xXx: Return of Xander Cage
The last forty minutes of the movie do come together in a pretty diverting way.
Mahalia Jackson was a great singer and a great lady, two qualities that become abundantly clear in the new documentary "Mahalia." She was also a person of courage and strength as we can see in footage almost entirely devoted to her final concert tour in the late summer of 1971. She'd been in uncertain health for years her heart was the chief concern and yet she undertook a grueling series of one night stands in England, Germany and Scandinavia.
She sang in churches and auditoriums, concert halls and outdoor arenas, and sometimes it was hot and sometimes it was raining. She began to tire. She broke off in the middle of a song in Germany and went backstage, where they wanted to call a physician, but she insisted on going back out for an encore. On Sept. 24, 1971, she was hospitalized in Germany with severe heart trouble, and on Jan. 27 of the next year she died in her adopted hometown, Chicago.
This is not, then, a documentary record of Mahalia Jackson at the height of her powers. For that we have to turn to her recordings and to such memories as her singing of "Precious Lord" during the 1963 March in Washington. During this tour we can plainly see that she was weakened, and in the phrasing of "We Shall overcome" (sung in a Swedish church with a feeling that causes the spine to tingle) there are choices that betray a certain shortness of breath. Yet the spirit is intact.
We see her singing, mostly. This isn't a showall and tellall music documentary in the style of "Don't Look Back" or "Mad Dogs and Englishmen"; it's simply a record of Mahalia, the person and the performer, during some of her last months.
Chaz Ebert highlights films with the potential to get us through the confusing political times of the Trump presidenc...
This message came to me from a reader named Peter Svensland. He and a fr...
A review of Netflix's new series, Lemony Snicket's "A Series of Unfortunate Events," which premieres January 13.
One of the most audacious American films from the 1960s is now available via the Criterion Collection.