Tag Archives: Tichina Arnold

2019 Films, Brad Pitt, Danny Glover, Drama, Finn Wittrock, Independent, Independent Drama, Jimmie Fails, Joe Talbot, Jonathan Majors, Rob Morgan, Thora Birch, Tichina Arnold

The Last Black Man in San Francisco-2019

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The Last Black Man in San Francisco- 2019

Director Joe Talbot

Starring Jimmie Fails, Jonathan Majors

Scott’s Review #1,018

Reviewed May 1, 2020

Grade: A

The brilliance of The Last Black Man in San Francisco (2019) is multi-fold. The immediate call-out is that the work is the creation of up-and-coming director Joe Talbot, an artist with an excellent eye for both the visual and humanistic aspects of cinema.

Whoever influenced this young man deserves props, for he has a great future ahead of him. Given that this is his film debut and he also co-wrote it, the future is indeed bright. The film is loosely based on the life of Jimmie Fails, his childhood best friend, who also stars.

A24 is arguably the new “it” film studio for independent entertainment offerings, and this is to be celebrated.

Indie films provide creative artists with the means and time to develop their products and tell stories that are fraught with meaning, and in many cases, dare to go where other films have not ventured, at the risk of turning off a mainstream audience.

This is to be celebrated and championed, and has resulted in many fantastic and unique films. Hereditary (2018), Midsommar (2019), and The Lighthouse (2019) immediately spring to mind.

The Last Black Man in San Francisco gets off to an interesting start as two young black men, Jimmie (Fails) and Mont (Jonathan Majors), wait for the bus as men clad in protective gear appear to clean polluted waters.

The implication is clear that residents are not protected while the men are. Protesters chant while images of the changes San Francisco has experienced over the years are shown.

The two then skateboard to a Victorian house in the city’s Fillmore District, where Jimmie grew up and says it was built by his grandfather in 1946.

Their skateboard trip is cerebral and surrealistic and has ten glorious cinematic moments.

It is evident that Talbot is channeling either an autobiographic story or one of a friend- it proves to be the latter. Unclear is if Mont is supposed to be Talbot, but my guess would be in the affirmative.

Jimmie and Mont are inseparable, residing both at Mont’s grandfather’s house (played by a startlingly elderly Danny Glover) and the house that Jimmie’s grandfather built.

The friends trudge along with their daily lives by enduring insults hurled at them by a neighborhood gang and fixing up the Victorian house whose owners neglect it, only to be subsequently evicted.

Jimmie and Mont are fantastically nuanced, rich characters, each for different reasons. Jimmie is pained that his city has forgotten his grandfather and his legacy, which have been cast aside for progress and wealth.

His father (Rob Morgan) is angry, his mother, a recovering drug addict, is barely in his life, as they run into each other by chance on the city bus. Jimmie’s Aunt (Tichina Arnold) resides outside the city and serves as his confidante.

Mont is creative, yearning to write a play based on the local gang, but struggles to create the words or authentically express his voice. He works in a fish shop and frequently acts out his thoughts about others down by the water. Considered odd, he is a good guy and loyal to his grandfather.

Since a female love interest is never mentioned (another high point of the film), neither Jimmie’s nor Mont’s sexuality is ever discussed, nor is a potential relationship between the two ever mentioned.

The ambiguity works remarkably well and evokes comparisons to the groundbreaking Moonlight (2016).

When a sudden death erupts, the proceedings, Mont finally finds his voice and composes an improvised stage play which he stars in as a dedication to the fallen victim.

He elicits responses from the people in attendance (including all principal cast members) as a shocking secret erupts, resulting in disarray. This takes the already layered film in a new direction as all Jimmie thought to be true is suddenly shattered.

In a word, the film feels fresh, both visually and from a story perspective.

Fails and Majors are a top young talent with bright futures who add a patient climb to their characters amid a film that paces slowly but steadily, letting the events unfold in a thought-provoking way.

I eagerly await the next project by the talented Talbot.

In a film industry hungry for new ideas, the creator of The Last Black Man in San Francisco (2019) offers a journey into the minds of two black men, written not as stereotypes, but as interesting and intelligent individuals, who are not looking forward, but looking backward.

The film provides characters who are not standard but are so much more than that.

Independent Spirit Award Nominations: Best First Feature, Best Supporting Male-Jonathan Majors

2019 Films, Elizabeth Lail, Horror, Jordan Calloway, Justin Dec, P. J. Byrne, Talitha Bateman, Tichina Arnold

Countdown-2019

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Countdown-2019

Director Justin Dec

Starring Elizabeth Lail, Jordan Calloway

Scott’s Review #999

Reviewed March 12, 2020

Grade: B

Countdown (2019) is a modern horror film that accomplishes what it intends to do- it entertains the audience.

With jumps, frights, and some comedic elements, it borrows heavily from the Final Destination (2000-2011) and Happy Death Day (2017-2019) franchises.

The film does not reinvent the wheel, conventionally steering the course. The superstitious elements become hokey and unbelievable, but the film has enough momentum to offer a solid product, especially pleasing to genre fans.

When a young nurse (Elizabeth Lail) downloads an app that claims to predict precisely when a person is going to die, it tells her she only has three days to live. With time ticking away and death closing in, she must find a way to save her life before time runs out.

She struggles to figure out how to delete the app while piecing together the puzzle to break a curse and thwart a threatening demonic spirit. Her sister is also threatened.

Director Justin Dec, a newcomer to the cinema, does not waste any time beginning the action, as events debut at a college keg party. A group of revelers decides to play a drinking game after downloading the new Countdown app, which is supposed to determine how long you have left to live.

Thinking the app is a joke, unlucky Courtney (Anne Winters) is startled to see that she has only three hours to live. After refusing to drive home with her drunken boyfriend, Ethan, she is murdered at home by an evil spirit, while Ethan crashes his car, a tree spearing through the seat that Courtney would have been sitting in.

With this sequence, the audience is hooked, as the pacing is well-maintained. With the app clock ticking down dangerously towards zero, a theme heavily promoted throughout the film, we can’t wait to see how or if Courtney is killed.

Red herrings, like a man following her or a shower curtain that moves, are presented for good suspense. Assumed to be the “main girl”, Courtney’s death is surprising, and the main title then appears, fooling the audience. There is more to come.

Carrying a horror film is not easy, but actor Lail rises to the occasion. Resembling a young Christina Applegate, Quinn is strong and independent. Many of the scenes take place at the hospital where she works, though she also makes time to see her father and sister.

Quinn’s mother has recently died, and Quinn blames herself. She connects with Matt (Jordan Calloway), who lost his brother after stealing his toy. Quinn is a character that viewers can admire and emulate.

Countdown deserves credit for incorporating a wide range of diversity. Matt is black, making his romance with Quinn an interracial one. Several Asian, Latino, or Black characters are featured in many scenes, showcasing a diverse representation of multiculturalism.

Unfortunately, and surprisingly, no LGBTQ characters are featured. Comic relief store owner, Derek (Tom Segura), would have been the perfect character to make gay, but this was not to be.

To build on this, a timely and progressive Me Too side story is added, when a well-respected doctor at the hospital makes a move on Quinn. He reports the incident to Human Resources when she rebuffs his advances. She is suspended, without an investigation, until other women come forward throughout the film.

While this would be an essential message in another type of film, the relevance does not work or fit the rest of the story.

The ninety-minute running time is a splendid approach, so the film never drags or dulls. The final twenty minutes or so are a letdown as Quinn and a priest realize that to break the curse, one must trick it by having someone else die out of sequence.

This is all too like Final Destination, but not as good, as Quinn ends up fighting with the spirit, killing herself with an overdose of morphine, while drawing a circle on her arm where a syringe with Naloxone can subsequently revive her.

For a new director eager to break into the horror genre, Justin Dec borrows heavily from previous films, presenting a copycat story that is paced perfectly. It provides enough interest and good casting to warrant a follow-up.

Due to low box-office returns, I doubt Countdown (2019) will become a mainstay franchise, but Dec may have a promising future ahead of himself.