Saturday, April 30, 2011

Guy and Madeline on a Park Bench DVD

DVD Review by Kam Williams

Headline: Jazzy Musical Makes Its Way to DVD

Melancholy Madeline (Desiree Garcia) sits alone freezing on a park bench in Boston contemplating what just happened after being dumped by her boyfriend on a chilly, wintry day. Meanwhile, her equally-wistful ex, Guy (Jason Palmer), trudges home through the snow with his trumpet slung lazily over his shoulder. Upon arriving at his apartment, in utter resignation he removes a picture from the wall taken of the two of them during much happier times.
This is the poignant point of departure of Guy and Madeline on a Park Bench, an intriguing flashback flick deconstructing the demise of a young couple’s troubled relationship. Guy is played by Jason Palmer, an accomplished jazz trumpeter in his own right, while triple threat Desiree Garcia proves just as formidable acting, singing and dancing as Madeline.
The movie marks the remarkable writing and directorial debut of Damien Chazelle who exhibits an encyclopedic knowledge of cinematic history here, interweaving a dizzying number of allusions to the work of legendary directors like John Cassavetes, Jean-Luc Godard and Busby Berkeley.
As engaging as the picture’s premise are its original score by Justin Hurwitz and its shadowy cinematography coming courtesy of seductively-grainy, black & white 16mm film. The movie’s magical musical renditions, a delightful blend of jazz and show tunes, range from impromptu improvisations to catchy, carefully-choreographed song and dance numbers.
If all of the above isn’t enough to whet your curiosity, consider the plot which complicates into a compelling love triangle when Guy’s head is turned by flaky temptress Elena (Sandha Khin) while riding the subway. And when he develops existential angst over his ensuing girl troubles, he seeks solace on stage playing his instrument.
A toe-tapping tribute to Boston reminiscent of Woody Allen’s heartfelt homage to his own beloved Manhattan!

Excellent (4 stars)
Unrated
Running time: 82 minutes
Studio: Cinema Guild
DVD Extras: Deleted scenes, essay by film critic Amy Taubin, “Behind-the-Scenes” and “Song Writing” featurettes, audio commentary by director Damien Chazelle and composer Justin Hurwitz, and the theatrical trailer.

The Green Hornet DVD

DVD Review by Kam Williams

Headline: Classic Comic Book Series Comes to DVD

Seth Rogen’s pudgy physique and homely demeanor don’t exactly conjure up visions of a macho superhero like the Green Hornet’s persona. Here, Rogen has reimagined the character as the sort of sarcastic, trash-talking slacker he usually plays, as opposed to the selfless, suave protagonist from the original radio and comic book series.
At the point of departure, profligate playboy Britt Reid (Rogen) learns that his emotionally-estranged dad (Tom Wilkinson) has died under mysterious circumstances, ostensibly from an allergic reaction to a bee sting. The decadent bachelor fires most of his father’s staff and reluctantly assumes the reins of the media empire. More importantly, he decides, to pursue his passion afterhours, namely, roaming the streets at night as a crime-fighting vigilante.
To this end, he enlists the assistance of his loyal manservant, Kato (Jay Chou), who not only knows how to brew a mean cup of coffee, but just happens to be a crack inventor, auto mechanic, chauffeur and martial arts expert, all rolled into one. Donning masks to morph into their alter egos, the Green Hornet and his sidekick proceed to patrol L.A. in the Black Beauty, a bulletproof car outfitted with munitions ranging from machine guns to missiles to shotguns to flamethrowers.
A diabolical archenemy soon emerges in bloodthirsty Benjamin Chudnofsky (Christoph Waltz), a Russian mobster who has cornered the drug market with the help of a crooked District Attorney (David Harbour). When not battling bad guys, Britt and Kato find themselves competing for the affections of Lenore Case (Cameron Diaz), a secretary at the Sentinel with a degree in criminology.
But don’t let the straightforward-sounding plot fool you, for its execution is decidedly underwhelming. The problems with the picture are plentiful, starting with the fact that Britt Reid is an unlikable lout who can’t fight and you don’t really want to root for. He’s easily eclipsed by Kato who always miraculously surfaces to save the day.
However, the film’s fatal flaw is that the two never generate any chemistry, a big failing given that this buddy flick frequently feels like a cheap imitation of the charming Chris Tucker/Jackie Chan Rush Hour trilogy.

Fair (1 star)
Rated PG-13 for violence, profanity, sexuality and drug use.
Running time: 109 Minutes
Distributor: Sony Pictures Home Entertainment
DVD Extras: Filmmakers’ commentary, gag reel, and featurettes entitled: “Writing the Green Hornet” and “The Black Beauty: Rebirth of Cool.” 1

Thursday, April 28, 2011

Kam's Kapsules: For movies opening May 6, 2011

OPENING THIS WEEK
Kam's Kapsules:
Weekly Previews That Make Choosing a Film Fun
by Kam Williams
For movies opening May 6, 2011


BIG BUDGET FILMS

The Beaver (PG-13 for profanity, sexuality, drug use, mature themes and disturbing content) Jodie Foster directs and co-stars opposite Mel Gibson in this ventriloquist’s dummy dramedy about a depressed CEO who only talks to his wife and sons (Anton Yelchin and Riley Thompson Stewart) through his hand puppet. With Jennifer Lawrence, Cherry Jones and Zachary Booth and featuring cameos by Terry Gross, Jon Stewart and Matt Lauer.

Jumping the Broom (PG-13 for sexuality and profanity) Ghetto-meets-bourgie comedy about the sparks which fly when the families of a bride (Paula Patton) and groom (Laz Alonso) from opposite sides of the tracks converge on Martha’s Vineyard for an eventful weekend wedding. Ensemble includes Angela Bassett, Loretta Devine, Meagan Good, DeRay Davis, Mike Epps, Romeo, Gary Dourdan and Bishop T. D. Jakes.

Something Borrowed (PG-13 for sexuality and drug use) Romantic comedy based on Emily Giffin’s novel of the same name about the complications which ensue after a successful attorney without much of a love life (Ginnifer Goodwin) sleeps with her best friend’s (Kate Hudson) fiancĂ© (Colin Egglesfield) on her 30th birthday. With John Krasinski, Jill Eikenberry and Ashley Williams.

Thor (PG-13 for intense action and violence) Aussie Chris Hemsworth stars as the Marvel Comics superhero from another planet exiled to Earth where he puts his mighty hammer to good use as an intrepid defender of the planet. Cast includes Natalie Portman, Anthony Hopkins, Renee Russo, Idris Elba, Kat Dennings, Stellan Skarsgard, Samuel L. Jackson and Jeremy Renner.


INDEPENDENT & FOREIGN FILMS

The Colors of the Mountain (Unrated) End of innocence saga, set in the Colombian countryside, about the plight of a 9 year-old boy (Hernan Mauricio Ocampo) who unwittingly lands in the middle of a civil war conflict after he and a couple of buddies (Genaro Aristizabal and Nolberto Sanchez) chase an errant soccer ball into a field booby-trapped by guerillas with lethal landmines. (In Spanish with subtitles)

Daydream Nation (R for sexuality, profanity, violent images and teen drug and alcohol abuse) Romance drama revolving around a precocious, 17 year-old from the big city (Kat Dennings) who moves with her widowed father (Ted Whittall) to a small town where she becomes embroiled in a love triangle with a teacher (Josh Lucas) and a stoner classmate (Reece Thompson).

Extraordinary Stories (Unrated) A trio of mysteries, set in Argentina, weaving a surrealistic, cinematic tapestry involving missing persons, buried treasure and desperate jailbirds. With Hector Diaz, Walter Jakob and Klaus Dietze. (In Spanish and English with subtitles)

Forks over Knives (PG for smoking and mature themes) Vegan documentary endeavoring to substantiate the proposition that most of the degenerative diseases afflicting humanity are a consequence of eating animals and processed foods. Featuring commentary by Junshi Chen, Gene Baur and Dr. Doug Lisle.

Harvest (R for profanity and brief sexuality) Skeletons-out-of-the-closet drama about the tensions which surface among members of a grieving family reunited for the summer in the wake of the passing of its beloved patriarch (Robert Loggia). Cast includes Jack Carpenter, Barbara Barrie, Arye Gross and Victoria Clark.

Hobo with a Shotgun (Unrated) Revenge comedy about a homeless vigilante (Rutger Hauer), recently arrived in a town called Hope, who sets about dispensing double-barreled street justice to corrupt cops, pedophiles and other dastardly evildoers. With Gregory Smith, Nick Bateman and Brian Downey.

An Invisible Sign (Unrated) Jessica Alba stars in this adaptation of Aimee Bender‘s best-seller of the same name about a 20 year-old schoolteacher who uses math as a means of helping students deal with emotional crises. Cast includes J.K. Simmons, Sonia Braga, Bailee Madison and Chris Messina.

Last Night (R for profanity) 7-year itch saga a housewife (Keira Knightley) who goes out for drinks with an old flame (Guillaume Canet) on the same evening that her husband (Sam Worthington) finds himself tempted by an attractive colleague (Eva Mendes) while away on a business trip.

Lord Byron (Unrated) Midlife crisis dramedy about an incurable romantic (Paul Baptiste) living with his ex-wife (Renee King) and kids who fritters away his days pursuing loose women and smoking weed. With Katryn Schmidt, Justin Bickham, Joseph Diaz and Rosco Hall.

Octubre (Unrated) Peruvian morality play, set in Lima, about a lonely loan shark (Bruno Odar) who leans on the shoulder of his pious, next-door neighbor (Gabriela Velasquez) for help with caring for the newborn (Sheryl Sanchez) deposited on his doorstep by a prostitute he used to frequent. (In Spanish with subtitles)

Passion Play (R for sexuality, nudity, profanity, violence and drug use) Mickey Rourke and Megan Fox co-star in this crime thriller about a down-and-out jazz trumpeter who finds salvation with the help of a circus sideshow freak while on the run from a ruthless mobster (Bill Murray). Support cast includes Bud Cort, Rhys Ifans and Charlie Brown.

Under the Boardwalk: The Monopoly Story (Unrated) “Advance to Go” documentary explores the history of the classic board game while profiling some of the colorful players competing for the coveted title of Monopoly World Champ.

Tuesday, April 26, 2011

Fail Up: 20 Lessons on Building success from Failure

by Tavis Smiley
Smiley Books
Hardcover, $19.95
288 pages, Illustrated
ISBN: 978-1-4019-3390-6

Book Review by Kam Williams

“If they’re being honest, most people who have ever succeeded in any human endeavor will tell you they learned more from their failures than they ever learned from their successes… Failure is an inevitable part of the human condition… Through my scars, I have been blessed to arrive at a place I never imagined. .
When you take the time to learn your lessons, when you use those lessons as stepping-stones to climb even higher than you were before, you transcend failure—you ‘fail up.’ In this book, I detail 20 of the most impactful lessons of my life…I’m a witness. You CAN fail up!”
 Excerpted from the Introduction (pgs. ix-xvii)

Given Tavis Smiley’s lofty status as the host of a hit, nationally-syndicated, TV talk show, one might not suspect that he’d suffered any setbacks over the course of his meteoric rise. But contrary to appearances, the accomplished broadcaster/entrepreneur/publisher/philanthropist/author has definitely taken his share of missteps on his way to the top.
And now he’s decided to mark his 20th anniversary in the business by writing a how-to, or should I say a how not-to book recounting 20 of the biggest blunders he’s made in life. The point of the revealing exercise is ostensibly to give hope to the downtrodden and discouraged by illustrating how much more we can potentially learn from our mistakes than from our successes.
In this warts-and-all memoir, Tavis owns up to a number of embarrassing doozies, ranging from getting arrested for writing bad checks to padding his timesheets at a job to graduating 15 years late from college because he flunked a course the second semester of his senior year. He also admits to mooching off former NFL great Jim Brown when he first arrived in Los Angeles and to almost moving back home to Indiana dead broke when, as Gladys Knight sings it, “L.A. proved too much for the man.”
What I found most fascinating, nevertheless, is hearing Tavis expound on some of his more public falls from grace, such as being fired by BET Chairman Bob Johnson, being called a “House [N-word]” by hip-hop mogul Russell Simmons and, perhaps most painfully, being rejected by much of the black community for his failure to embrace Barack Obama during the 2008 presidential race.
He addresses the Obama controversy in heartfelt fashion in a chapter entitled, “When Everybody Turns against You.” There he reflects upon the tears spilt after being thrown under the campaign bus by fans and colleagues alike, including radio DJ Tom Joyner, a longtime-friend and colleague who all but predicted his professional demise.
But to his credit, Tavis has not only survived but flourished mightily. In fact, the brother proves himself here to be humble enough to air his most-humiliating faux pas so they might serve as cautionary tales for anyone contemplating following in his footsteps.

Dr. Henry Louis Gates: The “Black in Latin America” Interview

with Kam Williams

Headline: Dr. Gates on His Dad and His New PBS Series

Professor Henry Louis Gates dominated the national news for much of the summer of 2009 after being mistaken for a burglar and handcuffed for breaking into his own home. President Obama eventually intervened to defuse the tension by inviting both the professor and the arresting officer to the White House for a glass of beer by Rose Garden.
But prior to the media circus surrounding that “Beer Summit,” Dr. Gates was already well known as a tenured Professor at Harvard University, as well as director of the W.E.B. Du Bois Institute for African and African-American Research. He is the author of Faces of America, which expands on interviews he conducted for his critically acclaimed PBS documentary series of the same name, and Tradition and the Black Atlantic: Criticism in the African Diaspora.
In addition, Professor Gates is the author of several works of literary criticism, including Figures in Black: Words, Signs and the ‘Racial’ Self; The Signifying Monkey: A Theory of Afro-American Literary Criticism, winner of the 1989 American Book Award; and Loose Canons: Notes on the Culture Wars.
He is the author of Colored People: A Memoir, which traces his childhood experiences in a small West Virginia town in the 1950s and 1960s; The Future of the Race, co-authored with Cornel West; Thirteen Ways of Looking at a Black Man; and In Search of Our Roots: How Nineteen Extraordinary African-Americans Reclaimed Their Past, which won an NAACP Image Award in 2010.
An influential cultural critic, Professor Gates’ publications include a 1994 cover story for Time magazine on the new black Renaissance in art, as well as numerous articles for The New Yorker. In addition, he has edited several anthologies, including The Norton Anthology of African American Literature, and The Oxford-Schomburg Library of Nineteenth Century Black Women Writers, and is the co-editor of Transition magazine.
For PBS, Professor Gates produced and hosted Wonders of the African World (1999), America Beyond the Color Line (2004), African American Lives (2006), Oprah’s Roots (2007), African American Lives 2 (2008), Looking for Lincoln (2009) and Faces of America (2010). Here, he talks about his latest PBS series, Black in Latin America.


Kam Williams: Hi Dr. Gates, thanks for the time.
Dr. Henry Louis Gates: Thank you, Kam.

KW: I know that your father, Henry, Sr., passed away since we last spoke, so I’d like to express my sincerest condolences on your loss.
HLG: Oh, thank you, man. We just had his memorial service this past Saturday back home in Cumberland, Maryland. All his friends turned out. It was a two-hour service. I spoke, my brother spoke, and our cousin Eddie spoke. Then we buried his ashes next to my mom’s. I loved him.

KW: I almost feel like I knew him because he played such a prominent role in African American Lives. In terms of your new series, Boston-based children’s author Irene Smalls asks: What do you hope to accomplish with Black in Latin America?
HLG: Between 1502 and 1866, 11.2 million Africans arrived in the New World. And of that 11.2 million, only 450 thousand came to the United States. So, in other words, the real African-American experience unfolded south of our borders. And most of us don’t know anything about that. It’s an extension of what scholars call “American Exceptionalism.” We think that everything revolves around the continental United States, including when we think about the slave experience and about race and racism. But obviously, over 10.5 million black people landed in countries throughout the Caribbean and South America. My goal with the series was to unveil that world to the average American. Did you know that the first black president of a multi-racial society was not Barack Obama but Vincente Guerrero, who became president of Mexico in 1829? How come we don’t know that? It’s incredible!

KW: I was a Black Studies major as an undergrad, and after watching all the episodes of Black in Latin America, I felt like I had never learned so much from a TV series about black folks.
HLG: Oh, you couldn’t have given me a nicer compliment than that. I was hoping viewers might experience that aura of discovery.

KW: Teresa Emerson asks: How did you settle on the countries which would be the subject of the series? Which one has the largest presence of Africans outside of Africa: Brazil or Colombia?
HLG: We picked the countries strategically, because we couldn’t cover everything in a 4-hour series. We had different categories, and one was size. For instance, we passed on Columbia, the second largest, because we went with Brazil, the largest. Brazil is also Portuguese, which we wanted to contrast with the Hispanic experience. We picked Cuba, because it’s so fascinating and mysterious to Americans. So, I wanted to bring that country to the fore. The island of Hispaniola was interesting because it’s divided into Haiti, where the people are very proud to be black and they speak Creole and French, and the Dominican Republic, where the national motto was that the country was Catholic, Spanish and white. Finally, we chose Mexico and Peru. Why? Because nobody thinks about their ever having sizable black populations. All anybody remembers are the Aztecs and the Incas. But they had 700 thousand slaves combined, compared to America’s 450 thousand. That’s astonishing! So, the series was designed to offer some amazing revelations and to reeducate the American people.

KW: I found the episode about Haiti very informative, particularly about how President Thomas Jefferson tried to sabotage its independence movement.
HLG: Yeah, America systematically attempted to undermine it. Jefferson called it a terrible republic and referred to the people as cannibals. Man, that’s cold. But Haiti has a long and noble history as a free civilization.

KW: I received more questions from readers than we have time for, so I’m going to have to ask you to keep your answer brief so that we can get to as many as possible.
HLG: Sorry, I’m a professor. I’m used to giving 50-minute lectures, man.

KW: Attorney Bernadette Beekman asks: Do you think Brazil has an opportunity, given the upcoming Olympics, to show the world that it is making progress in the area of the disparate treatment in society based on the color of one's skin?
HLG: Yeah, I think it has an opportunity, but we have to remember that it takes a long time to make profound social changes. What I fear is that any quick fix will just be cosmetic and designed to pretend to racial democracy. We’re talking about the transformation of the identity of the working and middle classes. I want to see black doctors, black lawyers and other black professionals in much greater proportion than exists today.

KW: Dr. Karanja Ajanaku, editor of the Memphis Tri-State Defender, says: You seem to be making the point that in the U.S., we are mostly unaware, substantively, of "blacks" in Latin America. Would you speak to how aware or unaware, substantively, "blacks" in Latin America are of African–Americans?
HLG: Blacks in Latin America are keenly aware of African-American popular culture, entertainers, athletes, Oprah Winfrey, movie stars and musicians. The whole world is enthralled with hip-hop. They’re listening to the same music as our kids. And then there’s Obama! Good Lord! But in terms of a more profound understanding of the black experience in America, I’m not sure. I’d guess that they would have a long way to go.

KW: Dr. Ajanaku also asks: Did you encounter any signs and/or reasons to be hopeful that blacks in Latin America and Africa-Americans could transcend the boundaries of country and culture and forge an economic union of sorts that would be uplifting to both?
HLG: No, I didn’t see any sign of that, because most of those folks’ first identity is a national one, as a Brazilian or a Cuban, not as a black person. For instance, in the Dominican Republic episode, Juan Rodriguez says he never even thought of himself as black until he visited New York. One of the points of the series is that identity is a very complex and ever-shifting matter. We might think that these people are obviously black, but they might not identify themselves that way. During this whole trip, I never met anybody who said they were black first and their nationality second, in the way that African-Americans tend to say, “We’re black first.” That’s another important lesson of the series.

KW: Rod Williams asks: What was the single most common similarity between the blacks in Latin America and those in North America?
HLG: That’s an easy question. The poorest people in each of these societies have the kinkiest hair, the thickest lips, the flattest noses and the darkest skin. Poverty has been socially constructed around degree of obvious Africanity. And that’s quite sad.

KW: Rod’s first follow-up is: What was the most noticeable difference between the blacks in Latin America and those here?
HLG: That no Latin American society has simple black and white categories which is very difficult for Americans to understand. Rather, they have many gradations between who’s black and who’s white. So, race signifies differently there than it does in the United States.

KW: Rod’s other follow-up is: Did the colonizer have a role in these similarities and differences?
HLG: Absolutely! Most of these countries engaged for a period of time in a practice specifically called “Whitening” when they encouraged European immigration in order to dilute the black element. Brazil subsidized 4 million white people to move there because it felt that the country was too black. That’s cold, man. Mexico, Cuba and the Dominican Republic took similar measures. It was a conscious attempt to dilute the influence of black people and black culture.

KW: Irene says: There has reportedly been a great deal of tension between African-Americans and Latino immigrants. Can blacks and Latinos find a common ground to work together in this country?
HLG: Yes, I believe so. I think that all Americans should speak Spanish, just as I also think that all Americans should speak English. If blacks and Latinos begin to form alliances across ethnicity and realize that they should be voting as a bloc, they would have a tremendous amount of power. But we can’t expect them to be like us. Just because their skin is dark and their hair is curly doesn’t mean they’re going to approach issues of race and racism in the same way as someone born in the continental United States.

KW: Judyth Piazza asks: If you were a student getting ready to attend college for the first time, what would you do differently, knowing what you know now?
HLG: That’s interesting. Me? I’d take a lot of classes in math, science and computers, but I’d also take more courses about Africa, Latin America and other Third World cultures, as well as Western Civilization, which is very important, too.

KW: Judyth has another question: What key quality do you believe all successful people share?
HLG: A belief that they can make a difference in the world. All successful people have to believe in themselves and in the future. That’s a very subtle point. You have to believe in deferred gratification, that, “If I do this today, it might not reap a benefit until the next generation, or the generation after that, but it’s still worth it.” Too many black people today have lost the capacity to defer gratification which was one of the qualities which made our ancestors so great. You know what? My father supported us by working at two jobs for 37 years. He worked hard and saved so Paul and Henry, Jr. could become whatever they dreamed they wanted to do. He never bought a Cadillac. In fact, my parents never even owned a car. So, I say don’t be fooled by appearances. Instead, penetrate and try to appreciate what really matters and to understand how things really work. Unfortunately, I gotta go, Kam.

KW: I understand. Thanks again, Dr. Gates.
HLG: It’s been a pleasure, buddy.

“Black in Latin America” airs Tuesdays at 8 p.m. (ET/PT) on PBS (check local listings)

Sunday, April 24, 2011

Madea’s Big Happy Family



Film Review by Kam Williams

Headline: Tyler Perry Back in Drag for More Tomfoolery as Madea

Hold onto your wigs and fat suits, folks, because Tyler Perry is back in drag as America’s sassiest granny. But don’t make the mistake of attributing the Madea franchise’s enduring appeal to the loudmouthed hussy’s bodaciousness alone, since she’s as much beloved for her timely sermonizing as for all that trademark tomfoolery.
While undeniably upping the ante in terms of sheer frivolity, this sixth installment is also grounded by a bittersweet storyline. At the point of departure, we find Madea’s niece, Shirley (Loretta Devine), being informed by her physician (Philip Anthony-Rodriguez) about a resurgence of the cancer that she’s been fighting for the past seven years.
Despite the urgent diagnosis, she declines further treatment, explaining that she’s simply too tired to do another round of chemotherapy. And with just weeks to live, the devoutly-religious Christian resigns herself to the will of the Lord.
What does still matter to her, however, is seeing her three children one last time to break the unfortunate news to them in person. The trouble is that all of them are currently consumed by bad relationships, each more in crisis than the next.
Daughter Tammy (Natalie Desselle) is married to a wimp (Rodney Perry) who lets their smart aleck sons (Stevie Wash, Jr. and Benjamin Aiken) walk all over her. Materialistic middle-child Kimberly (Shannon Kane) cares so much about her high-paying corporate job and the trappings of success that she ignores her toddler and takes her patient hubby (Isaiah Mustafa) for granted.
Elsewhere, 18 year-old Byron (Bow Wow), Shirley’s youngest, is being pressured by his gold digger of a girlfriend (Lauren London) to supplement his modest income by selling drugs on the street again. Adding to the recent-parolee’s angst is the baby-mama drama surrounding his hypercritical ex’s (Teyana Taylor) demands for more child support for their son.
Care to hazard a guess whose help Shirley enlists to slap some sense, both literally and figuratively, into this dysfunctional menagerie? Madea, of course, proceeds to browbeat her misbehaving extended family into shape in her own inimitable style which simply will not be ignored.
Along for the ride purely for comic relief are a couple of embarrassing relatives: Aunt Bam (Cassi Davis) and Mr. Brown (David Mann). The former is a feisty septuagenarian who smokes marijuana and flirts shamelessly (“Are you married?” “Are you straight?”) with younger men. The latter is a garishly-dressed master of the malapropism who somehow convincingly confuses the words “prostitute” with “prostate,” “carbon peroxide” with “carbon monoxide,” and even “colonoscopy” with “Coca Cola.” Such distracting buffoonery notwithstanding, Madea as usual miraculously manages to straighten everybody out, and right in the nick of time for the uplifting, closing credits Kodak moment.
Melodramatic tough love as meaningful group therapy!

Very Good (3 stars)
Rated PG-13 for profanity, mature themes and drug use.
Running time: 106 Minutes
Distributor: Lionsgate Films

Saturday, April 23, 2011

Black in Latin America

PBS-TV Series Review by Kam Williams

Headline: PBS Chronicles Dr. Gates’ Sojourn South of the Border

When you think of slavery in the Americas, I bet you assume that more Africans were brought to the U.S. than anywhere else in this hemisphere. But truth be told, only a tiny fraction were transported to this soil, with ten times as many being taken to Brazil, and even twice as many to Cuba.
This is just one of the fascinating factoids in store for viewers of “Black in Latin America,” the latest PBS special produced by Harvard’s Henry Louis Gates. Professor Gates has previously hosted “African-American Lives 1 & 2,” ” Faces of America,” “Wonders of the African World,” “Oprah’s Roots,” “Looking for Lincoln,” and “America beyond the Color Line.”
A half-dozen countries serve as the focus of this four-part series, namely, Cuba, Brazil, Mexico, Peru, Haiti and the Dominican Republic. Gates travels to each nation to talk to the locals, capturing the flavor of the present-day culture in the light of the lasting legacy of slavery. Despite having majored in Black Studies, I have to admit that I found all of the episodes extraordinarily informative.
For example, I had no idea that supposedly freedom-loving President Thomas Jefferson had not only refused to recognize Haiti after that nation declared its independence but that he derogatively referred to its emancipated inhabitants as cannibals. In terms of Cuba, I was surprised to learn of a recent return of a color-coded caste system on the island, ostensibly as a consequence of an influx of dollars from lighter-skinned relatives in the United States.
Similarly, Brazil, often promoted as a post-racial utopia, is presented here as the undeserving beneficiary of a myth yet to be realized. Who knew that slavery was only abolished there in 1888? And racism is apparently ubiquitous in Peru, too, where for a pittance many blacks still pick cotton in fields on the very same plantations as did generations of their ancestors.
Dedicated to Dr. Gates’ recently-deceased, beloved father (whom you may remember from “African-American Lives”), “Black in Latin America” is a must-see for anyone interested in appreciating the history and continuing fallout of slavery South of the Border.

Excellent (4 stars)
Unrated
Running time: 240 Minutes
Distributor: PBS

“Black in Latin America” airs Tuesdays at 8 p.m. (ET/PT) on PBS (check local listings)