#Shakira Ja’Nai Paye

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Horror Movie Review: Scare Package II: Rad Chad's Revenge (2022)

Scare Package II: Rad Chad’s Revenge is sillier, more referential, and bloodier than the first. Like all good horror sequels, it had to up the ante and it does.

The first Scare Package was a funny, bloody, and meta anthology horror that turned enough heads to guarantee a sequel. After all, it’s the horror movie way! Scare Package II: Rad Chad’s Revenge is sillier, more referential, and bloodier than the first. Like all good horror sequels, it had to up the ante and it does. Featuring a host of writers and directors like Alexandra Barreto, Anthony…

[ramascreen]

Official Key Art And Trailer For SCARE PACKAGE II: RAD CHAD'S REVENGE - Available On Shudder December 22, 2022

Official Key Art And Trailer For SCARE PACKAGE II: RAD CHAD’S REVENGE – Available On Shudder December 22, 2022

Shudder has released these official trailer and poster for the highly-anticipated follow up to the Shudder hit horror-comedy anthology, SCARE PACKAGE II: RAD CHAD’S REVENGE, available to stream on December 22, 2022 exclusively on Shudder. When horror guru Rad Chad Buckley’s funeral turns into an elaborate series of death traps centered around Chad’s favorite films, the guests must band together…

[rickyvalero]

'All Day and A Night' Trailer Debut

‘All Day and A Night’ Trailer Debut

Netflix dropped the debut trailer for the film ‘All Day and A Night’ and Jeffrey Wright looks as if he SLAYS this role.

Film Release Date: May 1, 2020

Written and Directed: Joe Robert Cole, co-writer of Black Panther Produced: Nina Jacobson p.g.a., Brad Simpson p.g.a., Jared Ian Goldman p.g.a. Cast: Jeffrey Wright, Regina…

[doomonfilm]

Review : All Day and a Night (2020)

You’d think that a pandemic would have been enough to knock 2020 way down the list of memorable years, but leave it to America to continue with its national past-time, the racist and unjust treatment of minorities.  Many companies, as a response, made attempts to stand in solidarity with the Black Lives Matter movement, and Netflix did so by showcasing a number of films either made by Black directors or focusing on race-related issues.  Of the many films rolled out at that time, one caught my eye specifically : All Day and a Night.      

After shooting drug dealer Malcolm (Stephen Barrington) and his lady in cold blood (and in front of their daughter), aspiring rapper and street muscle Jahkor (Ashton Sanders) is facing a lifetime prison bid.  Despite many people questioning his motivations for the seemingly senseless act, Jahkor stays silent as he undergoes the trial process and prepares for prison.  Upon arrival to prison, he is reunited with his estranged father JD (Jeffery Wright), but due to their strained relationship and rocky history, not to mention Jahkor’s pressing concerns of retaliation, the reunion is timid at best.  With nothing but time in his foreseeable future, Jahkor takes a personal inventory of his life and all of the factors that led him to his current resigned fate.

All Day and a Night hones in on the ripple effect of pain in the black community, showing how the unhealthy transference of pain and frustration through violence and exploitation has become the sad, institutionalized norm rather than the exception to the rule.  As a result, many black communities serve as fodder for the pipeline to mass incarceration, as the opportunities many try to take advantage of to survive are often illegal.  With the temptations of evil on all sides, and often present for the entirety of some people’s life span, it is not an unfamiliar scenario to see short-sighted individuals living in a manner fueled by temporary gains.  Joe Robert Cole is clearly aware of all of this, and uses this reality as a way to shape his story about being trapped in a cycle… as eloquently stated in the film, he captures how “crazy (it is) to have nothing to give and want to give everything”.  It is interesting how he chooses to make Jahkor an inspiring rapper as well, specifically because he uses the vulnerability of hip-hop as a trigger for tension in the standoffish world of gangsters and drug dealers, rather than an actual manner of breaking out of the hood cycle.

In terms of themes, Cole locks in on the phenomena of generational trauma, directly displaying how the doomed lifestyle is often handed down by a mixture of nature and nurture that traces back to slavery.  The conditioning of the mind and soul that comes with nonstop exposure to violence and poverty is found in Jahkor, who starts as a young, weak and innocent boy who learns to harbor his rage and fear for the purpose of channeling it into hyper-focused violence against anyone who questions his character or threatens his livelihood and the people he loves.  Paradoxically, Jahkor also seems to have a strong set of standards, but is unable to exact them due to the savagery of the world he lives in.  The trauma of Black men fighting a war at home is displayed, and with the presence of LaMark, examined in a manner that shows how many Black men are unable to win no matter which side of the game they land on, which in turn has left an absence or inability to perform in the realms of family and community responsibilities.  The predatory nature of America from all sides is a present element in the story as well, with the film serving as a parable of how appeals to kindness and loyalty often fall on deaf ears in these areas.

The look of the film could be described as “high contrast darkness”, with rich colors attempting to emerge from the general visual muddiness that represents the world of the film.  The pacing is deliberate, still and stirring, making us wait for Jahkor to validate his actions and choices as the film rolls out his recollections of his life experiences.  The strong but subtle cinematic score punctuates the weight of the drama, and is used in place of hip-hop songs and beats used for score.  That being said, tons of Oakland culture shines through and through, including occasional songs popping up from legends connected to the city.  Most importantly, the film opts for attempting to give respect to people trapped in these bad situations, rather than glorifying the negative aspects of this struggling population while propping up trope-like heroes, antiheroes and villains.    

As previously mentioned, All Day and a Night is a film all about dramatic weight, and Ashton Sanders carries it like a seasoned professional, portraying the strain of every burden while managing to stay a vibrant on-screen presence… he likely won’t be getting any award nominations next season, but he certainly deserves them.  Jeffrey Wright and Yahya Abdul-Mateen II both get to play wonderfully against type, leaning wholly into all of the macho posturing and aggressive energy they can muster before crossing the line into satire, and maintaining beautiful harmony the entire time.  Isaiah John brings a similar intensity, but keeps the innocence of lost youth tethered to it, which results in a brooding energy with all of the potential to blow up dramatically.  Christopher Meyer brings a nobility to the table meant to offset the posturing present in the rest of the cast.  Kelly Jenrette manifests the struggles of trying to raise a family in a world of madness, channeling her pain into a sort of shielding judgement to fend off hurt, while Regina Taylor attempts to bring wisdom into a mix of reckless energy.  Supporting appearances by James Earl, Rolanda D. Bell, Andrea Lynn Elsworth, Stephen Barrington, Shakira Ja’nai Paye and Gretchen Klein round things out.

All Day and a Night wisely stays away from glorification of the hood and the lifestyle that Jahkor lives, opting instead to stand as more of a “truth of the matter” presentation of events.  While the story that is told is not a unique one, or one that is new to the world of film, it is one worth telling nonetheless, and luckily, Joe Robert Cole tells it extremely well.

[1elttihwa]

Shakira Ja’nai Paye ❤️

[whileiamdying]

Welcome to the sideshow, a street party with car stunts that has Bay Area roots. The writer and director Joe Robert Cole captures the energy of the event in this scene from his Oakland-set drama “All Day and a Night,” streaming on Netflix. In a tracking shot somewhat reminiscent of the opening one in ”Touch of Evil,” the movie’s lead character, Jakhor (Ashton Sanders), with his girlfriend, Shantaye (Shakira Ja’nai Paye), is led through a sideshow by his best friend, TQ (Isaiah John). But the scene focuses less on these three characters and more on the event itself, with a blend of hip-hop and tricked-out cars taking center stage. Two cars do doughnuts in the middle of the street, and the director takes a you-are-there approach, placing the camera right next to one vehicle as it spins and kicks up dust. In his narration, Cole, who was a screenwriter on “Black Panther,” discusses using locals in the scene, how he put the camera in the middle of the action, and how som Read the NYT review here: https://nyti.ms/2We1qdm Subscribe: http://bit.ly/U8Ys7n More from The New York Times Video: http://nytimes.com/video ---------- Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.

[tailorhill]

‘All Day and a Night’ | Anatomy of a Scene The writer and director Joe Robert Cole narrates a sequence from his film featuring Ashton Sanders. I’m Joe Robert Cole, writer/director of All Day and a Night. So in this scene, we’re following our main character, Jahkor, played by Ashton Sanders, his girlfriend, Shantaye, played by Shakira Ja’nai Paye, and his best friend, TQ, played by Isaiah Johns. The sequence takes place during a distinctly Bay Area gathering called a sideshow. Authenticity was big for me. So I tried to incorporate elements, like the BART train that just passed and local people, as much as possible. The guy on the bike we’re following is an example. Even the banter and the slang in the background I tried to make specific to Oakland. The film is crafted to root the audience in an intimate way in Jahkor’s journey. But I wanted to do something a little bit different here. I wanted our three leads here to feel swept up in the whirlwind of people, cars, and culture, and music. So this tracking shot becomes more about how it feels to be at a sideshow than keeping up with them. [OVERLAPPING RAP] I worked out the placement and the camera route with little model cars and people on a schematic in my office. [OVERLAPPING RAP] But I think that the biggest challenge of the scene was figuring out how to safely get our camera between these two moving cars. So as we move into the center coming up here, the car that just passed us ducks out through the crowd. And so we stay focused on this one car here with the ladies in it. And it feels as if the other car is still behind us, when actually, it’s not there. So at real sideshows, people actually try to hit the cars with their hands when they go by. Where we going to be able to put people that close? The answer to that is no. So we had a lovely VFX house that helped us to place our folks without putting anybody in danger. #coronavirus #covid19 #joerobertcole (at United States of America) https://www.instagram.com/p/CAUHr5ABo19/?igshid=g0ulm69h8rxn

[asfeedin]

New Movie: All Day And A Night Starring Ashton Sanders, Jeffrey Wright

Jahkor (Ashton Sanders, Moonlight) never wanted to be like his father (Jeffrey Wright, Westworld), and his father never wanted to see his son in prison. Yet somehow finding themselves together as inmates seemed inevitable. In an unlikely journey of self-discovery, Jakhor explores the dangerous world that unites them, hoping to help his newborn son break a cycle that feels inescapable. A film by Black Panther co-writer Joe Robert Cole, ALL DAY AND A NIGHT co-stars Yahya Abdul-Mateen II (Watchmen).

  SYNOPSIS:

As soft-spoken Jahkor (Ashton Sanders, Moonlight) struggles to keep his dream of rapping alive amidst a gang war in Oakland, his ill-fated life and real-world responsibilities drive him further and further across the line of right and wrong with tragic consequences. Landing in prison beside his father, J.D. (Jeffrey Wright, Westworld) whom he never wanted to be like, Jahkor embarks on an unlikely journey of self-discovery, exploring the events that unite them, in hopes of helping his newborn son break a cycle that feels unavoidable. A powerful film from Black Panther co-writer Joe Robert Cole, ALL DAY AND A NIGHT is produced by Nina Jacobson and Brad Simpson (The People vs. O.J. Simpson: American Crime Story), and Jared Ian Goldman (Ingrid Goes West). The drama co-stars Isaiah John (Snowfall), Kelly Jenrette (The Handmaid’s Tale), Shakira Ja’Nai Paye (Spider-Man: Into the Spider-Verse), Regina Taylor (The Unit), Christopher Meyer (The Affair) and Yahya Abdul-Mateen II (Watchmen).

Photo Credit: Netflix / Matt Kennedy

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Tags: Ashton, day, Jeffrey, movie, Night, Sanders, Starring, Wright

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Liked on YouTube: Interview w/ Shakira Ja’nai Paye | AfterBuzz TV's Mini Spotlight On https://youtu.be/IKfL41TIBwU

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Poster And Trailer For Netflix Film ALL DAY AND A NIGHT

#Netflix has released this key art and this trailer for their new film ALL DAY AND A NIGHT which launches May 1, 2020

Written and Directed: Joe Robert Cole, co-writer of Black Panther

Produced: Nina Jacobson p.g.a., Brad Simpson p.g.a., Jared Ian Goldman p.g.a.

Cast: Jeffrey Wright, Regina Taylor, Yahya Abdul-Mateen II, Isaiah John, Kelly Jenrette, Shakira Ja’Nai Paye and Ashton Sanders

Synopsis: