Tag Archives: Lakeith Stanfield

Films That Got Away, Great Ensemble Film Casts, Reviews

FILMS THAT GOT AWAY #15: SHORT TERM 12 (2013)

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FILMS THAT GOT AWAY #15: SHORT TERM 12 (2013)

Written and Directed by: Destin Daniel Cretton

Produced by: Maren Olson, Asher Goldstein, Joshua Astrachan, Ron Najor

Cast: Brie Larson, John Gallagher, Jr., Kaitlyn Dever, Rami Malek, Lakeith Stanfield, Kevin Hernandez, Melora Walters, Stephanie Beatriz, etc.

Cinematography: Brett Pawlak

Bloody Marvel!

I refer to both this film, Short Term 12 (2013), and the Disney-owned behemoth studio which, while releasing some incredible film works over the years, currently pumps out generic product of variant quality. I say “Bloody Marvel” because the studio continue to poach some amazingly talented filmmakers with indie roots to front their entertaining cookie-cutter templates. I, of course, include Short Term 12 (2013), writer-director, Destin Daniel Cretton who, having adapted his own short film for a reported $400,000, has subsequently been directing stupidly expensive super-hero films for the studio giant.

Short Term 12 (2013) is one of those films I missed seeing on release. I then, for some unknown series of reasons, did not see it on video until earlier this month. It is a brilliant drama, full of fascinating characters, amazing dialogue, poignant moments of humanity and some really funny scenes also. Moreover, it has almost the perfect low-budget film screenplay, so it is no surprise to find out Destin Daniel Cretton’s script won a Nicholls Fellowship Screenwriting Award. The casting director also deserves a mention too. I am not sure what kind of crystal ball they had because the ensemble is a who’s-who of “before they were famous” castings including: Brie Larson, Lakeith Stanfield, Rami Malek, John Gallagher, Kaitlyn Dever and Stephanie Beatriz.

Set in a group care home, Short Term 12 (2013), centres around the staff and teenage children and their daily ups and downs. At the heart of the story is Grace (Brie Larson) and her work/romance partner, Mason (John Gallagher). As well as working to resolve the often harrowing issues of teenagers such as Marcus (Lakeith Stanfield) and Jayden (Kaitlyn Dever), Grace strives to overcome the post-traumatic scars her childhood has caused her. Aside from a slight tragedy overload in the final act, Short Term 12 (2013), is one of the best films I have seen in a long time. The emotional gravity I felt for many of these characters was so powerful. It is very rare that a film can make me laugh and cry in equal measures. And it was all shot, acted and directed in just twenty days. Destin Daniel Cretton’s sophomore feature film is a true indie marvel!

Mark: 10 out of 11

Cinema, Film Festivals, Reviews

LFF REVIEW – KNIVES OUT (2019) – SPOILER FREE

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LFF REVIEW – KNIVES OUT (2019) – SPOILER FREE

Written and directed by: Rian Johnson

Produced by: Ram Bergman, Rian Johnson

Cast: Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Don Johnson, Toni Collette, Lakeith Stanfield, Katherine Langford, Christopher Plummer, Jaeden Martell etc.

Cinematography: Steve Yedlin

****** SPOILER FREE ******

“What is this, CSI: KFC?”

Rian Johnson seems to have been writing and directing for years, but interestingly, KNIVES OUT (2019), is only his fifth release since his debut film, Brick (2005). His last film Star Wars: The Last Jedi (2017) was, of course, a massive hit across the galaxy. However, having watched it again recently, I felt it was racked with inconsistencies in tone and suffered weak storytelling.

Indeed, I was shocked that such a meta-filmmaker as Rian Johnson, with such a unique approach to genre, was given the Star Wars gig. To me, his filmmaking talent was too offbeat and so it proved. Because, while The Last Jedi (2019) had some memorable moments, (mostly Adam Driver), it did not work as a Star Wars story.

With his latest film, a murder-mystery-comedy-thriller, Johnson is on more solid ground. His penchant for quirky characterisation, irreverent jokes and wicked twists is more than suited to an Agatha Christie pastiche. Especially because this one has more tricks up its sleeve than the Magic Circle. I personally love the detective genre and Johnson successfully pays homage and deconstructs the murder-mystery tropes with a brilliantly funny script. Aiding Johnson is a star-studded cast, all of whom run with the joke superbly.

The plot begins in a traditional fashion; with a heinous “crime.” The story then spins into a complicated and devious web of lies and double-crosses. It concerns famed author, Harlan Thrombey (Christopher Plummer), and his family of sons, daughters and grandchildren. A multi-millionaire writer and owner of a publishing empire, he has managed to upset every one of his family members. So, you can guess what happens to him on his 85th birthday celebration.

Following Harlan’s apparent suicide, Lakeith Stanfield’s police detective investigates, with the assistance of famed sleuth Benoit Blanc (Daniel Craig). With a ridiculous Southern accent, Craig, seems more parodic than the other actors. But, he gives a fine comic performance nonetheless. Michael Shannon, Don Johnson, Toni Collette and Christopher Plummer are also on great form. But, a playing-against-type Chris Evans, arguably steals the show as the overgrown, spoilt rich kid.

Overall, this is film is a so much fun. It should be viewed firstly as a comedy, although the murder mystery plot itself is full of ingenious plot reversals. With everyone a suspect, the fun derives from trying to work out who did it and seeing if there are any holes in the plot. All kinds of satirical, political, sight-gags and murder-mystery in-jokes are brilliantly delivered by a committed set of A-list movie actors too. Moreover, from the big mansion setting, to the costumes and the meticulous set design, it was a lovely film to look at too.

To conclude, Johnson is back on the form he showed with the incredible sci-fi film Looper (2012). Because, Knives Out (2019) definitely has the force with it, working brilliantly as a fast-paced, witty and intricate work of, admittedly style-over-substance, entertainment.

Mark: 9 out of 11

Cinema, New Releases, Reviews

SORRY TO BOTHER YOU (2018) – CINEMA REVIEW

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SORRY TO BOTHER YOU (2018) – CINEMA REVIEW

Directed by: Boots Riley

Produced by: Nina Yang Bongiovi, Kelly Williams, Jonathan Duffy, Charles D. King, George Rush, Forest Whitaker

Written by: Boots Riley

Starring: Lakeith Stanfield, Tessa Thompson, Jermaine Fowler, Omari Hardwick, Terry Crews, Danny Glover, Steven Yeun, Armie Hammer

**SPOILER FREE REVIEW**

Just when you think the well was drying up somewhat in regard to favourite films of the year, Sorry To Bother You (2018) comes along and jumps straight into my top twelve. Written and directed by activist and musician Boots Riley, this really is a humdinger of an absurdist comedy and must surely be a contender for best original screenplay of the year.

Centring on Oakland-based Lakeith Stanfield’s downtrodden everyman, Cassius Green, we find him unemployed and desperate to find work. So much so he takes a soulless commission paid job at RegalView selling encyclopaedias. So far so normal but very quickly events take many left field turns and Cassius is catapulted into a world of corporate greed, worker rebellion, romantic difficulties and some very weird science.

I do not want to give too much away but I had a blast with this film. Indeed, it’s best watched when you know as little as possible about the story. All throughout writer and director Riley has managed a great balance between believable situations and ridiculously surreal humour. His screenplay manages to satirise both the greed of corporate America and racial profiling, while at the same time never preaching or getting heavy. The tone of the film reminded me of so many films and TV shows I love, including: Being John Malkovich (1999), Atlanta, TheMighty Boosh and Monty Python’s Flying Circus. It’s also a thematic sibling to Jordan Peele’s massive horror hit Get Out (2017); which found white people exploiting Afro-Americans to nefarious ends.

The cast jump on board the many hyper-real and absurd concepts with abandon. Lakieth Stanfield, who is brilliantly deadpan in the show Atlanta, shows what a gifted actor he is. Again, Tessa Thompson proves what a brilliant actress she is as Cassius’ energetic artist and activist girlfriend; while Jermaine Fowler, Danny Glover and Steven Yeun provide really solid support. Special mention for Armie Hammer who really amps up the comedy with his representation of avaricious corporate megalomaniacs who care more for profits than they do for human life.

Incredibly, this is Boots Riley’s debut feature film and what a fantastic job he has done.  Sorry to Bother You is brimming with hilarious comedic scenes, on-point parody, textured style and credible social commentary. Cassius’ journey throughout is believable too as he is tempted by the promise of money but at severe and Faustian cost. Riley, within the hyper-reality of the world he presents, never strays far from the idea that the collective must join forces to overcome the paymasters. Ultimately, the film may be messy and chaotic at times but this project-mayhem-gonzo-style, along with the colourful design and moody cinematography combine to deliver one of the most memorable films of the year.               

Mark: 9 out of 11

Comedy, Reviews, Television

ATLANTA (2016 – 2018) – SEASONS 1 & 2 – FOX TV REVIEW

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ATLANTA (2016 – 2018) – SEASONS 1 & 2 – FOX TV REVIEW

Created by: Donald Glover

Writer(s): Donald Glover, Stefani Robinson, Stephen Glover, Jamal Odori etc.

Director(s): Hiro Murai, Janicza Bravo, Amy Semetz

Starring: Donald Glover, Brian Tyree Henry, Lakeith Stanfield, Zazie Beetz

Original network: FX

'Atlanta' TV show premiere, After Party, Los Angeles, USA - 19 Feb 2018

Donald Glover and his multi-talented cast and crew deserve all the praise and accolades they have or will receive for Atlanta. It is easily one of the best and most originally voiced television shows I have watched in the last decade.  Set in the Atlanta, which is the most populous city in the U.S. state of Georgia; it centres on a collection of characters on the outside of the capitalist system just trying to make their way in life through: creativity, music, strange schemes, ducking, diving; and possibly a bit of drug dealing.

Atlanta has a rich political history. In the 1960s it became a major organizing centre of the civil rights with Dr Martin Luther King Jr. and many others playing serious roles in the movement’s leadership. Flash forward fifty years and, while we find the USA has moved beyond segregation from a legal perspective, inequality and social divide remain everyday from an economic perspective. The underclasses stay just that with the rich getting richer and the poorer communities unfortunately scrabbling around just trying to get by.

atlanta-poster

It is against this social milieu we meet our main protagonists in Atlanta. Donald Glover is Earnest “Earn” Marks, a young Princeton dropout turned manager; Brian Tyree Henry as Alfred “Paper Boi” Miles, Earn’s cousin and up-and-coming rapper; Lakeith Stanfield as Darius Epps, Alfred’s eccentric right-hand man and visionary; and Zazie Beetz as Vanessa “Van” Keefer, Earn’s on-again-off-again girlfriend and the mother of their daughter Lottie. These are presented as complex characters who, while at times, not following the law or rules are just trying to survive in these difficult economic times. A mixture of both society and their own poor decisions trap them, and from this comes much drama and comedy.

Atlanta-FX-2016-Poster

This is a very rich show, which over two seasons, is brilliantly acted, scored, filmed, written and directed. Thematically, it is very powerful while retaining a very honest humour. Episodes cover: stoner culture; crime; family relationships; the working class struggle; guns; violence; street gangs; drugs; children; social media; hip-hop; fashion; celebrity; as well as satirizing white people’s attitude to black culture and the music scene in general.  It is confidently written with a loose episodic structure with events linked thematically and often looping back and re-joining much later in the season. Atlanta also experiments with form as well as style using a meshing of genres including: pop video, short film, chat-show, horror, comedy, internet and various dramatic devices to tell its story.

Overall, this is one of those shows which constantly surprises you and what appears to be a loose vibe is in fact a cleverly structured series of impactful vignettes full of rich moments.  Indeed, episode 6 of Season 2 called Teddy Perkins is one of the most amazing pieces of television I have seen in a long while.  Atlanta is not just a TV show but an experience not to forget and I certainly had Georgia on my mind long after I’d finished watching it.

(Mark: 10 out of 11)