The direction in Moonlight is impressive, and director Barry Jenkins deserves much praise.

Quiet scenes of Chiron as a boy asking Juan and Theresa why the bullies call him a specific name are heartbreaking. Another scene muted and in slow motion, reveals an abusive Paula calling Chiron a degrading name, leaving him confused and hurt.

The tender scenes between Chiron and Kevin are sweet and passionate and are told on a humanistic level.

Moonlight delves into such territory as loneliness and self-identity. It is an interesting film for anyone who has struggled with these issues or is empathetic to those who have.

Moonlight (2016) breaks stereotypes and molds a subtle and low-key film that speaks volumes.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-Barry Jenkins, Best Supporting Actor-Mahershala Ali (won), Best Supporting Actress-Naomie Harris, Best Adapted Screenplay (won), Best Original Score, Best Cinematography, Best Film Editing

Independent Spirit Award Nominations: 6 wins-Best Feature (won), Best Director-Barry Jenkins (won), Best Screenplay (won), Best Cinematography (won), Best Editing (won), Robert Altman Award (won)

2013 Films, Crime Drama, Drama, Edward James Olmos, Harold Perrineau, Hector Elizondo, Independent, Independent Drama, John Sayles, LisaGay Hamilton, Mahershala Ali, Yolonda Ross

Go for Sisters-2013

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Go for Sisters-2013

Director John Sayles

Starring Edward James Olmos

Scott’s Review #177

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Reviewed September 27, 2014

Grade: B-

Go for Sisters is a 2013 independent feature film about a female parole officer (Lisa Gay Hamilton) with a troubled, missing son named Rodney, feared to be mixed up with the murder of a drug dealer.

The film takes place in California and Mexico.

Hamilton plays Bernice, a middle-aged black woman, who has always done the right thing. Widowed and recently dumped by a new boyfriend, she runs into ex-convict Fontayne, played by Yolonda Ross, at her parole office.

Initially wanting nothing to do with her former high school friend, Bernice decides to use Fontayne’s criminal connections to locate Rodney.

From this point, they hire retired Mexican police officer Freddy Suarez, played by Edward James Olmos, and the trio embarks on an adventure across the border of Mexico.

I love the story involving the two female leads (Hamilton and Ross) who share a Thelma and Louise-type bond.

The characters reconnect with each other and develop independently. Straight-laced Bernice toughens up and breaks a few rules while Fontayne, determined to go straight, struggles to keep her head above water, resisting drugs and attempting to hold down a job.

The two forge a bond based on trust, respect, and loyalty, and their friendship grows throughout the film.

One gripe about Fontayne’s character- she admits to being a lesbian but then mentions she is not sure if she is or if she is not. This sexual identity crisis seems strange- why couldn’t the film make her a lesbian? Why the hedging?

The remaining aspects of the film are mediocre to weak.

Adding the character of Freddy to the mix is unnecessary. He adds little to the plot except helping the women get into Mexico and being male comic relief.

Either way, I didn’t find the character very interesting or care about him and the film would have been better off without Freddy.

What was the reasoning behind making him have poor eyesight? What was the point of Freddy taking a young woman and her daughter to breakfast and realizing they were crossing the border to find her estranged husband? Who cares?

It had nothing to do with the plot.

All the audience knows about Freddy is that he is retired due to a misunderstanding, accepts money to help Bernice and Fontayne, and tags along with them for the rest of the film.

The stereotypes should have been eliminated. The Chinese dragon lady and the corrupt Mexican police officers have been played to death in films and are rather insulting to smart and serious movie-goers.

I found the plot a bit tough to follow and I still don’t understand how or why Rodney was involved with the Chinese mob in the first place other than to help Chinese immigrants cross the border.

Was he involved in the money or wanted to help the immigrants cross to the United States?

The film mentions countless times how Rodney is a decent person so what’s his motivation? The film never wholly explains why he is kidnapped and a suspect in a murder case.

Also, countless characters are introduced to help the women on their journey with some connection to the kidnap victim but are written haphazardly with no character development.

The ending of Go for Sisters (2013) is too predictable and leaves the audience not caring about the outcome.

Despite numerous negatives, the heart of the film belongs to the talents of Hamilton and Ross and their characters’ interesting and warm friendship that develops throughout the film.

Independent Spirit Award Nominations: Best Supporting Female-Yolonda Ross