Tag Archives: Sterling K. Brown

2023 Films, Adam Brody, Comedy, Cord Jefferson, Dark Comedy, Drama, Erika Alexander, Independent, Independent Comedy, Independent Drama, Issa Rae, Jeffrey Wright, Leslie Uggams, Rian Johnson, Satire, Sterling K. Brown, Tracee Ellis Ross

American Fiction-2023

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American Fiction-2023

Director Cord Jefferson

Starring Jeffrey Wright, Issa Rae, Sterling K. Brown

Scott’s Review #1,421

Reviewed February 11, 2024

Grade: A

American Fiction (2023) is an intelligently written expose of black culture and a poignant family drama mixed as one. Cord Jefferson makes his feature directorial debut with the satirical comedy-drama which he also wrote.

The film explores how perceptions of black people, mostly by white people but even amongst themselves, are categorized into neat little boxes.

Usually, the negative stereotypes are assumptions of bad grammar, poverty, and hardships in ghetto situations.

While some may be sympathetic these beliefs are either conscious or subconscious and they are propelled by the media. In the case of the film, through literary works.

Are white people intimidated by intelligent black people, the film questions. How do the intelligent black people feel about themselves?

American Fiction is a witty, smart, funny, and poignant film that will make you laugh as often as it makes you think about the perspectives offered.

Jefferson brilliantly offers up both an education and powerfully drawn black characters. In the middle is a sentimental family storyline that had me enraptured by almost all the characters.

The writer/director bases his film on the 2001 novel Erasure by Percival Everett. Thelonious “Monk” Ellison (Jeffrey Wright) is a highly intelligent African-American upper-class writer and professor living in Los Angeles.

He is a frustrated novelist-professor who doesn’t make much money or sales from his serious works.

Needing money after moving back to Massachusets on a leave of absence, he decides to write an outlandish satire of stereotypical “black” books, only for it to succeed by mistakenly thought of as serious literature and published to both high sales and critical praise.

He struggles with keeping his alter ego a secret while questioning the lack of intelligence with people assumed to be the liberal elite and the general public.

Wright is great and leads the charge of a dynamic cast. He makes his characters believable and their motivations clear while still showing Monk’s conflict. Monk has lived a privileged life with education, social status, and success.

His experience as a black man is different than other black men and he is smart enough to know this while still wrestling with his feelings.

Wright is dynamic at showing many emotions.

To make the film even better, the supporting characters are delightful with their own stories, making me fall in love with them. Special call-outs are for Sterling K. Brown and Erika Alexander who plays Monk’s brother and girlfriend, respectively.

Brown as Cliff is a successful surgeon but lives a conflicted life as a newly ‘out’ middle-aged gay man. He dabbles in drugs and promiscuous behavior but all he wants is approval by his family.

Alexander is a successful public defender and neighbor of the Ellison’s going through a divorce. She relates to Monk while challenging him on his bullshit and is a richly carved character.

Also, Leslie Uggams Monk’s mother suffering from Alzheimer’s disease, Ellison’s housekeeper Lorraine (Myra Lucretia Taylor), and Issa Rae as Sintara Golden are weaved into the canvas seamlessly and with purpose.

The film’s ending left me scratching my head and caught me off guard. While clever, it made me wonder if what I had just seen was reality or fantasy. Providing three different endings as adapted film options it’s tough to know which if any actually happened but maybe that’s the point.

I left the movie theater having laughed out loud, thought, and been entertained.

American Fiction (2023) made me feel like I had seen something relevant that would help me understand people better and give me insight into what other people feel.

Oscar Nominations: 1 win-Best Picture, Best Actor-Jeffrey Wright, Best Supporting Actor-Sterling K. Brown, Best Adapted Screenplay (won), Best Original Score

Independent Spirit Awards Nominations: 2 wins-Best Film, Best Lead Performance-Jeffrey Wright (won), Best Supporting Performance-Erika Alexander Sterling K. Brown, Best Screenplay (won)

2019 Films, Alfred Molina, Animated, Byron Howard, Children, Chris Buck, Ciarán Hinds, Disney, Evan Rachel Wood, Fantasy, Idina Menzel, Jared Bush, Jennifer Lee, Jeremy Sisto, Jonathan Groff, Josh Gad, Kristen Bell, Martha Plimpton, Musical, Sterling K. Brown

Frozen II-2019

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Frozen II-2019

Director Chris Buck, Jennifer Lee

Starring Kristen Bell, Idina Menzel

Scott’s Review #1,043

Reviewed July 22, 2020

Grade: B

Six years after the enormous success of Frozen (2013) comes the follow-up, Frozen II (2019).

Surprisingly, the long gap of time between creations is a long gap of time between creations, but the beauty of animation is that these characters do not age unless creators want them to.

The adventure story is fun, incorporating a bit of history, which always creates depth, but also charts familiar territory as the first installment.

The film showcases lovely visuals and songs, which usurp the other elements. Breeding so much familiarity, there seems little need for a third chapter, though I’d bet my bottom dollar another will emerge.

We are reintroduced to Anna (Bell) and Elsa (Menzel) as little girls when they are tucked into bed by their father, King Agnarr of Arendelle, one night.

He relays a story about his father (their grandfather), a treaty made with a neighboring tribe, a dam, and a magical Enchanted Forest.

As a youngster, Agnarr barely escapes alive after a fight erupts with the other tribe, causing his father’s death, and enraging the spiritual elements of the forest. There is also a key mention about Anna and Elsa’s parents’ lost ship, which is apparently how they died.

Fast-forward to the present day, Elsa and Anna are adults, three years after the events of the first film. Elsa, the one with ice powers, runs her happy kingdom with Anna serving as Princess.

They live in peace and harmony with familiar characters, Olaf, the snowman created by Elsa, Kristoff, Anna’s boyfriend, and Sven, his reindeer.

When Elsa begins hearing mysterious voices calling to her from the mountains, she pursues them only to reawaken the spirits and threaten her kingdom and her people. The group must come to the rescue to retain harmony, learning the reason for Elsa’s powers in the process.

Frozen II has a “nice” feel, which is positive and negative. A family-friendly film with a feminist, female perspective is beneficial, crafting a positive and inspiring message for youngsters, especially females, who watch it.

Anna and Elsa control their destiny, are empowered to go after what they want, and achieve results.

They also support each other, share sisterly love rather than being rivals, and treat people fairly.

The adventure that the girls and their friends face will end happily, that much we know. Slight peril emerges when Anna goads and then flees from gigantic earth spirits, Olaf melts and is assumed dead, and Elsa is also thought dead in the forest.

Still, these are aspects added for dramatic effect, and the safe feel of the film ensures that all major characters will remain in happily ever after harmony.

When Kristoff awkwardly attempts to propose to Anna throughout the film, we are sure he will eventually do the deed, which he does.

I criticized Frozen for limiting diversity in its production, which is corrected in Frozen II. Mattias, leader of a group of Arendelle soldiers, is a strong and protective character and is black.

As an LGBTQ presence, one is only hinted at.

When Kristoff befriends Ryder over their love of reindeer, Ryder admits he knows nothing about girls. Mention must be made of Elsa’s barbie doll-like appearance with her bright blue eyes and long blonde hair.

Does she have to look that stunning? Might impressionable girls get the idea that looks are most important?

Let’s hope not.

The best parts of the film are the musical numbers, which feel more enhanced than those in the first Frozen. Using the same song composers, the tunes feel slightly less poppy. The most emotional number is “Into the Unknown”, which possesses a mysterious quality and powerful, compelling lyrics.

Its message is to go for it, which can be interpreted as conquering fears or trying something new. The sound is anthem-like and superior to “Let it Go”.

Frozen II (2019) is a predictable yet fun affair, infused with Scandinavian elements, featuring mountains, fjords, and a gorgeous landscape that provides the necessary cold-weather ambiance and magical quality.

The visuals are lavish, bright, and sophisticated.

Part II is a slightly more mature affair but on par with Frozen and wisely targets the right audience. Tastes change, so if Part III is made, filmmakers might want to consider a deeper plot or additional details to maintain interest.

Oscar Nominations: Best Original Song-“Into the Unknown”

2018 Films, Adventure, Alex R. Hibbert, Alexis Louder, Andy Serkis, Angela Bassett, Chadwick Boseman, Danai Gurira, Daniel Kaluuya, Forest Whitaker, Isaach de Bankolé, Lupita Nyong'o, Martin Freeman, Michael B. Jordan, Ryan Coogler, Sebastian Stan, Sterling K. Brown, Super Hero, Winston Duke

Black Panther-2018

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Black Panther-2018

Director Ryan Coogler

Starring Chadwick Boseman, Michael B. Jordan

Scott’s Review #805

Reviewed August 23, 2018

Grade: B+

For the record, I am not a huge superhero fan nor an obsessive follower of the popular Marvel comic series. I see a handful of superhero films but hardly any of this particular genre, usually those (if any) receiving year-end recognition.

Having heard many positives regarding Black Panther (2018), I was looking forward to something creative and left of center from the typical genre film.

While the film has some standard superhero elements, the fact that most of the characters are ethnic is an enormous plus and worth the price of admission alone.

Admittedly, Black Panther plays out like a superhero film is “supposed” to play out: fight scenes, machismo, action, and villains, with the standard good versus evil storyline thrown in.

This is all good and will undoubtedly please the traditional Marvel comic book fan. However, the nuances that the screenwriters and director, Ryan Coogler, sneak into the film set it above a mediocre rating.

The fact that nearly all of the principal characters are black is tremendous, and the female black characters are portrayed as strong.

Furthermore, the visual treats of Africa and Korea, and multi-cultural clothing and colors are noteworthy. While I wish the actual story had steered further away from the tried-and-true, I was left happy with the other qualities.

The film begins with a quick story of how one African nation, Wakanda, came to be and proudly brought into existence the first “Black Panther” with superpowers obtained from a special plant.

As the action moves to Oakland, California, circa 1992, we learn that the King of Wakanda is visiting his brother, who works undercover.

Following the King’s death, his son T’Challa (Chadwick Boseman) takes over the throne but is soon challenged by his cousin, N’Jadaka (Michael B. Jordan), who deems himself the rightful heir.

Another subplot involves a black-market arms leader named Ulysses Klaue, who leads T’Challa, along with Nakia (Lupita Nyong’o) and Okoye (Danai Gurira), to South Korea and back to Wakanda.

Black Panther feels ambitious, like seeing something worth seeing, something inventive and cool. The film is stylized, and Coogler’s direction is spectacular, with bright, colorful visual treats, especially as he features lavish African locales.

Admittedly, in a mainstream comic book film laden with CGI effects, it is tough to know what is real or not, but as a viewer, these aspects were a treat and pleasing to the eyes.

The plot of the film itself feels admittedly mediocre, tough to follow, and a “been there, done that” evaluation. By the same token, the story seems predictable, and is it any wonder that T’Challa will reclaim the throne as King of Wakanda?

It does not matter too much after the inevitable clashes with warrior-type men who want the throne and/or feel that they are the rightful heir to it.

This is not to say the film is not good—it is, but the plot is not the highlight of Black Panther; it feels fairly standard.

The male-female roles are a fascinating study and progressive-minded. Granted, the male characters (T’Challa, N’Jadaka, and M’Baku) are all testosterone-laden and fierce with machismo.

However, despite being manly men, they also contain some sensitivity, and the characters have a unique family element.

On the other hand, the female characters are powerful and empowering- a dynamic approach for a superhero film sure to be seen by millions. One female character is even an Army General! So the portrayal of women as strong warriors rather than merely secondary or arm candy is impressive.

The comic book or superhero genre is notoriously filled with gender stereotypes and specific, often generic aspects. It is nice to see this work break down some of these barriers.

Between the recent Wonder Woman (2017) and Black Panther (2018), women and the black community have been represented positively.

Here’s to hoping that the LGBT community may be next.

Oscar Nominations: 3 wins- Best Picture, Best Original Score (won), Best Original Song-“All the Stars”, Best Sound Editing, Best Sound Mixing, Best Production Design (won), Best Costume Design (won)