#Jonita Davis

[jonitadavisposts]

https://youtu.be/nQiACXn2vVM So many of you want to know what's happening with me. Here it I. I am in desperate need of help. To fix my car, start over, protect my little kids, and begin establishing our shelter when we return to our new home state. My kids and I have been through hell. My kids especially were stuck in a space where they were neglected, belittled, abused, and called out for help to deaf ears. They were in a city, a state full of people who so-called loved me, but no one came to their aid. That's fine. Mama's got them. I need a little aid to ensure that my beautiful babies never have to cry out in pain and misery ever again. I unblocked so many people so that you can hear my story. So you can see what Donovan Davis and Tamara McCollough have really been up to. So that my voice is louder than her contacts in law enforcement and his hysterics when they claim that I am a crazed, dangerous, mentally ill woman who kidnapped her kids and attacked her older son. Once you hear my side, which not one of my family members asked for by the way, you will see the nonsense and where the danger really lies. I'm not mentally unstable. I just refuse to be your puppet. I'm not crazy. I just refuse to support your lies. I did not kidnap my children. I am protecting them from physical abuse, mental trauma, neglect, and from being the pawns of two people who lost control over me. My babies are not your playthings. And don't act as if you care. If you did, I wouldn't be the first adult asking why their aunt wants them back in a home that looks like the one in these pics. And why their father made his 9 y.o. son into a modern-day Cinderella. The audio of a grown-ass man screaming at a 9 y.o. boy about nasty ass oily trucker laundry is disgusting. And it's never happening again. Oh, I have receipts for everything in this post and my video. Audio, video, photos. I'm done being silent. My voice will be heard. Here's where you can support my two musketeers and me on our journey forward. https://www.paypal.me/bylinesbyjo https://venmo.com/u/Jonita-Davis https://cash.app/$jonitaldavis https://www.paypal.me/bylines #helpme #help https://www.instagram.com/p/CoWNtK7u1Ts/?igshid=NGJjMDIxMWI=

[tachyonpub]

HAP AND LEONARD tackles societal problems in an unapologetic yet humorous manner

The cancellation of the popular and acclaimed SundanceTV series Hap and Leonard has not sat well with fans.

Jonita Davis for BLACK GIRL NERDS argues that the show was cancelled because tv execs were not comfortable with the show’s uncomfortable content.

There hasn’t been a show in a long tine that embodied so many important tropes depicted in such natural forms. Thee now-cancelled AMC  SundanceTV show “Hap and Leonard” took on several problem areas in modern society with an unapologetic yet humorous manner.  From the toxic white feminine complacency to the conservative black gay man and the black woman driven to her death by racism and misogyny, the show never shed away from a subject.

<snip>

There won’t be another show like “Hap and Leonard”, In fact, the next shows lined up bu SundanceTV center whiteness once again with three white women in the lead and no POC to be found so far. Fortunately, we will have Lansdale’s extensive collection of books about our characters on display and ready to read.

The whole fiasco shows us that, until the tv execs get comfortable airing uncomfortable content, we will never be able to keep a great show like “Hap and Leonard”.

Fans have started the petition: Netflix or Amazon should pick up future seasons of Hap and Leonard!

The Sundance Channel cancelled a much-beloved show with many loyal viewers (that they did little to promote) and after 3 great seasons, there's are many more Hap and Leonard books ready to be adapted.

One of the prime streaming channels like Netflix or Amazon should and allow the current fans and future fans to find this wonderful series!

For 1428 ELM, Susan Leighton shares a lengthy 2 part interview with Joe R. Lansdale.

From Part 1:

1428 Elm: Let’s talk Bubba Ho-Tep. Knowing that Elvis spent time in Gladewater, were you a fan? What was the genesis for the short story that became one of the most beloved cult classics of all time?

JL: First of all, the genesis for it would be that I grew up with Elvis. Of course, my brother had that loose connection with him. It was almost like he was a distant cousin in a strange way.

In many ways because of him, I discovered all of these different types of music. Without Elvis, a lot of white kids would never have known about black music, country music and folk music because they were all connected to what he did.

That meant a lot to me. So, when I was asked to write an Elvis story, I had this title in my head. Bubba Ho-Tep which I thought would be a funny thing for a mummy story.

Photo by Ulf Andersen/Getty Images

Part 2:

428 Elm: Sorry to hear about the cancellation of this terrific show. What are your takeaways from your time with Sundance and being one of the producers?

JL: James Purefoy and I were talking via email and neither one of us are sad. We had three great seasons. If we would have been able to continue we would have been more enthusiastic to do so. We’re both very content.

Fans were even disappointed and angry. I don’t think there is anything to be angry about. My takeaway is that Sundance treated me very well.

We were hoping it would move somewhere else but it didn’t. It was a wonderful experience. I met some great people.

I am working on the Bottoms which my friend Bill Paxton was supposed to direct. He was such a great guy with such a great vision of the film and his direction would have been awesome.

We have other plans, I’m not going to say what because that’s confidential. I am excited about it. I will be a producer on it. Although I am not the absolute producer on it, I hope to be more involved with it.

I am trying to be a more active producer on other projects of mine or a more absolute producer. So, we’ll see what happens.

Michael Patrick Hicks at HIGH FEVER BOOKS praises the forthcoming collection Terror Is Our Business: Dana Roberts' Casebook of Horrors by Joe R Lansdale and Kasey Lansdale.

Terror is Our Business collects the Dana Roberts stories, previously published elsewhere, into a single volume, along with a new story, “The Case of the Ragman’s Anguish,” that is exclusive to this story. The book is split pretty evenly, with the first half devoted to stories written solely by Joe R. Lansdale, with the back-half featuring stories co-written by Joe and his daughter, Kasey Lansdale.

<snip>

Following Kasey's introduction to this collection, we are introduced to a woman named Jana, initially in a stand-alone story focused solely on her encounter with the paranormal, before joining Dana's investigations for the final two casebooks. Jana is a bit more my style - she's fun, witty, has a bit of mouth on her, says things without thinking, and is pretty much always in way over her head. Dana, on the other hand, is very reserved and proper, an upper-class sort of personality. Jana is her Watson to Dana's Holmes, and becomes our window into the world of the supernormal for the collection's back-half. Once Kasey and Jana hit the pages, the stories become livelier and Dana finally has a counterpoint, a polar opposite, to act against. The burgeoning friendship between these personalities present an entertaining foil. The last two stories present supernormal threats that are also unabashedly Lovecraftian, which hit a particular sweet spot for me. While Jana presents an airier narrative voice than the stuffier gentleman author transcribing a moneyed ghost hunter's adventures, the introduction of cosmic threats really tickled me, even if the stories still follow the by-now well-established Dana Roberts' Casebook story formula. 

All in all, Terror is Our Business: Dana Roberts' Casebook of Horrors is a largely delightful introduction to this investigator, but it took a while for me to connect with the work as a whole. It's not really until the last couple stories that everything began to click for me, and it's clear that Kasey Lansdale's influence was key to the development of Dana Roberts and helped give the series a fresher perspective. I do hope to see more of Dana and Jana, as well as Joe and Kasey as collaborators, in the future though. 

For more info about HAP AND LEONARD: BLOOD AND LEMONADE, visit the Tachyon page.

Cover by Elizabeth Story

For more info on HAP AND LEONARD, visit the Tachyon page.

Cover by Elizabeth Story

For more info on THE BIG BOOK OF HAP AND LEONARD, visit the Tachyon page.

Cover design by Elizabeth Story

For more info about THE BEST OF JOE R. LANSDALE, visit the Tachyon page.

Cover by John Picacio

[kisafilms]

‘The Harder They Fall’ is the Blackest and Boldest Western Since ‘Posse’

‘The Harder They Fall’ is the Blackest and Boldest Western Since ‘Posse’

My parents made us watch Posse so many times that I could quote it at the age of 15. What my mom called “the real west” was the father and son Van Peebles (Melvin Van Peebles and Mario Van Peebles) on horseback, shooting bad guys, and bowing to no (white) man. It has been ages […]New from Jonita Davis on The Black Cape: Review: ‘The Harder They Fall’ is the Blackest and Boldest Western Since…

[comicweek]

Diversity in Zack Snyder's Films Panel

For this panel, we will host Chris Wong-Swenson, Jonita Davis and Sheraz Farooqi to discuss diversity in Zack Snyder's work. 

AFSP Donor Drive: https://afsp.donordrive.com/index.cfm... 

nkToThePeople Justice Con Merch: https://inktothepeople.com/dc-film-fans

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[kronos999]

https://twitter.com/ray8fisher/status/1278362556214755329

Ray Fisher posted a retraction of his praise of Joss Whedon from the JL lead-up and people dismissed his experience, called him unprofessional, or straight up said that he didn’t know how movies worked.  Even though other people who worked on the film supported his statement.  This shouldn’t be necessary, but here we are.  Personally, I’m wondering how much his race played a part in people dismissing his own lived experiences.

Ray is now being blunt and specific.  And, frankly, this man is incredibly brave because this could kill his career by marking him as someone difficult to work with.

I also think that these statements are should also be read in the context of the recent interview Ray did with Jonita Davis, combined with how almost every character of color was sidelined and reduced/removed from the theatrical cut of the film to be replaced with the ‘relatable’ generic white family to generate audience sympathy.

But that isn’t all we know about the behind the scenes of the JL reshoots.  We know Gal refused to shoot at least the one scene and this was then performed with a body double because she found the concept so gross.  I’ve heard rumors that Ben Affleck almost got (or did get?) into a fight with Joss on set.  What the hell.  Like, what the hell?

Just how terrible was everything on the JL set?

[animalsenterprises]

Film Reviews...

Here is a quandary. I don't subscribe to reviews nor read them. The good or the bad weigh  equally in my book.

However, they provide value to those who are interested. And, in my personal case, anything good that comes down the pipeline is a tool to possibly get others interested. And for that reason alone, I share the good that comes down the pipeline.

Our Chicago screening went well. A film critic from THE IRANIAN (Jonita Davis) was sent to review the films, and she had a favorable impression.

You can read the whole post here: 

Some take away pull quotes:

"This was a film that turned the job of “watching” back onto the audience, forcing them to reflect on the things seen, heard, and felt…. the experience of both films (MAN + Three Worlds) is one that any film connoisseur must have. To sit with an awareness of the film, and, an awareness of how you are watching it, is a surreal act that can only be described as “art.” Motlagh’s work is definitely a piece of art in the medium of film."  -- Jonita Davis

[jonitadavisposts]

The hits just keep coming. If you know anything about engines, please DM me. Thanks to everyone who has sent their support so far. We are safe. I got clothes, and things before the car just said "Nope" and refused to move. Fortunately, we did get back to the hotel. I gotta get the kids used to eating well rounded meals again. My night was punctuated by little stomachs rejecting fresh fruit and veggies. Seems they bene eating nuggets, fries, and ramen for the last several months. We are spending the afternoon treating Quinn's hair to make her curls healthy again too. Baby girl was forced to figure out her own hair and its in need of some massaging, conditioning, oil, and care... Your support made this happen. Thank you all. I'll keep you updated. Also, if you have questions about my situation, ask me. It you choose to believe someone else, including those in my family who may be in positions of authority, without consulting me, unfollow me now. I refuse to continue to defend myself against lies, especially when the liar let my kids live in abuse and neglect for months without ever once stepping in to check on them. In my eyes, you deserve a seat next to their abuser. Cop or not, you should be ashamed of yourself. If those words hurt, they hit exactly where I wanted them to. Leave us alone, now. For everyone else. Sending back all the love that you send me. Keep us in your prayers. Venmo: @Jonita-Davis PayPal: mrssupe28@hotmail.com Cash app: @jonitaldavis ❤️❤️❤️❤️❤️ #fightingtobeheard #fightingformykids #enginetrouble #cartrouble #roadtrip #freshstart #newlife #domesticviolenceawareness https://www.instagram.com/p/CoSy-QxP2sh/?igshid=NGJjMDIxMWI=

[mrssupe]

Tonight is another stop on my book tour. I'll be speaking at @siesenglishassociation event about my book Carrying On, about writing comedy, and so much more. This will be so much fun. I can't wait. Hello Literature Fanatics! We're back with another event: a Creative Writing Workshop called 'Exploring Literary Trends With Jonita Davis'! ✍🏻 Davis is a freelance film and television critic who writes for various outlets, including Black Girl Nerds, The Fix, The Washington Post, Syfy Wire, and many more. Motherhood as well as her academic experience inspire her to research & write about television and film through the lens of culture, race, gender, and family. And she just published a new book, "Carrying On", a murder mystery with humour and a whole lot of spice!✨ We are so pleased to have her on board! ☺️ Reposted from @siesenglishassociation https://www.instagram.com/p/ChCr8KkOYHv/?igshid=NGJjMDIxMWI=

[siddysthings]

‘Moonfall’ Gives the Reasons Why “A Black Woman WILL Save Your A$$” in an Apocalypse | by Jonita Davis | The Black Cape

[leftpress]

‘If it weren’t for Martin Luther King Jr, we’d still be on strike’

Evan Pritchard | Socialist Unity | April 7th 2018

From today’s Morning Star.

This is an edited version of an article that first appeared at peoplesworld.org. Mark Gruenberg contributed to this article.

JONITA DAVIS speaks with the striking workers of 1968 who were supported by Martin Luther King Jr just before he was assassinated

  REMEMBRANCES of Dr Martin Luther King Jr’s ideas, activism, and assassination have been taking place around the US this week.

But that can’t be done without a serious look back at the 1968 sanitation workers’ strike, which brought King to Memphis, where he had been visiting striking bin workers when he was killed in 1968.

Three of the original 1,300 sanitation men who were forced to strike that February talked with reporters...

→ READ MORE ←

Get your Latest News From The Leftist Front on LeftPress.News → Support Us On Patreon! ←

[avaduvernayfans]

How Queen Sugar Turns the Stereotype of the Drug-Addicted Black Mother on Its Head By Jonita Davis | July 11, 2017 | 12:00pm Queen Sugar embodies many of the elements of a real black family in the Bordelon siblings, Ralph Angel (Kofi Siriboe), Charlie (Dawn-Lyen Gardener) and Nova (Rutina Wesley)—elements that I can identify with, or thought I could until I encountered Darla (Bianca Lawson), Ralph Angel’s ex. She’s introduced in the pilot episode, when Ralph Angel calls her after his father (Glynn Turman) dies. She talks nervously about a job and wanting to see her son, Blue (Ethan Hutchison). We learn later that Darla is an ex-addict and ex-prostitute. I instantly didn’t like her, and I’m not alone: From the beginning, even Twitter was lit with doubt about her. We wait for her to flake on her responsibilities, stab the Bordelon family in the back, steal, get high. But Darla does none of this; about halfway through Season One, I figured out that Darla was an unfamiliar figure. Through her, Queen Sugar upends the dangerous stereotype of the drug-addicted black mother, which not only appears in film and on TV, but also shapes the way these women are treated in the world. Darla’s arc works to restore humanity to the character, showing addiction as an illness and the addict as a human being struggling against that illness and the reputation—the stigma—she carries as a result of it. The pilot’s introduction of Darla also reveals that she and Ralph Angel are estranged, and that it’s probably her fault: By this time, we know that Ralph Angel raises Blue with the help of his Aunt Violet (Tina Lifford) and her boyfriend, Hollywood (Omar J. Dorsey). The call is probably a moment of weakness on Ralph Angel’s part, but for Darla it’s a way, finally, to prove herself. She has a new job, earning steady money and benefits. She can finally help with Blue. But for some reason, we don’t trust her. After all, the TV series that depicts the black mother as an addict usually makes her the villain: The woman is a train wreck, finding drama in everything she does. She schemes and breaks her family’s hearts, especially those of her children. She undermines the family’s success, their happiness, their very togetherness, and is often sent packing by the other characters simply to maintain stability, to prevent separation, which has always been the destruction of the black family. The type often turns up in dramas about black families. The constant plotting, the disappearances, the betrayals, the neglectful attitude toward her children are all typical moves for the drug-addicted black mom in popular culture. When we see one, we’re already predisposed to distrust her. Consider Empire, in which Cookie Lyon’s (Taraji P. Henson) sister, Carol (Tasha Smith), is a recovering addict and mom. Carol often abandons her kids with her other sister, Candace (Vivica A. Fox); she’s stolen from Cookie, brought legal trouble down upon the Lyons’ record label, and allowed an FBI agent investigating the Lyons to potentially find enough evidence enough to destroy the Lyons’ record label and send Cookie back to jail. Even in Empire’s most recent season, the series’ third, we don’t trust Carol, despite the fact that she’s gotten clean and is eager to help Cookie—always plotting herself—stop Empire’s Vegas expansion. Despite its reputation for progressive casting and storytelling, the same stereotypical traits appear in Orange is the New Black, too: Season Two’s Vee (Lorraine Toussaint), a former drug dealer, is a perfect example. Vee takes her former foster daughter, Taystee (Tasha Jefferson), under her wing once again, along with Taystee’s fellow inmates. Vee does so to manipulate them into starting a rivalry against the white and Hispanic women, where there previously was (relative) harmony. Although her addiction is to selling the drugs, not to using them, the result is the same: Her entire arc is permeated by her need to run Litchfield’s drug trade, exploit the girls who’ve become her “family,” and wreak havoc throughout the prison. Vee’s operation even convinces the inmates to reuse tampon tubes in order to smuggle cigarettes, forcing them to forgo their own dignity to help Vee turn a profit. You can never trust “mom,” in this rendering, because her selfish desires transcend the familial bond. There are other examples. In the Law & Order: Special Victims Unit episode “Dolls,” Gloria Reuben plays Violet, an ex-addict whose child is found mummified in a dumpster. (Violet is initially blamed for the death because “junkies lie all the time,” a refrain that Detective Tutuola, played by Ice-T, repeats like a broken record.) Columnist Charles M. Blow has accused Tyler Perry of building a career on the backs of stereotypical “crack mothers.” Seeing black moms who are also addicts portrayed as the villains in so many films and TV series then becomes the way we see and treat these mothers in real life. We criminalize addiction though it’s an illness. We rip mothers who are addicts from their children before offering support, making the journey to family reunification even more arduous. We accept the dearth of resources devoted to stabilizing the home environment. Distrust of addicts and ex-addicts thins out their job prospects. Add in systemic racism, which exacerbates all of the aforementioned challenges for black women, and the result is a mother doomed before she even begins recovery. This is why Queen Sugar’s Darla is so important. The series plays on the audience’s prejudice in the beginning, only to slap us in the face with it as Darla proves herself to be everything but the stereotypical addict. Darla is human, of course, struggling to right her wrongs despite the world being dead-set against her: At the outset, we see that Darla’s boss is a jackass who waves her ex-addict status over her head every time she tries to do good; she has to flake on watching Blue during Ralph Angel’s father’s funeral because the employer forces her to stay for a longer shift than promised. She can’t call because customers are honking and screaming at her to do her job. The girl is losing every way she turns. Later, when Darla shows up at the funeral, Ralph Angel tries to get up to stop her, thinking she’s up to something. Is she showing up in such a public place because she knows he can’t make a scene without disgracing the family? No. She’s just trying to make up for the earlier mess. Darla is trying to make things right. But we see this and still don’t trust her. During the hurricane that makes landfall in the second half of Season One, we find out why the family despises her so much: Hollywood once found infant Blue and drugged-out Darla in a trashy motel room, on a dirty bed. Darla was having sex with a john for money. This is the experience that the family has to go on, so it’s no wonder that Violet takes so long to forgive Darla, even after she stands in front of the woman, tears in her eyes, and says, “I want… to thank you.” Vi is as shocked as the audience at this, but Darla goes on, talking about how she never got a chance to thank Violet and Hollywood for rescuing her baby. She told them that she didn’t want to live, and Hollywood came, took baby Blue “gently” and kicked out the john. He then covered Darla’s naked body and told her, “God bless you, girl.” “When he left, I thought, ‘Thank God. Thank God Blue will be okay.’” This is the speech of a woman who’s selfless, and sincere about her quest for forgiveness. She ends with, “I want to pay back my debts and bring goodness where I once brought discord. I hope you see fit to let me.” How many Queen Sugar fans still didn’t trust Darla even after this affecting sequence, after all that we had seen in her story? I must admit that I continued to have reservations as well. It was only after the season ended—with no Darla-ignited sparks—that I had to ask myself why I didn’t trust her in the first place. The answer is that we, as viewers, have been conditioned by popular culture, in particular TV dramas, to see drug-addicted black mothers only one way, even if they’ve in recovery and are no longer under the influence. No matter how these black mothers atone, they are forever the villains. The depiction of Darla in Queen Sugar not only changes how addiction is portrayed on the small screen; the character challenges the real-life stereotype as well. In the hands of creator Ava DuVernay, Lawson, and the series’ writers and directors, Darla dismantles our impulse to prejudge and mistreat black mothers and addicts as they work to reform their lives and their families. If we can get past the stereotype to see Darla’s humanity, humility and sincerity, the same must be true of women off-screen as well—women who’ve been cast as villains for far too long. Queen Sugar airs Wednesdays at 10 p.m. on OWN. Read Paste’s episodic reviews here.

[chicagoindiecritics]

New from Jonita Davis on The Black Cape: TIFF Reviews: From Romance Fizzling ‘Mondays’ to Historic Bros in ‘One Night in Miami’

The Toronto International Film Festival Kicked off on Thursday, September 9th with a film that so many Black critics were waiting for, Regina King’s directorial debut One Night in Miami. The film is as of press time, the best film of the fest for me. That does not mean that TIFF2020 is devoid of stories. There are so many tales from so many perspectives that this year’s festival has me watching films until the wee hours of the night. I ended last night with The Third Day, at about midnight–after doing some anxiety baking (peach cobbler). The series is a thriller that will really make you anxious and unable to stop watching at the same time!

Yes, I said baking. TIFF this year is a virtual affair that has most critics taking in the fest from home or wherever they can comfortably view them. My family has been tolerating me roaming the house with noise-canceling headphones on my ears and my eyes glued to the film on my tablet or phone. Here are capsule reviews for the films I viewed at the virtual TIFF over the first two days of the fest.

One Night in Miami

I’ve read countless accounts of the friendships that our most legendary figures formed while fighting for the rights we take for granted today. Regina King brings this musing to life in her directorial debut film One Night in Miami. In it was Malcolm X (Kingsley Ben-Adir), Jim Brown (Aldis Hodge), Sam Cooke (Leslie Odom Jr.), and Cassius Clay (Eli Goree), as four best friends who come together to celebrate a monumental win.

One Night in Miami is not set up like a biopic or historic narrative this is not. King pulls these four off their pedestal and drops them into a moment that is reminiscent of the Big Chill. She shows us their stark realities in conversations that you will only hear Black people speak amongst themselves. Then she takes us to a hotel room where some of the most explosive action happens, along with the most quotable phrases (“most people want a piece of the pie I want the whole damn recipe”), and raw revelations (Malcolm X realizing that the Nation was corrupt and he recruited Clay to help him leave without incident). The most powerful men of the movement are thus reduced to the human men they truly are, frustrated about their past and petrified of their future.

King’s (and Kemp Powers’s script) depiction is fun and thoroughly entertaining. Audiences will feel like they are a part of the moment. Just prepare tissue for those closing credits.

One Night in Miami premiered at TIFF on September 9. It will be released on Amazon Prime at a later date.

Rating 5 of 5

Penguin Bloom

A traumatic event can change a person’s life, but what about the rest of the family? In Penguin Bloom, we follow the Bloom family of five as they try to adapt to a new life after an accident that changes the way they live and love forever.

The oldest child Noah, played by (Griffin Murray-Johnston and Essi Murray Johnson as a younger Noah), narrates the tale of a family vacation gone tragically wrong. Noah, his mother Sam (Naomi Watts), father Cam (Andrew Lincoln), and brothers Oli (Abe Clifford-Barr) and Rue (Felix Cameron) are an Australian family that loves the outdoors. They are very active until Sam leans on a fence of a rooftop overlook and falls to the ground. Her injuries leave her in pain and two-thirds of her body paralyzed. At home after all the surgeries, the family tries to adjust to the new way of life, but Sam has the hardest time. Without her, the family seems helpless, until a broken baby bird comes into their lives.

Suddenly, Sam has somewhere to put her energy, a place where she can’t fail (as she feels she is doing in caring for her family). As the bird becomes a part of the family and heals from its injuries, Sam and the rest of the Blooms find their way out the darkness of trauma. Penguin Bloom is more than a saccharine story of a woman’s resilience. It’s about an entire family damaged by trauma and how the healing must include everyone, even those who don’t wear their injuries on the outside.

Noah’s narration drives this home, meanwhile, the cast, which includes Jacki Weaver who plays Sam’s annoyingly cheerful mom, all deliver stellar performances. This is important because Penguin Bloom, despite being a true story, treads the dangerous line between a feel-good drama and a corny Hallmark movie.

Rating 3.5 of 5

Akilla’s Escape

Akilla (Saul Williams) is a grown man in the drug business, just as the government comes in to legalize things. He’s been in the illicit business all his life, so he knows a boy in trouble when he sees Sheppard. The boy is part of a team that robs Akilla. So, he keeps Sheppard in an attempt to track down the cash. Along the way, Akilla goes back over his own life and remembers how the cycle of trauma is manifesting before his eyes in Akilla.

Charles King’s use of this noir story of drug dealers and gangsters isn’t the type of film the audience will expect. The film is actually a commentary on multigenerational violence and toxic masculinity. Both take a toll on Black men everywhere. The international setting will give Americans a new perspective on a topic that has tackled for far too long. Watch out for Thamela Mpumlwana, the young actor who plays young Akilla and Sheppard. He carries the film well, easily sliding between roles. Audiences will also appreciate King’s depiction of violence as it is more implicit than we are used to from films that delve into the drug trade and gang violence. Akilla’s Escape is a movie that may end up being an education for us all.

Rating 4.5 of 5

Monday

Sebastian Stan and Denise Gough are Mickey and Chloe, two people who fall hopelessly in love after a Friday night together in Athens, Greece. They are passionate and so deeply in love that by Monday, Chloe decides not to fly out to take a job in the US. That weekend was her last one before the big move. After falling for Mickey, Monday brings a whole new life for her. Monday picks up at the place where most romances end, right after the moment that true love is confirmed, and the couple commits themselves to be together. What ensues is the reality of loving a person you hardly know. For Chloe and Mickey, this also means asking if that first romantic feeling is really enough to keep a couple going after the lust has rubbed off.

Monday offers the stark reality of romance, something that fans of the genre will find interesting. The beginning is shot so well and feels so rich that it feels like enough. The second act, however, flips the entire script onto its head as we see the chemistry influence some very misguided choices that both end up having to live with if they ultimately stay together. There’s a drugged, drunken, desperate dash to rekindle things in the end that may end up making this situation monumentally worse.

Rating 4 of 5

The Third Day

Jude Law, Naomie Harris, and Katherine Waterston lead this cast of an HBO miniseries about a curious little island that can only be reached by a road that appears in low tide. The Law is Sam, a father, and a husband who goes into the woods on a serious sentimental mission. There he finds a girl attempting suicide. His day ends at this little island where they are preparing for a music festival. However, all signs point to shenanigans afoot. Viewers won’t be able to shake the feeling that Sam should’ve gone home when he had a chance. Not the tide is in and the road is gone until morning. He meets Jess (Waterson) who is there for the festival too, but also well aware of the ancient, Celtic rituals that the island residents are so proud of. They come in Summer.

Winter is Helen, Naomie, is a mother of two biracial girls who come to the island on an outing. She booked the Air BnB, but now no one wants her and the girls in their place. Everyone is inhospitable and they really should leave. However, that means getting to the causeway before the tide comes in. Their stay on the island comes after Sam’s, after the festival. The vibrant, charming community is now ravaged, feral, and the site of a gory happening that may not be over.

TIFF showcased two episodes of the show that were definitely not enough. This eerie show has the feel of that old FOX series Wayward Pines. Nothing is as it seems, and a sinister power seems to be in control of things. These two visits prove that. What is going on and why are two things we must figure out when the show airs on HBO.

The Third Day premieres on HBO September 14, 2020.

Rating 4.5 of 5 

Holler

Ruth, played by Jessica Barden, is a girl living in the Rust Belt, in Ohio. Her mother is struggling with opioid addiction, and her brother is a high school dropout. Blaze (played by Gus Halper) is struggling to keep himself and his sister from being hungry and homeless.

The factory that is the only decent workaround has no room. Worse, Ruth gets accepted to college and needs to pay the bill. She and Blaze team up with a no-good scrapper to do nightly raids on construction sites of their precious metals. This illegal job is bringing some real cash and also some danger. Can Ruth get her money and get out safely?

The story is one by the director, Nicole Riegel. I can’t help but wonder why she made Ruth so ambivalent to all the people trying to help her. Blaze even says at one point “I am getting tired of being the only one sticking up for Ruth.” This hints at his annoyance with her ambivalence. I am not sure if it’s a survival mechanism or something more. I also had a tough time getting into this film because it triggered me a bit on a story from earlier this year. Ahmad Arbery was run down by two white men who saw him coming from a construction site. They accused him of doing what Ruth nonchalantly calls work. Ruth and a whole crew of white men and later a woman. The girl’s ambivalence comes off worse with this knowledge on my mind.

Holler is an interesting look at white America in the Rust Belt, their struggle. It drags a bit and is sometimes tedious. However, they do offer a message of struggle to get out of poverty that some may find intriguing.

Rating 3 of 5

  The post TIFF Reviews: From Romance Fizzling ‘Mondays’ to Historic Bros in ‘One Night in Miami’ appeared first on The Black Cape Magazine.

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Ep 113: Jonita Davis Author & Film Critic

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Book Review: Questioning Cultural Appropriation

Book Review: Questioning Cultural Appropriation

Questioning Cultural Appropriation, by Jonita Davis

This is a book written out of fear.  It almost goes without saying that the author and I have diametrically opposite views when it comes to matters of cultural appropriation.  What for the author is something akin to the threat of genocide and erasure is for me the sign of appreciation and adaption.  The author appears to be of the opinion that…