In 2017, Matthew A. Cherry created a Kickstarter campaign in the hopes of funding an animated short film about a young black father who learns how to do his daughter’s hair. Cherry had been thinking about the project, dubbed “Hair Love,” for several years but was inspired to make it happen after seeing a flood of Internet videos featuring black fathers gingerly tackling the unruly tresses of their daughters.
Three years later, Cherry has an Oscar nomination for his vision, which audiences first saw in theaters ahead of “The Angry Birds Movie 2.” In just under seven minutes, “Hair Love” follows Zuri, a 7-year-old with a lively mop of kinky curls, who wakes up on a special day and tries to do her hair with the help of a video made by her mother, a natural-hair vlogger (voiced by Issa Rae, the creator and star of HBO’s “Insecure”).
The local community, especially law enforcement, did not like having old cases re-opened and weaknesses of evidence and exposed. The hostility and obstruction seemed insurmountable. But Stevenson was undaunted. Unlike most heroic lawyers in movies (and real life), this story does not have family members complaining that he is working too hard or a love interest who feels neglected. Stevenson does not lose his temper or feel like giving up. The great gift of this movie is what sometimes, if you are not watching carefully, may make it seem like its pilot light is turned down too low. This movie does have some rousing moments (and some sad ones) but it does not follow the usual courtroom underdog stories that make the intricacies of the judicial system follow the beats of a feel-good sports story.
Jordan is that rare performer who is a superb actor and a full-on movie star. After his electrifying appearance in “Black Panther,” he shows his range as a lawyer whose only superpowers are his integrity and his constant courtesy toward everyone he deals with. client, friend, and foe. The quiet power of the respect he shows to his clients is critical to gaining their trust and to restoring their sense of dignity in a system that has done its best to take it from them. And it is wisely given as much weight here as any revelation of evidence or legal right left out of the original proceedings.
Director and co-writer Destin Daniel Cretton also treats Stevenson’s clients with respect, with an outstanding performance by Jamie Foxx as Stevenson’s first significant client. It’s a quieter role than we have seen him in for a while, and his subtle work here is extraordinary, telling us the whole history of a man who has never been able to expect fairness for himself or his family. Rob Morgan plays another prisoner, performed with heartwrenching simplicity and delicacy to bring home to us what brought Stevenson to devote his life to this cause.
Parents should know that this movie concerns men on death row and abuses of the justice system. It includes some strong language, including racist epithets, and references to sexual assault and violent crime an a non-explicit depiction of an execution.
Family discussion: Why was it important for Stevenson to address his clients and their families as Mr. and Mrs.? What kept him from giving up?
This outstanding new history of black filmmakers is available for free! It includes everything from Hollywood classics (Hattie McDaniel and Sidney Poitier as the first black performers to win Oscars) to the unsung innovators like Oscar Micheaux, who responded to the racism of D.W. Griffith’s “The Birth of a Nation” with “Within Our Gates, the pioneers of the Blaxploitation era, and Barry Jenkins’ “Moonlight” winning the Best Picture Oscar. The #Oscarssowhite protests, Motown’s Berry Gordy’s films like “Lady Sings the Blues” and “The Bingo Long Traveling All-Stars and Motor Kings,” and Tyler Perry establishing his own (wildly successful) studio. Highly recommended!
Queen & Slim Leads 2019 Black Reel Awards Nominees
Posted on December 11, 2019 at 5:25 pm
Copyright 2019 Universal PicturesThe gripping story of a couple on the run from the law following a traffic stop gone wrong, Queen and Slim, received 14 nominations and in the process became the third film in Black Reel Awards history to be so honored.
Director Melina Matsoukas’ piercing examination of race and justice tied both Tyler Perry’s For Colored Girls and Barry Jenkins’ If Beale Street Could Talk, scoring multiple nominations. They included Outstanding Motion Picture, Outstanding Actor (Daniel Kaluuya), Outstanding Actress and Outstanding Breakthrough Performance, Female (Jodie Turner-Smith), Outstanding Screenplay (Original or Adapted) and Outstanding First Screenplay for Lena Waithe, as well as Outstanding Director and Outstanding Emerging Director for Matsoukas.
In addition, the film received multiple nominations in the Outstanding Song category, for Collide (Tiana Major9 & EARTH GANGO) and Guarding the Gates (Lauryn Hill), Outstanding Score and nods in every technical category, Outstanding Cinematography, Outstanding Costume Design and Outstanding Production Design.
Director Jordan Peele’s follow-up to his Black Reel Award winning film, Get Out, Us thrilled voters as well on the way to 12 nominations. Led by its visionary director, who garnered a record-tying four nominations including Outstanding Director, Outstanding Screenplay, Original or Adapted, and Outstanding Motion Picture. Peele also was recognized for Outstanding Voice Performer for Toy Story 4. Us also secured an Outstanding Motion Picture nomination as well as Outstanding Actress for Black Reel Award winner Lupita Nyong’o, Outstanding Supporting Actress and Outstanding Breakthrough Performance, Female for newcomer Shahadi Wright Joseph, Outstanding Ensemble, Outstanding Score, Outstanding Cinematography, Outstanding Costume Design, and Outstanding Production Design.
The story of underground cult comedian Rudy Ray Moore, Dolemite Is My Name also scored double-digit nominations with 11. Led by Outstanding Actor nominee Eddie Murphy, the film received multiple nominations for its talented cast including Outstanding Supporting Actress and Outstanding Breakthrough Performance, Female for newcomer Da’Vine Joy Randolph, Outstanding Supporting Actor for Black Reel Award winner Wesley Snipes, Outstanding Breakthrough Actor, Male for Titus Burgess. The film also garnered noms for Outstanding Ensemble, Outstanding Score, as well as Outstanding Costume Design for last year’s winner, Ruth E. Carter.
“I’m extremely thrilled with the choices that our Voting Academy made this year,” said Black Reel Awards founder and President, Tim Gordon. ”As we celebrate our 20th Anniversary, it is both humbling to reminisce about the journey, yet refreshing to see and experience so much new talent that graced the screen for the first time.”
Other highlights include Waves receiving nine nominations followed by the indie darling, The Last Black Man in San Francisco that scored eight nominations. Seven nominations went to the prison drama, Clemency, while both Harriet and Luce each took home six nods. In addition, three directors each received four nominations, Chinoye Chukwu, Julius Onah, and Peele.
The 20th Annual Black Reel Awards ceremony will take place on Thursday, February 6, 2020, live streamed on BlogTalkRadio.
20TH ANNUAL BLACK REEL AWARDS NOMINEES
(Digital Nomination Copy)
Outstanding Motion Picture
DOLEMITE IS MY NAME (Netflix)
Eddie Murphy, John Fox & John Davis
JUST MERCY (Warner Bros.)
Asher Goldstein & Gil Netter
QUEEN & SLIM (Universal Pictures)
Pamela Addy, Andrew Coles, James Frey, Michelle Knudsen, Melina Matsoukas, Lena Waithe & Brad Weston
US (Universal Pictures)
Jordan Peele, Jason Blum, Ian Cooper & Sean McKittrick
WAVES (A24)
Trey Edward Schultz, Kevin Turen & James Wilson
Copyright A24 2019
Outstanding Actor
JIMMIE FAILS
The Last Black Man in San Francisco (A24)
KELVIN HARRISON JR.
Luce (Neon)
KELVIN HARRISON JR.
Waves (A24)
DANIEL KALUUYA
Queen & Slim (Universal Pictures)
EDDIE MURPHY
Dolemite is My Name (Netflix)
Outstanding Actress
Cynthia Erivo stars as Harriet Tubman in HARRIET, a Focus Features release. Credit: Glen Wilson / Focus Features
“DON’T TURN BACK” (THE APOLLO)
Robert Glasper & Ledisi, performers
“GUARDING THE GATES” (QUEEN & SLIM)
Lauryn Hill, performer
“IT’S NOT OVER” (BRIAN BANKS)
Gizzle & Sam Fisher, performers
“SPIRIT” (THE LION KING)
Beyonce Knowles-Carter, performer
Outstanding Independent Feature – Awarded to the Director & Producers
BURNING CANE (ARRAY)
Phillip Youmans, director
Ojo Akinlana, Wendell Pierce, Mose Mayer, Isaac Webb, Cassandra Youmans Jakob Johnson & Karen Kaia Livers, producers
CLEMENCY (Neon)
Chinonye Chukwu, director
Timur Bekbosunov, Julian Cautherley, Bronwyn Cornelius & Peter Wong, producers
GUAVA ISLAND (Amazon Studios)
Hiro Murai, director
Donald Glover, Carmen Cuba, Jennifer Roth & Fam Udeorji, producers
THE LAST BLACK MAN IN SAN FRANCISCO (A24)
Joe Talbot, director/producer
Dede Gardner, Jeremy Kleiner, Christina Oh & Khaliah Neal, producers
LUCE (Neon)
Julius Onah, director/producer
John Baker & Andrew Yang, producers
Outstanding Short Film
AMERICA
Garrett Bradley, director
HAIR LOVE (Sony Pictures Releasing)
Matthew A. Cherry, director
IT’S NOT ABOUT JIMMY KEENE
Caleb Jaffe, director
SUICIDE BY SUNLIGHT
Nikyatu Jusu, director
ZAHRA AND THE OIL MAN
Yucef Mayes, director
Outstanding Independent Documentary
16 BARS
Sam Bathrick, director
NO LYE: AN AMERICAN BEAUTY STORY
Bayer Mack, director
THE REMIX: HIP HOP X FASHION
Lisa Cortes & Farah Khalid, director
Outstanding Emerging Director
CHINONYE CHUKWU
Clemency (Neon)
NIA DACOSTA
Little Woods (Neon)
MATI DIOP
Atlantics (Netflix)
MELINA MATSOUKAS
Queen & Slim (Universal)
JULIUS ONAH
Luce (Neon)
Outstanding Breakthrough Performance, Male
TITUSS BURGESS
Dolemite Is My Name (Netflix)
JIMMIE FAILS
The Last Black Man in San Francisco (A24)
KELVIN HARRISON JR.
Waves (A24)
ALDIS HODGE
Clemency (Neon)
JONATHAN MAJORS
The Last Black Man in San Francisco (A24)
Outstanding Breakthrough Performance, Female
MAME BINETA SANE
Atlantics (Netflix)
SHAHADI WRIGHT JOSEPH
Us (Universal Pictures)
DA’VINE JOY RANDOLPH
Dolemite is My Name (Netflix)
TAYLOR RUSSELL
Waves (A24)
JODIE TURNER-SMITH
Queen & Slim (Universal)
Outstanding First Screenplay
ATLANTICS (Netflix)
Mati Diop & Olivier Demangel
THE BOY WHO HARNESSED THE WIND (Netflix)
Chiwetel Ejiofor
BURNING CANE (ARRAY)
Phillip Youmans
CLEMENCY (Neon)
Chinoye Chukwu
QUEEN & SLIM (Universal Pictures)
Lena Waithe
Outstanding Cinematography
HARRIET (Focus Features)
John Toll
THE LAST BLACK MAN IN SAN FRANCISCO (A24)
Adam Newport-Berra
QUEEN & SLIM (Universal Pictures)
Tad Radcliffe
US (Universal Pictures)
Mike Gioulakis
WAVES (A24)
Drew Daniels
Outstanding Costume Design
DOLEMITE IS MY NAME (Netflix)
Ruth E. Carter
HARRIET (Focus Features)
Paul Tazewell
HUSTLERS (STX Entertainment)
Mitchell Travers
QUEEN & SLIM (Universal Pictures)
Shiona Turini
US (Universal Pictures)
Kym Barrett
Outstanding Production Design
DOLEMITE IS MY NAME (Netflix)
Clay A. Griffith
HARRIET (Focus Features)
Warren Alan Young
THE LION KING (Disney)
James Chinlund
QUEEN & SLIM (Universal Pictures)
Karen Murphy
US (Universal Pictures)
Ruth De Jong
Nominations Per Film
14 nominations
Queen & Slim
11 nominations
Us
10 nominations
Dolemite is My Name
9 nominations
Waves
8 nominations
The Last Black Man in San Francisco
7 nominations
Clemency
6 nominations
Harriet
Luce
5 nominations
Atlantics
The Lion King
3 nominations
Just Mercy
2 nominations
The Boy Who Harnessed the Wind
Burning Cane
Les Miserables
Toy Story 4
1 nomination
16 Bars
America
The Black Godfather
Brian Banks
Guava Island
Farming
Fast Color
Hair Love
Hustlers
In Fabric
It’s Not About Jimmy Keene
Knock Down the House
Little Woods
Miles Davis: Birth of the Cool
No Lye: An American Beauty Story
The Remix: Hip Hop X Fashion
Suicide by the Sunlight
Toni Morrison: The Pieces I Am
Zahra and the Oil Man
Rated PG-13 for thematic material, racial epithets, some violence and a suggestive reference
Profanity:
Strong language including racist epithets
Alcohol/ Drugs:
Alcohol, cigarettes
Violence/ Scariness:
Peril and violence including racist attacks
Diversity Issues:
A theme of the movie, including racial and disability issues
Date Released to Theaters:
April 5, 2019
Date Released to DVD:
July 1, 2019
Copyright 2018 STX Entertainment
The biggest divide in this big, divided world is not between people of different races or religions or political beliefs; it is between people who have different ideas of who is “us” and who is “them.” “The Best of Enemies” is based on the true story of C.P. Ellis (Sam Rockwell), a white supremacist and the Grand Exalted Cyclops (president) of the local chapter of the Klu Klux Klan, and Ann Atwater (Taraji P. Henson), a black woman who was a community activist working for civil rights and economic justice.
In 1971, Ellis and Atwater were appointed co-chairs of a charette, a dispute resolution mechanism used to resolve complicated community disagreements. Originally developed for land use debates among parties with multiple and varied interests, it was adapted for other kinds of issues by Bill Riddick, played in this film by Babou Ceesay.
Ellis and Atwater lived in Durham, North Carolina. Seventeen years after the Brown v. Board of Education decision by the Supreme Court that segregated schools were unconstitutional, the Durham schools were still divided. When the school attended by the black children burned down, the city had to decide whether to let them attend the school the white children were attending. The court did not want to deal with it, so they asked Bill Riddick to see if he could get the community to come to some agreement.
Ann Atwater worked for Operation Breakthrough but it was more than a profession; it was her calling. We first see her arguing on behalf of a young woman whose apartment is uninhabitable. And throughout the film we see that her entire life is one of advocacy and generosity. Everyone she meets is either someone to be protected or someone to help her protect others. Her sense of “us” encompassed the world.
C.P. Ellis ran a gas station. He loved his family, including a disabled son who lived in a residential facility. The Klan made him feel respected and important. He created an outreach program to bring teenagers into the Klan. And he organized outings like the time they shot up the home of a young white woman coming home from a date with a black man.
He agrees to co-chair the charette because he believes that anyone else who got the position would cave. And there are those in the town who would never associate with the Klan but who are glad to support them in private.
Rockwell and Henson make Ellis and Atwater into fully-developed, complex characters. There’s a world of history in the way Henson walks as Atwater, shoulders hunched, hitching her hips along. In one scene where she reprimands young black boys for tearing down a KKK hood on display, and then straightens it herself after shooing them away, the expression in her eyes speaks volumes about what she has seen. And when we see the patience and tenderness Ellis has for his disabled son, we get a sense of all he thinks has been taken from him and how much it matters to him to hold on to something that makes him feel powerful.
This is a thoughtful, sincere drama, beautifully performed with a touching conclusion, first of the story itself, and the small acts of kindness that make “thems” into “us-es,” and then with the footage of the real-life Atwater and Ellis. When she takes his arm to help him walk out of the room, our own us-es get a little larger, too.
Parents should know that this movie deals frankly with issues of bigotry and racism including attacks by the Klu Klux Klan. It includes some strong language with racist epithets and a sexual reference. Characters drink and smoke and there are violent, racially-motivated attacks.
Family discussion: What did Atwater and Ellis have in common? Why did she help his son? Why did she tell the boys not to take down the KKK hood? Who is the Ann Atwater in your community and what are the issues?
