The Five Heartbeats.

Review #2514: The Five Heartbeats.

Cast: 

Robert Townsend (Donald "Duck" Matthews), Michael Wright (Eddie King, Jr), Leon (J.T. Matthews), Harry J. Lennix (Terrence "Dresser" Williams), Tico Wells (Anthony "Choirboy" Stone), Tressa Thomas (Clara), Diahann Carroll (Eleanor Potter), John Canada Terrell (Michael "Flash" Turner), Chuck Patterson (Jimmy Potter), Harold Nicholas (Ernest "Sarge" Johnson), Hawthorne James (Big Red Davis), Roy Fegan (Victor "Bird" Thomas), with John Witherspoon (Wild Rudy), and Troy Beyer (Baby Doll) Directed by Robert Townsend (#1315 - Eddie Murphy Raw, #2348 - Hollywood Shuffle)

Review: 

"The film has a big heart. It's about family; it's about faith. You follow these five men on their journey together, and when it's all said and done, it's fulfilling. I think at the core of it is faith. It has a healing message." - Robert Townsend.

You might be familiar with the soulful power of groups such as The Dells, The Temptations*, Four Tops or the singers in Wilson Pickett, James Brown, Frankie Lymon, and Sam Cooke. At any rate, the sound that came from them clearly had an effect on Robert Townsend and also Keenen Ivory Wayans, as the two wrote the film that was originally in development with the idea of having the Wayans family appear in the lead roles, but when Warner Bros. passed, the Wayans moved on to other ventures (In Living Color, namely). But Townsend persisted and found a deal with 20th Century Fox in 1990. Apparently, Townsend wanted David Ruffin and Eddie Kendrick of the Temptations to be technical advisors but 20th Century Fox vetoed it because they thought Motown founder Berry Gordy Jr could sue the studio. Instead, the Dells (as comprised of Marvin Junior, Verne Allison, Mickey McGill, Chuck Barksdale and Johnny Carter). were brought in. A variety of musicians were utilized for near dozen songs featured in the film, most notably with The Dells with songs such as "A Heart Is a House for Love" while Dee Harvey also provided a handful of songs for the actors to lip-synch to. Made on a budget of roughly $8 million, the film was not a big success with audiences (although it has a small cult following), while Townsend's next feature film came with The Meteor Man in 1993.

1965...at least when told in flashback, since it starts out with one of those "Where Are They Now?" type of magazines showing that, yes, everyone becomes a "whatever happened...?" type. Oh sure, The Five Heartbeats is a bit of a sentimental movie, and I doubt anyone is exactly going to be surprised by what goes on in a music biopic (real or imagined), but I do admire this stuff a bit in the general experience that comes with having some music just flow into you. It just so happens to be a movie that yearns to show the rise, fall, and redemption of people where flaws and mistakes can be one to survive with the right type of love and forgiveness behind it. Preachy or not, it also happens that some of the music is fairly entertaining to mostly smooth over a 122-minute runtime that would make a cynic blush. The music montages in particular make for a curious way to convey a film in some parts, but, hey, more for the rest of us. Strangely, it might be Lennix that steals the show best in the type of steely intensity that makes for a useful performer to see out there among the others, who are mostly fair in their characterizations (Townsend, suffice to say, is okay). Patterson and James make for a fascinating double-edge sword of figures to lurk behind the group in their own varying levels of motivation to be around music (the latter, spoiler alert, is basically a wolf in sheep's clothing, made clear with an excellent little scene of him threatening someone). It is the type of movie that unabashedly preaches to the choir of seeing the good and bad that arises in sudden rises (and falls) to fame that keeps a good beat and keeps a good level of intimacy around to make you believe in these folks without turning it into a riff of comedy beats or just straight drama. I enjoyed its little trek that shows a period piece for earnest enjoyment that searches for a common truth in what really matters besides the hunt for a good beat or material efforts: coming back together at the end and caring about one other. It's a nice little movie that might flow up your alley.

Overall, I give it 8 out of 10 stars.

Once more, a song of the night

*Incidentally, when NBC did a miniseries about the Temptations in 1998, Leon was cast as David Ruffin, who by that point had passed away in 1991.

Vampire in Brooklyn.

Review #2455: Vampire in Brooklyn.

Cast: 

Eddie Murphy (Maximillian / Preacher Pauly / Guido), Angela Bassett (Detective Rita Veder), Allen Payne (Detective Justice), Kadeem Hardison (Julius Jones), John Witherspoon (Silas Green), Zakes Mokae (Dr. Zeko), Joanna Cassidy (Captain Dewey), W. Earl Brown (Police Officer), and Simbi Khali (Nikki) Directed by Wes Craven (#474 - A Nightmare on Elm Street, #558 - Scream, #633 - Red Eye, #939 - Swamp Thing, #1156 - Wes Craven's New Nightmare, #2135 - The Last House on the Left, #2306 - The Hills Have Eyes)

Review: 

"I don't think it's so unusual. Horror is very close to humor. The thing is I wanted the humor in `Vampire in Brooklyn' to come from the story - from the plot, not from Eddie. I wanted Eddie to be essentially a serious character. What I didn't want was just a black version of `Love at First Bite.' I didn't think `Love at First Bite' was very funny. I didn't want the comedy to be nearly that broad. Maybe my sense of humor is a little dry, or subtle, or whatever, but people seem to get it. I kept encouraging Eddie to play it straight.''

On October 27, 1995, a strange curiosity came into theaters: a Wes Craven movie with Eddie Murphy as the star. The story goes that Eddie Murphy was looking for something to just end his contract with Paramount Pictures and he apparently landed on a script that had been written by his brother Charlie alongside Vernon Lynch. Michael Lucker and Chris Parker were called to work on the script (ironically, they had written an Old West script that had intrigued Murphy but not Paramount). Hired to pitch it to Craven before pitching it to Paramount Pictures and then Murphy, they successfully got it greenlit in a matter of weeks. In an interview about the making of the film, Parker stated that the studio, in the first meeting about the movie, told them they wanted the movie to be funny but that Murphy didn't want to be funny and therefore they had to "trick him into being funny", while Lucker speculated that Craven had a tough time getting Murphy to be serious rather than falling back on doing jokes. The studio apparently cut the budget of the film during shooting to where they could not film the intended action scene for the climax. Amidst a production that its shares of troubles* (some from its star), the movie was only a mild success with audiences at the time, only just making double of its reported $14 million budget.* In 2011, Murphy (who at one point labeled the movie as a transitional one in his career) tried to lay blame on the sight of him with long-haired wig (as designed by makeup artist Toy Van Lierop) that was used in the film and reflected that he had to do something to get to do The Nutty Professor (1996). and later jokingly wondered if there was even an "Appreciation Club" for the film. For his part, Craven found it to be an "interesting experience" despite obvious difficulties and the limited potential that came from script/production challenges; Craven bounced back with his next film as a director with Scream (1996).

I will admit that Vampire in Brooklyn had been a longshot candidate for featuring in the past few years, but the chance to talk about a movie that is now three decades old did sound entertaining. And you know what? I liked this movie. Actually, I liked this misfit type of comedy-horror quite a bit, mainly because there is an odd frenzy to how the movie maneuvers itself that is off-putting yet always involving. Horror movies sometimes get a bum rap for being a bit too vicious and comedies sometimes get the "too low" rap, so it is a bit hard to really win with a horror comedy that has some chuckles to go along with vicious little moments that probably play to the cliches you see from certain vampire movies, which I should've seen coming from the name dropping of Blacula (1972). It starts out with a mysterious boat entering a port with seemingly nobody present, for one. The movie might seem confused for those who assume it will go straight horror or, well, comedy - a riff is fine by me (admittedly, it probably is a bit odd that one needs to get the girl before the full moon as a supposed last of his kind because I assumed you could just convert anyone to a vampire, although I guess maybe he's in the killing business instead anyway). It doesn't even take long for our title character to play puns with literally ripping a person's heart out because why not. The setup to eventually getting Murphy and Bassett in the same place just amuses me mostly because (intentionally or not), the vampire picked one of the worst folks to employ as a ghoul buddy, one who decides to resort to using a mannequin hand by the halfway point. I fail to see the problem with Murphy's hair. Bram Stoker's Dracula (1992) was the far more egregious one, mainly because I still think about that stupid beehive thing from time to time. I just see a cone-shape of hair, focus back to Murphy and move on, to be honest. Besides, the vampire effects utilized from time to time are pretty fascinating to eventually see play out (after the movie shows the various vampire habits, ranging from the wolf thing in the intro to...renovating messy rooms). And then of course there is Murphy and Bassett, who each do pretty well with what they interpret the film to be. Murphy might have had a bit of trepidation of what he really wanted to do with this film, as evidenced by a movie that has him do an opening narration to go along with playing multiple characters (for separate gags). Love it or hate it, you basically get a compromise that has peaks and valleys of humor with some interest in playing a quality villain that I like just fine. 

Bassett holds her own with the clash that arises in oneself being challenged in who they really are beyond what the flesh shows that makes for compelling vulnerability beyond just having her be an object to be moved around. Her parts of the film are basically not too far off from what you might see in a gaslighting thriller, and she makes that count for something, arguably. Hardison and his rapid decay as the toadie fit for the streets is pretty funny in what you can show for a suck-up not too far off from old Renfield, and Witherspoon pops in occasionally to pair off for coarse amusement. Payne makes a fine ordinary performance. In general, I took the movie as just having fun playing with the audience about where it really wants to go in one trying to escape the fate of a doomed race vs having situations as ridiculous as impersonating an Italian to rob a place only to shoot down a cat. I don't even hate the climax, mainly because sure, let's end it in an apartment rather than going all out on a bridge or a church like seemingly any other vampire movie just to really curve things to an offbeat angle. I particularly like the ending, in which you can interpret as playfully saying that the more things change, the more they stay the same, even for creatures of the night. As a whole, Vampire in Brooklyn is a delightfully strange little movie, managing to evoke a sense of joy in its macabre aspects that I thought was a neat ride.

Overall, I give it 8 out of 10 stars.

*Of sadder note is the loss of stuntwoman Sonja Davis, who suffered a horrific accident in November 1994 that saw her die from her injuries during a stunt.

*For reference, more people on opening weekend went to see Powder [1995], a movie made by an actual convicted child sex offender, than Vampire in Brooklyn. 

Not to editorialize, but the Ineligible List includes Jeepers Creepers 1-3 because a pedophile directed those movies.

Hollywood Shuffle.

Review #2348: Hollywood Shuffle.

Cast: 

Robert Townsend (Bobby Taylor), Anne-Marie Johnson (Lydia), Craigus R. Johnson (Stevie Taylor), Helen Martin (Bobby's Grandmother), Starletta DuPois (Bobby's Mother), David McKnight (Uncle Ray), Keenen Ivory Wayans (Donald), Lou B. Washington (Tiny), Brad Sanders (B. B. Sanders/Batty Boy), John Witherspoon (Mr. Jones), Eugene Robert Glazer (Director), Lisa Mende (Casting Director), and Dom Irrera (Writer) Directed by Robert Townsend (#1315 - Eddie Murphy Raw)

Review: 

There is always enough time to do a movie where with an actor-star double threat, and this time is no different here. Born in Chicago, Robert Townsend found an interest in acting as a teenager, even in the face of studying at Illinois State University, as he found that his passion for acting, whether in workshops, standup, or appearances in movies such as Cooley High [1975] and A Soldier's Story [1984]. Incidentally, Townsend auditioned for Saturday Night Live in 1980 only to be passed over for Eddie Murphy. When it came to this movie, Townsend shifted interest into directing by the early 1980s and he would bring the help of Keenan Ivory Wayans (who he had known for a handful of years) into writing the film together, which was funded by a row of pre-approved credit card applications. The movie was shot over the course of nearly two years (while actually only having filming done in fourteen days) because Townsend had to make sure the budget would not go under by going on tour with his standup routines. As it turned out, the scene in the film involving looking for “Eddie Murphy-type,” was so amusing to Murphy that when he saw the movie, he asked for Townsend to direct the concert film Eddie Murphy Raw, which was released a few months after Shuffle. In his career, Townsend has directed seven theatrical films to go along with occasional acting roles and work in television, as highlighted by works such as The Five Heartbeats and The Parent 'Hood.

Technically the movie could be thought of as a sketch movie, because there are a handful of vignettes dedicated to making light of certain experiences and viewpoints, whether that involves a "Black Acting School" or, well, making light of Siskel & Ebert with "Sneaking into the Movies". One finds a clear passion by Townsend in poking at people who seem to believe that people have look and act a certain type of way just to even be considered for movies, right down to having a character even remark that it isn't about the art for them but the "sequel". It stings to see the depths people will go in treating people as cogs to throw in and out on a whim and asks the question of what it takes to "play the game" when it really is a matter of one's soul on the selling line. Sure, it comes and goes in getting its target down with bite to match, but it manages to hold together for 78 minutes with pretty game people for those bits spent in mockery, such as the vignette about a private eye is particularly funny to play with the cliches in sharp energy. Others come and go in varying levels of interest, whether that involves the interludes spent in dead-end nature with Witherspoon/Wayans/Washington or the sharp seasonable presence in Martin or most significantly, the one-scene wonder with the helpful McKnight. I like the last sequences in showing a key message not merely by preaching to the pulpit but by just showing how it looks to people around them (and one callback about making a honest living). Life will crush you down regardless of one's race, but that doesn't mean you have to let your dream pass you by. In that sense, Hollywood Shuffle has relevant chuckles at the expense of an industry that likes to pigeon-hole people in a certain way that can only be remedied by looking at the options laid in front of them and moving forward on one's own path. In short: it is a biting movie with a good deal of laughs.

Overall, I give it 8 out of 10 stars.

Friday (1995).

Review #1806: Friday.

Cast: 

Ice Cube (Craig Jones), Chris Tucker (Smokey), Nia Long (Debbie), Bernie Mac (Pastor Clever), Tom Lister Jr (Deebo), John Witherspoon (Willie Jones), Anna Maria Horsford (Betty Jones), Regina King (Dana Jones), Paula Jai Parker (Joi), Faizon Love (Big Worm), DJ Pooh (Red), Anthony Johnson (Ezal), Tony Cox (Mr. Parker), Kathleen Bradley (Mrs. Parker), Yvette Wilson (Rita), and Angela Means (Felisha) Directed by F. Gary Gray (#517 - Be Cool)

Review: 

"I didn’t grow up studying Orson Welles. All the greats, I learned about them after the fact, because I had already started making movies, and I was embarrassed to do interviews where they would bring up these great filmmakers and I wouldn’t know any of them."

It's interesting to consider the trajectory of a film director when it comes their debut features, black or white. Of course, this is a bit of window dressing to demonstrate the interesting lines one can take with showing the talents of a fresh director that made their debut in their mid-twenties about growing up in Los Angeles. Last year we covered John Singleton and his debut with Boyz n the Hood (1991), but now we turn our eyes to another side of a film set in the neighborhoods of Los Angeles and the debut of F. Gary Gray. He had been born in New York City, but he was raised in South Los Angeles. Strangely enough, when he planned to become a filmmaker at the age of 16, he thought it would take him until he was 45 to make his first feature. He started work as a camera operator right out of high school (he also had a bit role in Major League (1989)) before getting his chance to hone directing skills with music videos, most notably directing the 1993 video for "It Was a Good Day" (sung by Ice Cube). Friday would be the first of ten films that Gray has directed, ones with varying genres (on purpose) that have generally been audience favorites, such as Set It Off (1996) and Straight Outta Compton (2015). The film was written by Ice Cube and DJ Pooh, both natives of Los Angeles. Pooh was a record producer and mixing engineer, producing albums with several legendary rappers (such as LL Cool J and 2Pac). Cube had starred in Boyz n the Hood (1991), and he wanted to make what he called a "hood classic", one that would take experiences he had growing up in his block that would serve as a counter-act to the perception of South Central as just a violent place to live in, depicted in films such as the aforementioned Boyz and Menace II Society (1993). Cube, who grew up with films such as the Cheech and Chong films, Car Wash (1976) and Hollywood Shuffle (1987), had his choices of inspiration when it came to wanting to make a comedy (incidentally, Singleton was the one who encouraged him to take up writing scripts), and Gray expressed interest before the script was even done; New Line Cinema was interested in making the film with Cube as a star, although they wanted someone with more experience for the second lead role (Pooh was initially slated to play the role) - Chris Rock and Tommy Davidson were initially considered the role before Tucker (who had exactly one film credit with House Party 3 and performances on Def Comedy Jam) was tapped to do the film.

The twenty-day shoot for $3.5 million turned out a hit on release. It would inspire two sequels: Next Friday (2000) and Friday After Next (2002) alongside an animated series that ran for a couple of months in 2007. Gray and Cube managed to make a buddy film of the hood with 91 minutes of casual warmth that has a resourceful cast (either experienced in film or not) and the right type of atmosphere fit for a coming-of-age movie. It lounges around without becoming a shell for cheap jokes (i.e. saying vulgar words is fun, but it isn't just one roll of them for a movie), which works well for a film with a majority of improvisation. Cube and Tucker make a capable pair together, since they match each other well when it comes to repertoire that is free-flowing, with Cube's casual engagement mixing in with the high-laced energy from Tucker (who elected not to star in the sequels for religious reasons). Lister (nicknamed "Tiny" but also known as "Zeus" when dabbling in wrestling) had been a shot-put champion in college before turning to acting, primarily as a "heavy", with this being his most noted role, and he makes the most of it with an imposing goon nature that can draw a chuckle or a curious eye. Long provides the soothing contrast to some of the proceedings. Even the folks with one or two scenes are still interesting. Bernie Mac plays a pastor with the right sense of flighty hypocrisy, while Cox chases him with zippy energy to go with a briefly electric Bradley to make one amusing triangle for a scene. Witherspoon pulls in the eccentric angle with the right touch of familiarity that makes his moments with Cube just right. The climax is a bit sudden, for which Gray reflected grounds the film but done with "inelegant" execution, but the movie manages to stay on the level when it comes to showing the different degrees of what one defines is a man when it comes to confronting a challenge with a choice that doesn't need a soapbox. Whether one is interested in the sequels or not is fine, because the film holds well on its own. As a whole, Friday is an engaging comedy with plenty of interesting moments spent in a neighborhood that Cube and Gray have re-created from their memories to result in a casual classic. 

Overall, I give it 8 out of 10 stars.

Next Time: Baby Boy.

A Thousand Words.

Review #886: A Thousand Words.

Cast:
Eddie Murphy (Jack McCall), Kerry Washington (Caroline McCall), Clark Duke (Aaron Wiseberger), Cliff Curtis (Dr. Sinja), Steve Little (Co-Worker), Allison Janney (Samantha Davis), John Witherspoon (Blind Old Man), Jack McBrayer (Starbucks Coffee Employee), Kayla Blake (Emily), Lennie Loftin (Robert Gilmore), and Ruby Dee (Annie McCall) Directed by Brian Robbins (#147 - Norbit and #221 - Good Burger)

Review:
Simply put, this movie is bad. Really, really bad. It is the kind of a movie that exists in a void of nothingness, a void of absolute garbage that isn't really worth getting angry over. There are movies that are blandly terrible (#236 - Mr. Popper's Penguins), movies that are insufferable (#772 - Four Christmases), and movies like this. It's not so much a comedy-drama as it is a movie lacking in any kind of enthusiasm. It is obvious to see the biggest flaw for the film right away: Taking away Eddie Murphy's voice. Granted, he still talks throughout the movie (along with a strange bit of voice-over that feels off-putting), but Murphy just isn't very good at miming. I wonder how this would have been as a silent film, actually. There is never a moment where you feel for anything that is going on, where anything really matters. It also doesn't help that the characters in the movie act like idiots, where simply gestures are interpreted wildly, and other ones are just weird. I fail to see how trying to order coffee (with gestures, of course) can lead to wanting Paul McCartney music (also, who sells that in a Starbucks shop?). Murphy and Washington have little to no chemistry, with no sort of spark of excitement or literally any sort of life. Duke isn't particularly funny (how many times have we seen dweeby characters like this), but I guess him putting duct tape on Murphy is interesting...in that it should have happened earlier in the film. The rest of the nondescript cast is about as bland as you expect, in a movie filled with cliches and dead ends. There's a scene where Murphy is telling a character about his condition (it's a dream sequence, naturally), with the two of them laughing...and he suddenly has leaves flying out of his mouth. Yup, leaves. That's probably the only surprising thing in this movie. Think about that.

Somehow, this movie's release was delayed numerous times. Apparently it was filmed in 2008, but it didn't get released until 2012 (remember those days?) due to being caught up in the split from Dreamworks and Paramount, with re-shoots occurring in 2011. You could've released this as a TV special, or literally any medium that isn't film, because this isn't something you put in theaters. So how does the plot work? Apparently getting a splinter from Bodhi Tree and some sort of handshake between Murphy and a guru (played quite blandly by Curtis), with the tree appearing outside his place that night. Okay, so leaves fall out every time he talks, I get that. But why does it happen when he write notes? Or when he gives it a certain gesture but not other gestures he uses? Why only a thousand? Do tree have so little leaves, or is it the universe giving him a raw deal? Heck, why not just write a note down and carry it with you? I doubt you could lose more words that way considering you're showing the same note around to people. Obviously this is a movie...but who needed this film? Who wanted this? What interested the people who made this into doing a film bereft of any kind of spirit? How did Murphy think this was a good idea? It isn't even a movie with an exploitative kind of spirituality or drama aspect, it's a movie that flat out stinks. When my mom asked about the movie, she wondered why he didn't just use sign language. My response (which pretty much epitomizes the film) was that I don't think any of these characters would even know what sign language is. This does have one benefit: it's a brilliant time waster.

I can't believe I actually wrote so many words about this pile of minutes compiled into a film that crashed and burned without any kind of fire to it. It's actually quite funny. I've done essays for college that had more words, but this is far more strange to do (plus this isn't up to the kind of quality junk I write). To reward you, let me present some things you can do around this holiday month (if there's more than one holiday in the month, it's a holiday month, okay) that are better than this movie. In the holiday spirit, here's twelve:

1. Write your own text show! (I hear you can make it a hobby)
2. Survey ideas for Christmas gifts (no, your social media posts to them count)
3. Try weird food combinations and show your friends (my personal favorite: ketchup on anything)
4. Play a bunch of music choices and literally never break out of the pattern for weeks (no joke)
5. Try wearing two ties (it'll really impress your friends)
6. Try passing a semester (or three) of college (done, without much fear by me)
7. Hang out with friends (who else would you hang out with, a date?)
8. Somehow write reviews for over 100 films in a calendar year for the first time in two years (yup)
9. Make references to cities you have a soft spot for (hello, Buffalo!)
10. Make lists in order to try and be funny (is it working?)
11. Use spell check more often, especially when trying to convey what movie to see
12. Run parallel to an 5K run (been there, done that. Why pay money to wear a Santa suit?)

Literally any of these things would be better than seeing this film. The final word count (including the rating listed after this count): 1000 words. Seriously.

Overall, I give it 2 out of 10 stars.