Tag Archives: Jamie Foxx

Soul

Joe (Jamie Foxx) has jazz music in his soul and zero dollars in his bank account. His mother likes to brutally remind him of this little fact, and push him toward accepting a permanent position as a middle school music teacher. Just as he’s about to capitulate, an old student calls to offer him a wildly exciting opportunity to play with the wonderful Dorothea Williams. Ms. Williams (Angela Bassett) is impressed with his jazzing, and he’s engaged to play with her later that evening. But he doesn’t make it to later that evening; he dies on his way home.

Understandably, his soul panics on the way to heaven, and he decides to buck the system, running away from heaven or the great beyond or whatever you want to call it, but unable to get back to Earth/life. He hides out in a mentorship program instead, posing as a mentor soul assigned to help new souls find their spark. Soul #22 (Tina Fey) has been mentored by the very best for eons but has yet to find her spark. In fact, she expects that life is kind of a buzzkill, and she’s actively resisting it. Joe runs through all the obvious things like music and food, but it’s not until they sneak back down to Earth that things really start to gel for her. Of course, it probably helps that she can finally experience things in a human body, one that moves to music and tastes food and is delighted by the strange wonders of the human world. One small hiccup: in the melee, 22 took over Joe’s body, and Joe’s soul…ended up in a cat. Joe is desperate to make the Dorothea gig, but what use is it if he’s a cat? And 22 is deeply distracted by pretty much every single thing she encounters. She’s finally found her spark, but the problem is, she kind of promised it to Joe. You need a spark to get to Earth permanently, and taking 22’s is Joe’s only option. And until very recently, 22 had no use for a spark and no interest in life. She promised it freely. But now…well, what if 22 wants it too?

This movie is beautiful and tragic because life is beautiful and tragic. It is everything you want from a movie and nothing you expect from a cartoon – except it’s Pixar, so you dare to hope. They’ve done it before. They’ve done it again.

In talking about death, Soul is actually discussing how to live. Joe believes that his life will be fulfilled by achieving his dream of performing jazz, but 22 teaches him there’s plenty of pleasure and wonder to be found in simply living, in taking the time to look, listen, and learn. 22’s naivety and newness to the world inspires Joe to slow down and take a look around as well.

Directors Pete Docter and Kemp Powers are not afraid to embrace the surreal and the intangible when examining the life well-lived, or to ask children to engage in a little introspection. A simple premise allows for a wonderful complexity of ideas embodying Joe’s existential crisis – which may be putting it mildly considering he’s dead and doesn’t want to be. But this spiritual scrutiny is able to include both the joy and the sadness, the fear, regret, obsession, insecurity, and the inspiration, ambition, passion, and life-affirming facets of personal philosophy because Pixar’s trademark playfulness makes it all feel non-threatening and really rather fun.

The voices are well-cast, the entities are well-designed, the movie looks amazing, but most important, it just feels good. It feels right, it feels warm, it feels like a hug from your past self to your future self, and I can’t think of a more perfect (cinematic) way to end the year.

Project Power

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911 is being flooded with calls of very, very strange occurrences. People are having some very unusual reactions to a new drug they call Power. Everyone reacts differently to it, and some very badly. Police aren’t just powerless to stop it – some people can out-run cop cars on foot while taking it, others become bullet-resistant. Basically, you get some kind of super power, but it’s temporary, you don’t get to choose it, and sometimes it just kills you dead. As they say: results may vary.

Today this drug is toppling police precincts, tomorrow: governments. So one local cop, Frank, operates a little outside the bounds of his badge with a young drug dealer named Robin to get it off the street before it’s too late. Which may or may not line up with the intentions of a man named Art, an ex-military man who is rather single-mindedly looking for his daughter who is somehow mixed up in all of this.

Discerning individuals may already think this premise sounds interesting, and you wouldn’t be wrong. Perhaps you don’t need any further convincing, so this is just icing on the cake: Joseph Gordon-Levitt. It seems like not very long ago we were lamenting his rather lengthy sabbatical from Hollywood, but he’s following up his return to film in 7500 with a far different turn as a dedicated but unorthodox New Orleans police officer. Once he teams up with super stubborn soldier dad Art (Jamie Foxx), you’ve got a combo you can’t take your eyes off of. But you will, because the third member rounding out their trio, Robin (Dominique Fishback), may have rap dreams, a sick mom, and unfinished math homework, but she holds her own between these fiercely driven men. This is a star-making role for Fishback, whose talents help set this film apart.

Directors Henry Joost and Ariel Schulman serve up an adrenalized sci-fi action film that’s got some pretty slick and nearly non-stop violence binges. It hardly leaves room to catch your breath, let alone contemplate these characters and who they might be when they’re not chasing down Dr.Evil. Project Power is thrilling and engaging but it’s no Marvel: not everyone can afford the many phases and chapters of a cinematic universe. Most films, this one included, have just under 2 hours to tell a complete story. Project Power can only hint at themes like what is power, and who should wield it. Most of the time, Joost and Schulman choose action over narrative, and you can hardly blame them for it, given the tempting material. I do, however, blame them just a bit (and screenwriter Mattson Tomlin) for an embarrassing lack of imagination. Not one of their super powers is original; you will find each one has already been dreamed up by comic book writers 50 years ago. Which doesn’t mean it’s not a lot of fun to watch someone ignite like a real-life human torch. I just wish we knew enough about the guy (Machine Gun Kelly, ugh) to appreciate what in his DNA or his personality is self-selecting this particular power and how finely it straddles the line between weaponized flame thrower and self-immolation.

Just Mercy

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As much as we may want to pretend otherwise, the justice system has two distinct tiers. Those with money get an easier path than those without. That disparity is never acceptable but is especially offensive in the criminal context, where poor people who find themselves in the system are likely to stay there whether or not they are guilty of the offences charged, because they lack the ability to pay for legal representation or to post bail. Those disadvantages result in innocent poor people being locked up for extended periods of time, many of whom are on death row.

These effects are arguably a feature of the system rather than a bug, since these circumstances disproportionately affect black people in the southern United States (see Ava Duvernay’s 13th for more on that terrifying but logical conclusion). Incidentally, the reason my criticisms are focused on the American justice system is simply because the U.S. is basically the only western civilization that still applies the death penalty.

Walter “Johnny D” McMillan (Jamie Foxx) was one of those innocent poor black people waiting on death row in Alabama. Convicted of the murder of a woman he had never met, by a jury from which black people were excluded, based entirely on the false testimony of a convicted felon, Johnny D seems resigned to his fate. Which is understandable, as there is no point in hoping for merciful treatment from a justice system stacked against you. That changes when Bryan Stevenson (Michael B. Jordan), a young Harvard law school graduate arrives in Alabama to provide legal aid to the disadvantaged, takes up Johnny D’s case, and challenges the conviction despite constant opposition from the district attorney, the sheriff, and the legal system. Brie Larson is also in this movie, as Stevenson’s operations director, but it’s a bit role. Foxx and Jordan get most of the screen time and all the best scenes. The two of them are excellent and are worth the price of admission on their own.

Their performances helped me get through the depressing fact that this is a true story, and worse, a true story we have heard many times before. Just Mercy does a great job of shining a light on injustice but is also an entertaining courtroom battle in its own right, that more than holds its own against any fictional legal drama. I was particularly impressed that the drama was allowed to play out with a minimal amount of Hollywood glitz, so that the courtroom scenes were close to how they would have played out in real life. Clearly, the filmmakers believed the real story was compelling enough to stand on its own, and they were absolutely right.

The Black Godfather

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Clarence Avant: he’s the brilliant mind, the visionary who brought people together in exactly the right way for decades. Never famous himself, he knew everyone. Everyone everyone. And was respected by everyone. He was the rainmaker, as they say, in TV, music, movies, business, and politics. He was a mentor to nearly anyone who’s anyone – particularly in the black community. So how is it I don’t even know his name?

Avant is the kind of man who understands that his power lies behind the scenes, but believe me, he is not without recognition. He doesn’t just have a finger in all the pies, he’s baking and selling all the pies. But he’s so humble he can’t even bear to acknowledge the nickname that grateful thousands have bestowed upon him: The Godfather. He’s so humble he never even went looking for half the jobs he ended up with, it’s just that those around him couldn’t help but be impressed by his talent and were smart enough to move Clarence where he could do the most good. Because at his core, he’s a good and decent man. Imagine having all those connections, all that respect and power and influence, and it never going to your head. Well THAT’s what makes Clarence Clarence.

Quincy Jones describes their relationship as “love at first sight” and my favourite thing about this documentary is that rather than just talking-head interviews, these two greats are in a room together, Avant hanging his head as Jones confesses their youthful indulgences. It’s glorious insight. Interviews with his family go similarly, swimmingly. It’s wonderfully intimate, engaging, and fun to watch.

He may have often been the only black man in the room, but he always belonged. And this was at the height of Jim Crow bullshit. And he puts his client, Jim Brown, in one of the first interracial love scenes (with Raquel Welch in 100 Rifles, 1969). He didn’t march in the streets but he lifted up his people.

The documentary consults many stars: Cicely Tyson, Hank Aaron, Bill Withers, Bill Clinton, David Geffen, Snoop Dogg, Lalo Schifrin, Jim Brown, Jamie Foxx, Barack Obama – but to hear them tell it, they may be the stars, but Clarence Avant is their sun.

Robin Hood

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If you needed money on an urgent basis, would you steal from the rich or the poor? The rich, right? It’s a no brainer. It’s Robin Hood’s calling card for good reason, because it works. And yet, when forced to make that decision in the latest big screen version of the legend of Robin Hood, the evil Sheriff of Nottingham (Ben Mendelsohn) chooses to rob the poor instead. I took it that was intended to show us that the Sheriff is truly evil. But what it really shows us is that he is an idiot.

This Sheriff of Nottingham is so dumb that he has no chance to best Robin Hood or any of his merry men. He is so dumb that he was written out of this wannabe franchise before it even crashed and burned at the box office. Still, Mendelsohn doesn’t let this miserable movie or its bad script constrain him. He gleefully chews enough scenery to let us know that even as this movie is bursting into flames around him, he relishes this chance to play an idiot. He absolutely nails it. Which doesn’t make Robin Hood any more enjoyable, but I have to give Mendelsohn an “A” for effort.

No one else in Robin Hood has even an eighth of Mendelsohn’s desire. Taron Egerton, Jamie Foxx, Eve Hewson and Jamie Dornan must also know that they are part of a dismal film. Nothing about this project could ever have seemed promising. Cliches and plot holes abound. The story makes no sense. The voiceovers are unbearably banal. The whole endeavour was so flat that I had time to wonder what Michael Bay might have made of this, and I concluded he could only have made it better, because at least Bay would have joined Mendelsohn in having some fun with the wretched source material.

Aside from Mendelsohn, everyone else in this film is making an obvious effort to be forgettable. It mostly works. In a year from now, I probably won’t remember anything about Robin Hood. It’s destined to be a footnote at best, remembered only in passing the next time a Robin Hood movie is made (maybe with Robin being female, which is one in a long list of Jay’s good ideas). Until then, try the Disney cartoon if you need a Robin Hood fix, or fall back on the Kevin Costner one if you’re desperate. Because the 2018 Robin Hood is not worth any of your time, or even any of the time of your most idiotic nemesis.

Stealth

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The other day, Sean rolled his eyes at a bumper sticker on the car in front of us. “9-11 was an inside job” it loudly proclaimed. And I get why Sean’s annoyed, but I love this particular bumper sticker, and many like it. I like when stupid people label themselves. I wish more would think to do it.

Stealth puts Jessica Biel in the middle of its marquee, and like the above bumper sticker, it’s as good as a warning not to take anything about it seriously. Biel is joined by Josh Lucas and Jamie Foxx, and the trio make up a team of fighter pilots running some top-secret missions for the military. The newest project is a fourth wingman, MV5BMTY3ODg0NTQxOV5BMl5BanBnXkFtZTgwNjE4MjMyMDI@._V1_SY1000_CR0,0,1534,1000_AL_ named Eddie, who the stealth pilots would roundly reject just for being the fourth wheel on a tight little tricycle, even if he wasn’t purely artificial intelligence. Eddie represents a future in which war won’t cost human lives, but also where human jobs (not to mention human judgement) will be replaced.

Now, we all know that we have invented robots so that they may kill us. I mean, I don’t believe that’s the outcome we’re hoping for, but it is inevitable. And we all know that super-smart computers quickly outsmart us, and things go horribly wrong. ‘Predicable’ doesn’t begin to describe the direction in which Eddie takes us. He’s the poster boy for everything the U.S. Navy should not do, and yet he’s also kind of the poster boy for delegating script-writing to robots, who surely could not intentionally produce something half as robotic as this.

First of all, I’m mad at any movie that makes me feel bad for Jessica Biel. Come on man, don’t do that to me. I want to be able to luxuriate in classic lines like “Pardon my C-cup” with all the bluster I can muster, then rage-eat Cheetos until my heart gives out and I die with a poof of orange dust.

Speaking of which…when Jessica Biel ends up in North Korea, it’s kind of a big deal. “Enemy lines” and all. Except I suppose now North Korea is less problematic, because for some reason the American President gets along better with dictators and despots than with respected, democratic world leaders who believe in gender equality and wear snazzy socks. But back in 2005, before the world was turned upside down, Jessica Biel was in big, ginormous trouble, and Stealth had no problem turning a badass fighter pilot into a damsel in distress – how else can her love interest go to her so that she can say to him “You came for me” in a needlessly breathless way?

And while I’m halfway on the topic, I suspect that Hollywood has commissioned some secret experiment to learn the exact right way to apply wounds for maximum sex appeal. I mean, the woman fell like 50 000 feet but only suffered a couple of scrapes – one ever so tantalizingly placed across her cheekbone, where the makeup artist might otherwise apply highlighter to better contour the beautiful angles of her face. With men, I believe sexy cut placement is above the eye. I bet there’s a lab in a Hollywood basement, where some poor gal in a white coat is remembering how when she grew up, she wanted to cure cancer.

I digress. In fact, this review has been nothing but digressions. But I don’t think you deserve much better when you attempt to cross Top Gun with 2001 and wind up with a hideous monster. Stealth is nothing but nosedive.

Collateral

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It’s probably never a good day to be a cab driver, but Max is having an exceptionally bad day: he’s just trying to put in his time until he can get his own limo business going, minding his own business, when by a stroke of bad luck, Vincent climbs into his backseat.

Vincent (Tom Cruise) turns out to be a contract killer. We know this because he intends to use Max (Jamie Foxx) as the getaway driver in a series of murders across L.A. The first collateral unlucky victim takes Max by surprise when he crashes through his windshield. That fearsome windshield crack will be a thorn in Max’s side, but it’s just a small obstacle in a rather wild ride. Max is a hostage but under surveillance by the cops he looks rather like an accomplice. Good thing Detective Fanning (Mark Ruffalo) is on the case! He’ll save him!

But not before Max realizes he’s the only one who can save Annie (Jada Pinkett Smith), an attractive lawyer who coincidentally gave him her number earlier that day. Turns out she’s working the wrong case, and her name is on Vincent’s hit list. Yikes.

Director Michael Mann once drove cabs; so did his father before him, and his grandfather owned a taxi company.

600px-CollateralUSP-45-3 Considered to play the role of Vincent: Russel Crowe, Edward Norton, John Travolta, Leonardo DiCaprio, Colin Farrell

Considered to play the role of Max: Adam Sandler, Cuba Gooding Jr, Robert De Niro, Johnny Depp

I’m glad we got the Cruise-Foxx combo because they made such a great pair. It’s refreshing to see Cruise as the villain and he channels sinister very well. I’m sure Foxx felt it, particularly in those tense scenes in which Cruise is sitting right behind him, leaving Max vulnerable and twitchy. Collateral may be a but formulaic but it’s a highly polished thriller with some great performances. Michael Mann stylishly serves up heaps of tensions, and the performances are great, never overcooked.

SXSW: Baby Driver

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Is this the absolute coolest movie ever?

Honestly, I think I’d pay my $12 just to see that opening scene again.

Baby (Ansel Elgort) is a getaway driver, the best in the biz despite his young age, according to his boss, Doc (Kevin Spacey). But Baby has a glitch: he wears ear buds constantly to fight tinnitus. So to him, the whole world is a soundtrack. And you’re about to enter his world.

Doc never works with the same crew twice, so we see a rotation of criminals including MV5BMzk0NzMyNzcyN15BMl5BanBnXkFtZTgwNTYwNDU5MDI@._V1_ Darling (Eiza Gonzalez), Griff (Jon Bernthal), Buddy (Jon Hamm), and my personal favourite, Bats (Jamie Foxx), personal motto: “I’m the one with mental problems in the group. Position taken.” GUYS, HE’S NOT KIDDING.

But don’t get attached to any of those fellows. This is Baby’s movie. He’s being coerced into this life of crime, but that doesn’t mean he isn’t good at it. He is, however, trying to get out, and nothing is as inspiring as the love of a good woman. So when Deborah (Lily James) soft shoes into his life, he’s got a boner for the open road. But wait – you didn’t think getting out would be that easy, did you?

This is a film by Edgar Wright, whom I love, unreservedly. This is a very different sort of film from him, but he’s already thrust himself to the top of the game. When you catch your breath at the end of the film, you’ll have to answer me truly: have you ever seen action to equal it? Ansel Elgort’s character Baby is obsessed with two things: music, and cars. And so is the film; car chases and music both turned WAY up to 11. Anything that gets between them is incidental.

MV5BMTEyMzQxMTI0ODZeQTJeQWpwZ15BbWU4MDQ2MDQ1OTAy._V1_ Wright is a phenomenal writer, and Baby Driver is just as quippy and quotable as any other in his oeuvre. The music jangles, sometimes wildly incongruous to what’s developing on screen, sometimes deliciously ironic, but it stitches the film together between Wright’s explosive action sequences. Wright’s films are always kinetic. His own exuberance for film making comes across on the screen, is barely contained by it, in fact.

If Ryan Gosling from La La Land fucked Ryan Gosling from Drive, Baby Driver is what you’d get. On paper, this isn’t the kind of movie I normally care about, or for, but on the screen it sang to me, I fuck-yeahed in the dark of the theatre, and I can’t wait until August when I can see it again. [LUCKY US, THE RELEASE GOT MOVED UP TO JUNE 28 DUE TO THE WELL-DESERVED ACCLAIM THIS GOT AT SXSW!]

Incidentally, I have a mini poster signed by Edgar Wright himself. If you’re interested in winning it, Follow us on Twitter (@AssholeMovies), and retweet the relevant post. Comments here are worth extra entries. Good luck! [THIS IS LONG GONE (CONGRATS TO THE WINNER) BUT FEEL FREE TO RETWEET ALL OUR POSTS OUT OF THE GOODNESS OF YOUR HEART.]

Also: super DUPER bonus: check out the comments section for ROBERT RODRIGUEZ doing a Q&A with Edgar Wright and stars Eiza Gonzalez, Ansel Elgort & Jon Hamm.

Actors-Cum-Singers

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I had heard she had some sort of music career fallback, but I didn’t really understand that I’d been hearing her on the radio consistently for quite some time. Hailee Steinfeld: you may know her as the little girl from True Grit, or else the young woman in The Edge of Seventeen, but a whole lot of young folk know her as a top 40 pop artist. She “broke out” after appearing in Pitch Perfect 2 and just like that she had a record deal and a music video.

Of course you may know that Pitch Perfect alum Anna Kendrick also landed on the Billboards with her annoying song, Cups. The music video, which I’ve neglected to see before today, is a bit aggravating since she’s play some working class baker in a horrid little diner that apparently refuses to sell drinks. Anyone else start bleeding from the eyeballs when this comes on? Anna Kendrick’s gotten singy in a whole bunch of her movies, including Trolls and Into the Woods, so it seems unlikely that her vocal stylings are going anywhere soon (god help us all).

Kendrick’s not the only co-star of Hailee Steinfeld’s to have music on the radio. Her True Grit co-star Jeff Bridges is super musical too. Of course you were likely blown away by his performance in Crazy Heart, but that’s not a one-off. He studied piano as a kid but now he’s usually seen with one of several guitars in hand, on set and everywhere else. In 1980, while filming Heaven’s Gate, he’d often jam with his co-star, singer\songwriter Kris Kristofferson, between takes. Kristofferson helped inspire Bridges’ Crazy Heart character, Bad Blake, who is described as being the fictional 5th Highwayman, alongside Willie Nelson, Kristofferson, Waylon Jennings and Johnny Cash.

A bunch of actors tour with bands in their down time. Steve Martin’s bluegrass sound isn’t surprising to anyone who’ll recognize his banjo from his stand-up comic days. He’s put some real time and effort into his second career as a musician, and he’s picked up some Grammy awards to show for it. Billy Bob Thornton has released music with The Boxmasters and Tres Hombres. Michael Cera plays bass in Mister Heavenly. Kevin Costner’s band, Kevin Costner and Modern West, tours the NASCAR circuit. Keanu Reeves’ band Dogstar reportedly gave Weezer their first touring gig opening for them in the early 90s. Kevin Bacon makes music with his brother in (you guessed it) The Bacon Brothers. Russell Crowe started out with 30 Odd Foot of Grunts before he was super successful over here, and then graduated to Russell Crowe & the Ordinary Fear of God once he did. And perhaps most famously (or at least most successfully), Jared Leto formed alt-rock band 30 Seconds to Mars the minute he was done with My So-Called Life and has always gone back to it between film projects, ensuring the stability of the black eyeliner industry.

Jamie Foxx revealed his musical talent in the movie Ray, and then followed it up with a convincing Ray Charles impression in Kanye West’s song, Gold Digger. Foxx has also been feature on a Drake track (another actor turned musician; Canadians will never let him forget that he got his start on the Degrassi reboot). Solo, he’s released 4 R&B albums since Ray. His most commercially successful single, the heavily auto-tuned Blame It, has a music video that weirdly “stars” Jake Gyllenhaal, Ron Howard, Forest Whitaker, and Samuel L. Jackson. Never mind the Grey Goose sponsorship deal. Feel free to check it out and let me know what gives.

One of my favourie actor crossovers is Zooey Deschanel, who has a good thing going with M. Ward called She & Him. She’s pretty legit – she plays keyboards, percussion, banjo, and ukulele – and M. Ward lends a lot of blues\folk credibility. We know she can sing from her duet with Will Ferrell in the movie Elf, but she’s also appeared on a Coconut Records album, a band by fellow indie actor Jason Schwartzman. In this She & Him video, she’s helped out by her 500 Days of Summer co-star, Joseph Gordon-Levitt.

In case you doubted that Ryan Gosling was singing (he was a Mousketeer alongside Justin Timberlake you know!) and playing the piano long before La La Land ever existed, here’s a pretty raw video of him and his band Dead Man’s Bones. The sound’s not great because it was recorded live, but you’ll get the gist.

There are many more besides who tried to sing and probably shouldn’t have, and I’m not even sure if William Shatner belongs on that list. He’s released so many albums at this point that I have to take him at least semi-seriously, or as seriously as the Shatner spoken-word singing can be taken. Which is still better than Cory Feldman sing-ranting about the pitfalls of being a former child actor. And I can only begin to imagine the highs and lows contained on an album by Steven Seagal, Bruce Willis, or David Hasselhoff, and apparently there are 18 of those in existence! Can you even believe it? Well believe it:

Who is your favourite actor-musician?

Horrible Bosses 2

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I am in the same boat as Jay when it comes to Horrible Bosses – I do not remember the first movie at all. That probably means we went to the drive-in and were not watching the movie, which is fine by me! Anyway, I do remember watching Horrible Bosses 2 because I just saw it last night, and laughed a lot.

I laughed even though this movie is not particularly clever or innovative and really makes no sense when you think about it (spoiler alert: why not try to sell your 100,000 Shower Buddies to someone else?) until you take Jamie Foxx at his word that NickKurtDale are the craziest criminals he has ever met. They just like doing this sort of stuff and I guess on that reasoning it makes perfect sense that when they run into adversity they start hatching illegal schemes (which may or may not involve zip lines, trampolines and skateboards).

I laughed because these three guys (Jason Bateman, Jason Sudekis and Charlie Day) have such good chemistry and clearly are having fun every step of the way, often at each other’s expense. And I don’t think that’s character-driven, because there isn’t a whole lot of acting going on. That’s not even a criticism – I wasn’t there to see acting, I was there to laugh, and mission accomplished on that front. It’s not an Oscar winner but it’s about as much fun as you can have at the movies when the drive-in is closed for the winter.

Well executed and surprisingly good, Horrible Bosses 2 is one to watch, preferably with a few good friends who could help you plan a kidnaping if it ever comes to that.