Man of Steel
The title "Man of Steel" tells you what you're in for when you buy a ticket to this immense summer blockbuster: a radical break from…
"Booker's Place: A Mississippi Story (92 minutes) is available on-demand at iTunes and Amazon starting April 26th. It will be theatrically released in Los Angeles, CA on April 25, 2012. and New York on April 27, 2012.
"Booker's Place: A Mississippi Story" asks a question about documentaries to which I admit I've not given much consideration: Can a documentary negatively affect the lives of their participants? For Booker Wright, an interviewee in Frank DeFelitta's 1966 NBC documentary, "Mississippi: A Self-Portrait," his appearance cost him a severe beating, the bombing of his business, and potentially his death 7 years later. Wright's "crime" was to speak too bluntly about life as a Black man in Greenwood, Mississippi. "Booker's Place" investigates the ramifications of DeFelitta using footage he knew was incendiary, yet invaluable to his role as one who documents the truth. Did DeFelitta also commit a "crime" in allowing the footage to be broadcast, assisting in the eventual fate of Booker Wright? Wright's granddaughter, Yvette Johnson and Frank's son, Raymond DeFelitta, answer this and more in their must-see documentary.
The elder DeFelitta's documentary aired on NBC at the height of the civil rights movement. Hidden for decades in a vault, "Mississippi: A Self-Portrait" resurfaced as Frank DeFelitta and his son were cataloguing the numerous documentaries Frank made for NBC in the '60's. At the same time, Booker Wright's granddaughter, who had never met her grandfather, was writing a blog about her discoveries researching him. Although Johnson had heard of his NBC appearance, her searches for the footage yielded nothing but dead-ends. After the younger DeFelitta heard of Johnson's blog, he contacted her. Their meeting sent them on a journey for answers to their central questions. DeFelitta wanted to know how much, if any, effect his father's documentary had on Booker Wright; Johnson wanted to know more about her grandfather, and whether his comments were intentional or, in her words, the work of "an accidental activist."
"Sleepless Night" (103 minutes) is available on demand through various cable systems, Vudu, iTunes and Amazon Instant, starting April 17th. It will be theatrically released in New York and Austin, Texas on May 11, 2012.
by Odie Henderson
A stolen bag of cocaine, a kidnapped kid, corrupt cops, a shaky camera and a dance club the size of a Super Walmart configure Frederic Jardin's "Sleepless Night," a frenetic French action film that will either get your heart or your head pounding. This is a relentless genre exercise, both exhilarating and exhausting. Its numerous showdown set pieces feature foes in gun battles, foot chases and fisticuffs. Our protagonist uses whatever's handy to subdue his opponents: People's noggins get hit with doors, bread, dishes, bullets and the cleanest part of the commode. Gendarmes go from corrupt to virtuous and vice versa, film speeds vary from slow motion to sped up, and narrow escapes coexist with near-misses. With this much activity, sensory overload is all but guaranteed.
Vincent (French comedian Tomer Sisley) is a corrupt cop who begins his day by robbing 10 kilos of cocaine from the henchmen of José Marciano (Serge Riaboukine). Marciano's godson is shot, but not before Vincent is stabbed and both he and his partner are seen by one of Marciano's men. Marciano knows who robbed him, and he also knows Vincent's son, Thomas, would make a great bargaining chip for the return of his yayo. The gangster kidnaps Vincent's son and demands the exchange be made at Marciano's restaurant-slash-dance club, Le Tarmac.
"The Mystery of Edwin Drood" (120 minutes) premieres on PBS "Masterpiece Classic" at 9 p.m. Sunday, April 15th (check local listings). The film can also be watched online for a limited time beginning April 16th. It is also available on DVD.
When Charles Dickens died on June 9th, 1870, his final novel, The Mystery of Edwin Drood, was barely half-finished. Almost immediately, completing the novel became a kind of literary sport, as numerous authors took it upon themselves to finish Drood in a manner fitting with Dickens's own style and substance. Speculative attempts to complete the story continue to this day, and now we have a new PBS "Masterpiece Classic" version to discuss, debate and appreciate. Directed by Diarmuid Lawrence and adapted by British playwright and veteran TV writer Gwyneth Hughes (who previously penned the "Masterpiece Classic" drama Mrs. Austen Regrets), this two-hour version of "The Mystery of Edwin Drood" dares to stretch credibility almost but not quite to the breaking point.
It's a delicate game being played here, so I'll avoid spoilers altogether. Suffice it to say that Hughes' solution to the mystery of Edwin Drood is in keeping with Dickens' intentions. We know from Dickens' own correspondence that it was Edwin's uncle, John Jasper, who would ultimately be held accountable for the alleged murder of his nephew. Not content to limit themselves to just this one historically well-established plot twist, Hughes and Lawrence have added a familial dimension to the story that qualifies, in this context, as a surprising (though not altogether shocking) revelation. Whether Dickens would've approved is yet another topic worthy of debate.