Tag Archives: Drama

Film Review: Creed III

Posted on by

Creed III is directed by Michael B. Jordan. Screenplay by Keenan Coogler and Zach Baylin. Story by Ryan Coogler, Keenan Coogler, and Zach Baylin. Based on characters created by Sylvester Stallone. Produced by Irwin Winkler, Charles Winkler, William Chartoff, David Winkler, Ryan Coogler, Michael B. Jordan, Elizabeth Raposo, Jonathan Glickman, and Sylvester Stallone.

Following the steps of Rocky Balboa (Sylvester Stallone) in the original Rocky film, Creed (Michael B. Jordan) and Dame (Jonathan Majors) also need to fight to prove their worth. Both characters are at different stages in their lives, but they need a common ground to settle their differences. Guilt and feelings of being left behind set the stage for an exceptional drama with the world of boxing as the background.  

The movie delves into different universal themes that appeal to a wide audience. Family dynamics, cheering for the underdog, and overcoming difficult challenges in life are relatable experiences that shape the latest installment of the franchise. Even though these themes have been used many times over, Creed III excels in integrating them into the story to reverberate in people’s hearts and minds, as they portray the very nature of human society.

Another moving message captured by the film is adapting to change when things don’t go your way. For Bianca (Tessa Thompson), she had to quit performing as a singer—her passion in life—due to hearing loss. Adjusting to her new reality and making the best of what she has left, she becomes a music producer instead, a less protagonist role in the music industry.

Another factor that makes the story to travel is the use of different languages: English, Spanish, sign language to communicate with Amara (Mila Davis-Kent), and the unique language of boxing. Training, sparring, how fights are set up, and what drives a boxer to fight are elements featured in this film. To add a touch of reality, Creed III features the following professional boxers: Canelo Álvarez, Florian Munteanu, Tony Bellew, José Benavides Jr., and Teófimo López.

In his role of director and as a homage to an attribute of Anime, Jordan has Creed and Dame go through a quiet space for an internal conversation during the intensity of their title fight. This visual technique highlights the complex relationship between the two characters, adding a powerful emotional effect to the fighting sequence.

Jordan demonstrates that he is a tour de force in the prestigious world of cinema. In Creed III, he serves as actor, director, and producer, three of the most demanding roles in filmmaking. Jordan delivers an exciting and engaging story, keeping the spirit of the original Rocky film alive and still leaving room for more expansion of the franchise. 

Creed III

Directed by Michael B. Jordan. Screenplay by Keenan Coogler and Zach Baylin. Story by Ryan Coogler, Keenan Coogler, and Zach Baylin. Based on characters created by Sylvester Stallone. Produced by Irwin Winkler, Charles Winkler, William Chartoff, David Winkler, Ryan Coogler, Michael B. Jordan, Elizabeth Raposo, Jonathan Glickman, and Sylvester Stallone.

Production companies: Metro-Goldwyn-Mayer Pictures, Chartoff-Winkler Productions, Proximity Media, and Outlier Society.

Distributed by: Metro-Goldwyn-Mayer Pictures (North America). Warner Bros. Pictures (International).

Starring: Michael B. Jordan, Tessa Thompson, Jonathan Majors, Wood Harris, Mila Davis-Kent, Florian Munteanu, and Phylicia Rashad.

Creative team: Cinematography by Kramer Morgenthau. Edited by Tyler Nelson and Jessica Baclesse. Music by Joseph Shirley.

A scene from Creed III
A scene from Creed III
A scene from Creed III

Film Review: American Fiction

Posted on by

American Fiction is directed by Cord Jefferson. Screenplay by Cord Jefferson, based on Erasure, by Percival Everett. Produced by Ben LeClair, Nikos Karamigios, Cord Jefferson, and Jermaine Johnson.

For Thelonious “Monk” Ellison (Jeffrey Wright), a writer living in Los Angeles, it’s just another day. Another fight. Even though he is capable of writing about the Greeks, the publishing industry refuses to accept his point of view about subjects considered exclusive to White people. Being labeled a Black writer rather than just a writer starts to take a toll on Monk, specially at his middle age phase.

To complicate things further, he goes back to his hometown in Boston and finds his mother Agnes (Leslie Uggams) experiencing the early stages of Alzheimer’s. While in Boston, Monk tries to reconnect with his sister Lisa (Tracee Ellis Ross)—a gynecologist who takes care of their mom—but she dies suddenly, leaving him with the responsibility to care for Agnes. His brother Cliff (Sterling K. Brown), a plastic surgeon in Tucson, only visits once in a while and is not reliable.

Writer/Director Cord Jefferson uses comedy and stereotypes to explore the nuances of American society’s expectations of Black artists. Monk seems trapped in that perpetual realm where Black artists try to express and propose new ideas about pretty much any subject, only to find out that they are expected to continue the narrative of oppression and underdevelopment that White audiences like so much. And that’s exactly what Monk decides to do, give the readers what they want and play the game, with unexpected consequences.

American Fiction presents the two faces of the story. For one, White audiences are eager to read about the Black experience, but only if that experience involves poverty, oppression, violence, and harsh upbringing. Anything outside of that context is off-limits. The film is also a symbol of the frustrations of Black writers when they are not taken seriously if they try to explore topics that are not related to their past struggles of racism and mistreatment, two themes that been exploited persistently by mainstream media for decades in a form of detrimental cultural appropriation.

An amazing play titled Hooded or Being Black for Dummies by Tearrance Arvelle Chisholm comes to mind when we talk about appropriation. In the play, the protagonist writes a manual for a fellow Black man about how to be Black. The manual, however, falls into the hands of a White man, who starts to speak and behave like a Black person, signifying the appropriation of the Black experience. Likewise, the White audiences in American Fiction seem to be in a relentless pursuit of Black stories, an attitude to show empathy and imply a new era of equality, whether real or imaginary. This can either be a true new beginning, or the perpetuation of a pervasive entrenchment of inequality.

American Fiction is based on Erasure, the 2001 novel by Percival Everett. Jefferson’s adaptation includes the subplots of Erasure: Sexual identity, family, professional jealousy, and ultimate surrender to the devouring forces of the American readership. One of the most poignant aspects of the film is how Jefferson tied together the various subplots of the story to reach a cohesive denouement without preaching what’s right or wrong. Rather, he allows the audience to come out with their own conclusions, opening the door for further discussions on the subject matter.

The film is also a technical treat, the cinematography by Cristina Dunlap plays well with the lighting intensities both in the interior shots as well as the exterior ones, highlighting the humorous and dramatic feel of the scenes. The score by Laura Karpman is a vibrant combination of bossa nova and jazz that gives a distinct mood to the entire film.

American Fiction

Directed by Cord Jefferson. Screenplay by Cord Jefferson. Based on Erasure by Percival Everett. Produced by Ben LeClair, Nikos Karamigios, Cord Jefferson, and Jermaine Johnson. Executive producers: Rian Johnson, Ram Bergman, Percival Everett, Michael Bowes.

Production companies: Orion Pictures, MRC Film, T-Street Productions, and 3 Arts Entertainment.

Distributed by Amazon MGM Studios.

Starring Jeffrey Wright, Tracee Ellis Ross, Issa Rae, Sterling K. Brown, John Ortiz, Erika Alexander, Leslie Uggams, Adam Brody, Keith David, Okieriete Onaodowan, Myra Lucretia Taylor, Raymond Anthony Thomas, Miriam Shor, J.C. MacKenzie, Patrick Fischler, and Michael Cyril Creighton.

Creative team: Cinematographer Cristina Dunlap. Edited by Hilda Rasula. Music by Laura Karpman.

 

Jeffrey Wright image
A scene from American Fiction
A scene from American Fiction

Theatre Review: Motel 66

Posted on by

The Group Rep presents MOTEL 66. Written by Sal Valletta, Gina Yates, Denise Downer, Bill, Fitzhugh, Fox Carney, Doug Haverty, Paul Elliot, and Clara Rodriguez. Directed by Linda Alznauer, Van Boudreaux, Todd Andrew Ball, Larry Eisenberg, Helen O’Brien, Bruce Kimmel, Brent Beerman, and Leota Rhodes. Produced for The Group Rep by Brent Beerman.

During the Dust Bowl that devastated the Great Plains in the 1930s, Route 66 was the salvation for many families that took the historic highway to move west in their search for jobs and a better life. Route 66 goes from Chicago to Santa Monica, California, with many sites and landscapes along the way. MOTEL 66 is a production of 8 different one-acts that honor the fascinating and moving stories of the owners and guests of the quirky motels found along the celebrated route. Each short play takes place in a different motel and a different city. In such a spectrum of experiences, the topics and characters are as varied as one can imagine.

Poolside Therapy shows a couple (Diane Linder and Brad Kahn) in desperate need to spice up their relationship. One of the other guests (Tack Sappington) offers his expertise to make the couple feel attracted to each other again, using an unconventional method to achieve that goal. Written by Sal Valletta. Directed by Linda Alznauer.

One More Night is a moving and funny story of a grieving cowboy (Mark Stancato) and his unexpected change of plans after meeting a whip-smart young girl (talented newcomer Bailey Warner) and her mom (Julie Davis). Written by Gina Yates. Directed by Van Boudreaux.

Forever Friends is a story of two friends (Melissa Lugo and Cierra Lundy) whose strained relationship may or may not have a second chance after years of neglect. Written by Denise Downer. Directed by Todd Andrew Ball.

No Room at the Motel keeps us wondering who the real father is in this hilarious and intriguing story. Chad (Joe Clabby, Room Service) and a pregnant Mary (the always funny Jessica Kent, Harold and Maude, Room Service) engage in a heated argument about accommodation plans. They find the motel manager (Larry Eisenberg) to be a weirdo who doesn’t care about keeping his rooms clean. They also run into Chad’s friend (Sean Babcock), who keeps reminding Chad of his times with women of dubious reputation. Who exactly got Mary pregnant? Written by Bill Fitzhugh. Directed by Larry Eisenberg.

Immaculate Perception is a story of a miraculous sexless pregnancy. At least that’s what Mariah (Sasha Kartman) says. As illogical as it sounds, she tries to convince Sam (Lloyd Pedersen), who is a doctor, about her immaculate pregnancy. As they continue to argue, the continuation of someone’s life through a newborn starts to seem a possibility, even for Sam. Written by Fox Carney. Directed by Helen O’Brien.

Eureka Escorter reveals the oddity of opportunities in the job market. In urgent need as an impoverished recent widower, Miles (Bert Emmett, Animal Farm) takes a job as a driver/rent-a-gent type of gig. He is instructed by Wendolyn (Kathy Diane Tomlin), the lady running the agency, to act as normal as possible in the presence of customers. His first assignment is with Sara (Clara Rodriguez). His first drive will prove to be a wild ride. Written by Doug Haverty. Directed by Bruce Kimmel.

Saving Garbage is a meeting between short-fused motel operator Grace (Cynthia Bryant) and Jimmy (Miguel Lee), the young man who’s been taking the food leftovers from the trash bin at night. A surprising conversation exposes the compelling circumstances of their respective lives. Written by Paul Elliott. Directed by Brent Beerman.

In Quapaw, Oklahoma Betty (a delightful Bonnie Snyder, Room Service) is excited to meet her online friend Magda (Lareen Faye, Harold and Maude), who has promised Betty to make her a child again with the use of magic, despite the concerns of her daughter Deborah (Pascal Gigon) and the incredulity of her son-in-law Stan (Danny Salay). A whimsical story with a not-so-happy ending. Written by Clara Rodriguez. Directed by Leota Rhodes.

Embarking on a spiritual journey of self realization, the characters discover the power of human connection and the possibilities of new beginnings, despite the twists and turns of life. MOTEL 66 is a road trip to a world where humans greif, hope, and believe in miracles, one destination at a time. Always searching, always on the move. 

MOTEL 66

The Group Rep at the Lonny Chapman Theatre
10900 Burbank Blvd
N. Hollywood, CA 91601

September 21 through October 22

Saturdays at 4 PM

Thursdays and Sundays at 7 PM.

Tickets: thegrouprep.com/show/motel-66-2023

Written by Sal Valletta, Gina Yates, Denise Downer, Bill, Fitzhugh, Fox Carney, Doug Haverty, Paul Elliot, and Clara Rodriguez. Directed by Linda Alznauer, Van Boudreaux, Todd Andrew Ball, Larry Eisenberg, Helen O’Brien, Bruce Kimmel, Brent Beerman, and Leota Rhodes. Produced for The Group Rep by Brent Beerman. Cast: Diane Linder, Brad Kahn, Tack Sappington, Julie Davis, Mark Stancato, Bailey Warner, Melissa Lugo, Cierra Lundy, Sean Babcock, Joe Clabby, Cathy Diane Tomlin, Larry Eisenberg, Dawn Halloran, Doug Haverty, Jessica Kent, Kat Kemmet, Anica Petrovic, Sasha Kartman, Lloyd Pedersen, Bert Emmett, Lee Grober, Clara Rodriguez, Cynthia Bryant, Miguel Lee, Lareen Faye, Pascale Gigon, Danny Salay, and Bonnie Snyder. Creative team: Mareli Mitchel-Shields (Dramaturg), Nick Foran (Lights & Sound Design),and Doug Haverty (Graphic Designer).

MOTEL 66 poster
A scene from MOTEL 66
A scene from MOTEL 66
A scene from MOTEL 66
A scene from MOTEL 66