Tag Archives: Lakeith Stanfield

Someone Great

Jenny has just suffered a soul-crushing breakup with forever boyfriend, Nate. After 9 years together, things end right before she’s about to move cross-country for a new job. Thank goodness for best friends Erin and Blair who are prepared to drop everything to grieve with her while celebrating one last night together, out in NYC.

A series of glowy flash backs convince us that yes, Jenny (Gina Rodriguez) and Nate (Lakeith Stanfield) were indeed great but the truth is, in mourning a boyfriend, this movie really celebrates girlfriends. Jenny, Erin (DeWanda Wise) and Blair (Brittany Snow) have a bond that’s outlasted all the other relationships in their lives.

Rodriguez, Wise, and Snow have terrific chemistry. Writer/director Jennifer Kaytin Robinson keeps things loose; it feels like the women spent time getting to actually know and like each other, rather than rehearsing. It feels real. It feels familiar, like they’re MV5BOWUyZTQ0MjEtNDRmMy00NDJiLWE4YjktNDk3MDBiYzQ2ZGEyXkEyXkFqcGdeQXVyMjM4NTM5NDY@._V1_SY1000_CR0,0,1499,1000_AL_tapping into the weird naturalness and closeness of our friendships from early adulthood. Things will change for them, I bet, and soon. I want to tell them to treasure the fuck out of these moments. In fact, these women are on the cusp. They’re nearing 30: careers are taking off, relationships are getting serious. Kids, suburbs, and neglecting our female friendships tend to come next. That sounds sadder than I mean it to because this movie is surprisingly upbeat and fun. So maybe time won’t get away on them, and maybe phone calls won’t go unreturned for months at a time, and maybe they won’t find themselves saying ‘We should get together soon’ and never quite making it happen. Maybe.

But that hasn’t happened to them yet! They’re still the most important people in each other’s lives, and on this night in particular, they are super duper there for each other and it’s marvelous.

Also: it has a pretty great soundtrack.

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Sorry To Bother You

Well.

I hardly know how to talk about a movie like this.

It’s radical.

Ostensibly it’s about “telemarketing” but that’s like saying Toy Story is about single parenting. It’s really about racism and assimilation and wage slavery and identity – by way of telemarketing, at least to start.

Cassius Green (Lakeith Stanfield) is thrilled to get a shitty telemarketing job, working for commission. There’s almost no way to actually succeed doing this kind of work, but Cassius stumbles upon the secret, magic key: a white voice. A persuasive, approachable, overconfident voice, like Tobias Funke’s, perhaps. Using this voice, Cassius shoots straight to the top, rocketing past his buddies and even his girlfriend Detroit (Tessa MV5BMzNjZTZlZmYtODU0ZS00NzFkLTkyZGEtOTI5M2Q0YTZmNzg3XkEyXkFqcGdeQXVyNDg2MjUxNjM@._V1_SY1000_SX1500_AL_Thompson) who are trying to organize a union that will help the little guys make a living wage too.

On top, Cassius is of course hypnotized by the wealth and privilege, but now that he’s rubbing elbows with “the man”, he’s finding it’s a little different than he’d imagined. “The man” is of course Armie Hammer, like you ever fucking doubted it. Hammer was literally born to be typecast as a slave owner – his great-grandfather was a legit oil tycoon and philanthropist, and the family is worth somewhere in the neighbourhood of $200M. So yeah, he’s got owning slaves in his blood, and we can all read it in his cheekbones. In Sorry To Bother You, he plays a CEO who is “saving the world” by enslaving all the poor people and making them thank him for it. Signing a contract, they agree to work wage-free for him forever in exchange for housing (which looks surprisingly like prison cells minus the bars but with double the roommates) and food.

And everything is just gently pushing you. Pushing your boundaries, almost imperceptibly. In the beginning, things are near normal but they escalate, asking us to accept just one more inch of absurdity. It is THE best kind of satire, uncompromising but plenty challenging.

First-time writer-director Boots Riley has made a film that is gutsy and experimental. It feels like this is a guy who isn’t sure he’ll ever get to do this again, so he’s not leaving a single idea on the table. He takes huge risks and when they pay off, hot damn. Sorry To Bother you zigs and zags in unexpected places but the super talented cast helps this thing stay grounded. Riley is full of piss and vinegar and a comic outrage that’s infection. This is bold stuff, exciting to watch, fearless, outrageous, and I want more. Not for the faint of heart.

Straight Outta Compton

Finally!  It’s hard to say there was a downside to TIFF but it monopolized my movie-watching for its entire 11 days.  And since Jay and I were busy before that doing Amazing Races and Oddball Festivals and other summertime stuff, I didn’t get to see Straight Outta Compton until yesterday.  Which was making me itch a little because I had heard really good things, and I am happy to report that those good things were accurate.  Straight Outta Compton is a very enjoyable history lesson/tribute to some of hip-hop’s founding fathers, most notably Eazy-E.

Having been a 12 year old small-town Canadian kid whDr.DreTheChronic.jpgen N.W.A. broke, they were a little fuzzy to me at the time. But now I’m older and wiser, and since turning 13 I got into mid-90s hip-hop, Ice Cube made a lot of movies, and as my record collection grew I got Straight Outta Compton and The Chronic (and All Eyez on Me), so this movie brought N.W.A. into sharper focus.  It’s really staggering to think of how much talent was in this group and how soon it all ended.  It’s  also staggering to think about how much more to the story there is in the Aftermath, which gets hinted at in the end, and which was a nice touch.

I thought this movie flowed really well and was grounded enough in reality to feel authentic.  Again, since I was 12 at the time, I don’t know much about Eazy-E aside that he died from AIDS when AIDS was just becoming real for me because Magic Johnson had it.  So it was really neat to see him be the focus of this movie along with Ice Cube and Dr. Dre.  I expect that DJ Yella and MC Ren had more to do with the group than just being faces in the background but if you are fans of theirs, you will have to wait for their version of this story to get greenlit in order to learn anything about them.  Fortunately for me, I am a Dr. Dre fan primarily and Straight Outta Compton paid lots of respect to his genius.

It helped that O’Shea Jackson Jr. looks so much like his father, but a great casting job was done with the other roles as well.  Even cameos like Snoop Dogg and Tupac work, especially because the voices are eerily similar.  I felt like maybe there was some auto-tune trickery at play but whatever was done, it works to immerse you in this world if you are at all familiar with it.  And Suge Knight is well portrayed too, he’s a dead ringer for the real thing and comes off as bad as he should.  As Jay said while we were watching it, whoever thought it was a good idea to trust that guy deserved what they got.

If you like hip-hop at all, this is a must see.  And even if you don’t, this story is one that may grab you regardless.  It’s an enjoyable movie that captures a lot of N.W.A.’s ups and downs, and is more or less accurate as far as I can remember!  For that, Straight Outta Compton gets eight police brutality charges out of ten.