#American comedy-drama film

[k-i-l-l-e-r-b-e-e-6-9]

𝔖𝔩𝔠 𝔓𝔲𝔫𝔨! (յգգՑ) 𝔴𝔯𝔦𝔱𝔱𝔢𝔫 𝔞𝔫𝔡 𝔡𝔦𝔯𝔢𝔠𝔱𝔢𝔡 𝔟𝔶 𝔍𝔞𝔪𝔢𝔰 𝔐𝔢𝔯𝔢𝔫𝔡𝔦𝔫𝔬

[365filmsbyauroranocte]

American Fiction (Cord Jefferson, 2023)

[nellarw95]

Happy Birthday Russell 🥳🎂🎈🎁🎉

April 7,1964

Buon Compleanno 🥳🎂🎈🎁🎉

7 Aprile 1964

[christianbalefanatic]

Christian Bale for American Hustle Interviewed New York Times [December 13, 2013]

Re: Christian Bale as Irving Rosenfeld in American Hustle (2013) dir. David O. Russell

[cemyafilmarsiv]

American Fiction ( Eleştirel bir komedi, bayram hediyem olsun... )

[sapphia]

how many wga strike posts do i need to scroll past telling people where to find fresh content to watch before someone points out that america is not the only country that makes tv shows

[ricisidro]

#AmericanFiction (2023), is a film based on #PercivalEverett's novel #Erasure (2001) which tackles black-victimhood stereotypes.

A #comedy film on how class, envy, race and literary taste collide, it received numerous accolades, including one of the American Film Institute's Top 10 films of 2023, Best Adapted Screenplay at the #BAFTAs and 5 #Oscars nominations, Best Picture.

[fideidefenswhore]

thomas cromwell-coded.

[luvinaeverdene]

American Beauty (1999)

Directed by Sam Mendes

[ausetkmt]

Bamboozled is a 2000 American satirical black comedy-drama film written and directed by Spike Lee about a modern televised minstrel show featuring black actors donning blackface makeup and the resulting violent fallout from the show's success. It features an ensemble cast including Damon Wayans, Jada Pinkett Smith, Savion Glover, Tommy Davidson, and Michael Rapaport.

The film was given a limited release by New Line Cinema during the fall of 2000 and was released on DVD the following year.[2] Critical reception was mixed,[3][4] and the film was unsuccessful financially, becoming a box office bomb.[1] Despite its initial reception, Bamboozled later achieved cult film status for its satirical look at stereotypical depictions of black people in both historical and contemporary American film and television productions.[5][6][7][8][9]

In 2023, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[10]

Pierre Delacroix (real name Peerless Dothan) is an uptight, Harvard-educated African-American man in the employment of television network CNS. At work, he endures torment from his boss Thomas Dunwitty, a tactless, boorish white man. Not only does Dunwitty use African-American Vernacular English (AAVE) and the word "nigger" repeatedly in conversations, he also proudly proclaims that he is more black than Delacroix and that he can use "nigger" since he is married to a black woman and has two mixed-race children. Dunwitty frequently rejects Delacroix's scripts for series that portray black people in positive, intelligent scenarios, dismissing them as "Cosby clones".

In an effort to escape his contract through being fired, Delacroix develops a minstrel show with the help of his personal assistant Sloane Hopkins. Mantan: The New Millennium Minstrel Show features black actors in blackface, extremely racist jokes and puns, and offensively stereotyped CGI-animated cartoons. Delacroix and Hopkins recruit two impoverished homeless street performers, Manray and Womack, to star in the show. While Womack is horrified when Delacroix tells him details about the show, Manray sees it as his big chance to become rich and famous for his tap-dancing skills.

To Delacroix's horror, not only does Dunwitty enthusiastically endorse the show, it also becomes hugely successful. As soon as it premieres, Manray and Womack become big stars, while Delacroix, contrary to his original stated intent, defends the show as satire. Delacroix quickly embraces the fame and recognition he receives while Hopkins becomes ashamed of her association with it. Meanwhile, an underground, militant rap group called the Mau Maus, led by Hopkins' older brother Julius, becomes increasingly angry at the show's content. Though they had earlier unsuccessfully auditioned for the program's live band position, the group plans to end the show using violence.

Womack quits, fed up with the show and Manray's increasing ego. Manray and Hopkins grow closer, despite Delacroix's attempts to sabotage their relationship. Delacroix confronts Hopkins, and when she lashes back at him, he fires her. She then shows him a videotaped montage she created of racist footage culled from assorted media to shame Delacroix into stopping production of the show, but he refuses to watch it. After an argument with Delacroix, Manray realizes he is being exploited and defiantly announces that he will no longer wear blackface. He appears in front of the studio audience, who are all in blackface, and does his dance number in his regular clothing. The network executives immediately turn against Manray, and Dunwitty fires him.

The Mau Maus kidnap Manray and announce his public execution via live webcast. The authorities work feverishly to track down the source of the internet feed, but Manray is nevertheless assassinated while doing his famous tap dancing. At his office, Delacroix (now in blackface himself, mourning Manray's death) fantasizes that the various black-themed antique collectibles in his office are staring him down and coming to life; in a rage, he destroys many of the items. The police kill all the members of the Mau Maus except for One-Sixteenth Blak, a white member who demands to die with the others.

Furious, Hopkins confronts Delacroix at gunpoint and demands that he play her tape. As he does so, Hopkins reminds him of the lives that were ruined because of his actions. During a struggle over the gun, Delacroix is shot in the stomach. Hopkins flees while proclaiming that it was Delacroix's own fault that he got shot. Delacroix, holding the gun in his hands to make his wound appear self-inflicted, watches the tape as he lies dying on the floor. The film concludes with a full reveal of the tape's contents; a long montage of racially insensitive and demeaning clips of African-American characters from Hollywood films of the first half of the 20th century.[11] Afterwards, Manray is shown doing his last Mantan sequence on stage.

Cast

Damon Wayans as Pierre "Peerless Dothan" Delacroix

Savion Glover as Manray "Mantan"

Jada Pinkett Smith as Sloan Hopkins

Tommy Davidson as Womack "Sleep 'n Eat"

Michael Rapaport as Thomas Dunwitty

Mos Def as Julius "Big Blak Afrika" Hopkins

Thomas Jefferson Byrd as Honeycutt

Paul Mooney as Junebug

Craig Grant as Hard Blak

Gano Grills as Double Blak

Canibus as Mo Blak

Charli Baltimore as Smooth Blak

MC Serch as One-Sixteenth Blak

Kim Director as Starlet

The Roots as The Alabama Porch Monkeys

Reverend Al Sharpton as Himself

Critical response

On Rotten Tomatoes, the film has an approval rating of 53% based on reviews from 106 critics. The site's consensus is: "Bamboozled is too over the top in its satire and comes across as more messy and overwrought than biting."[3] On Metacritic it has a score of 54% based on reviews from 39 critics, indicating "mixed or average reviews".[4]

Among those who gave positive reviews to the film were CNN correspondent Dennis Michael, who compared the film favorably to Mel Brooks' The Producers and praised Glover's performance in the lead role,[14] Kenneth Turan of the Los Angeles Times, who described the film as "savage, abrasive, audacious and confrontational" and "the work of a master provocateur",[15] and Stephen Holden of The New York Times, who described the film as "an almost oxymoronic entity, an important Hollywood movie."[16] It was not reviewed as favorably by the Chicago Sun-Times' Roger Ebert, who gave the film 2 stars out of a possible 4, writing that the film was "perplexing," raising important issues but handling them poorly. "The film is a satirical attack on the way TV uses and misuses African-American images, but many viewers will leave the theater thinking Lee has misused them himself."[17]

By the time of its twentieth anniversary, Bamboozled had been reappraised as an underappreciated work of Lee's.[18] Writing for Rolling Stone, David Fear noted that "the really scary thing is that, 20 years on, Bamboozled feels incredibly contemporary. It doesn’t look so extreme after all...and when you consider the content of this film, that’s a very troubling thing

[selfieignite]

Put John Cho in more romantic roles!

[x]

[k-i-l-l-e-r-b-e-e-6-9]

[simplytegwin]

Adrien Brody; "The Brothers Bloom"

[nellarw95]

Happy Birthday Alexandra 🥳🎂🎈🎁🎉

March 16,1986

Buon Compleanno 🥳🎂🎈🎁🎉

16 Marzo 1986

[christianbalefanatic]

Christian Bale as Irving Rosenfeld in American Hustle (2013) dir. David O. Russell

(Christianbalefanatic Edit)

[lifewithaview]

Claire Sloma and Annette DeNoyer in "The Myth of the American Sleepover" (2010)

Four young people navigate the suburban wonderland of metro-Detroit looking for love and adventure on the last weekend of summer.