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Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Tag Archives: LaKeith Lee Stanfield

Crown Heights (2017)

Once again. Not. Much. Has. Changed.

Colin Warner (LaKeith Stanfield) is just another teenager living in Brooklyn. He’s an immigrant from Jamaica who is getting used to his surroundings, has a girlfriend, a job of stealing things, and oh yeah, plans on going to college. If not now, then at least sometime soon. That all changes, however, when the police arrest and charge him with murder. Colin has no clue who the victim was or who actually did it, but the police say they have witness-testimony of someone who looks like Colin, so it has to be him, right? Well, no, but still, Colin gets locked away for a little over two decades, without any sign of hope whatsoever. The only breath of fresh air he has is that his best friend, Carl King (Nnamdi Asomugha), is fighting for his innocence on the outside and doing all that he can to get a retrial and to prove that once and for all, Colin did not murder someone.

A conjugal, or dream? Who cares, right?

If it weren’t for the true story behind it, Crown Heights would have been another conventional, run-of-the-mill biopic about injustice and racism in America. Even if it wasn’t based-off of a true story, it would still hold an amount of truth and harsh honesty that with the current prison-system we have in America, makes it all the more of a bitter pill to swallow. But as it is, on its own, true story-aspect or not, it’s still a conventional, run-of-the-mill biopic about injustice and racism in America.

In a way, you want to give it a passing-grade because it’s a story that can be told one too many times, but you also don’t want to get past the fact that it really doesn’t bring much of anything new to the table that the Hurricane didn’t already do, almost 20 years ago. If anything, Crown Heights proves that the human spirit is the most powerful force of all and the fight for justice, should never wane, no matter how many years go by, no matter how much money is lost, and how much hope is lost in the wind. It’s a little schmaltzy and most definitely cheesy, but hey, it’s true.

Oh, and yeah, it’s a true story.

Eagles best corner-back. Just saying.

Writer/director Matt Ruskin does try, time and time again to really let this material jump off the screen, but it doesn’t ever happen. There are times when it flirts with true tension (like whenever it’s in the courtroom), but it never becomes more than just a sad story of an investigation gone wrong and a life possibly lost to an already corrupt justice system. As it is, it probably would have worked much better as a documentary, where we would have been able to get all of the information thrown at us, with such quickness and velocity, that it didn’t matter if we already knew how it ended. Documentaries allow for a human-face to be shown and it’s why true-crime documentaries are currently the bee’s knees today – they can be quick, fun, sad, exciting, and most of all, suspenseful.

Crown Heights never comes close to that and it’s a shame. Even LaKeith Stanfield, who is slowly becoming a leading-presence to keep an eye on, seems wasted on a role that keeps him playing one-note, the whole way through. He’s either sad, wistful, or crying and it can get to be a bit draining. Due to him being in jail, too, Stanfield doesn’t really get to do all that much with those around him, except for the scenes he has with Asomugha or Natalie Paul’s Antoinette. Everyone here tries, but like I said, if the material just isn’t there, there’s only so much they can do.

Consensus: Crown Heights is an unfortunate story, trapped in an unfortunately dull and lifeless movie that, without a great deal of truth behind it, would have been another cable-TV movie-of-the-week.

5 / 10

Too many faces like him, going through the same crap as him.

Photos Courtesy of: Amazon Studios and IFC Films

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Get Out (2017)

Stay away from the white ‘rents house. Always.

Chris (Daniel Kaluuya) and Rose (Alison Williams) have been dating for quite some time. So, this obviously means that it’s time for Chris to meet her parents – something they’ve both been holding off on, because well, Chris is black and knows how these sorts of things go. Rose brushes it off and it makes sense; her parents, Dean (Bradley Whitford) and Missy (Catherine Keener), both seem like well-intentioned white people who, sure, may not always say the best, most appropriate things, but love their daughter enough to know that if she loves Chris, well, he’s got to be something special. But Chris starts noticing some odd things going on around the house, like with the house-workers both being black and very odd, as well as some of the other black people in/around the area. It’s all very surreal to Chris, but maybe, maybe he’s just overreacting. Until he realizes that maybe something incredibly bad and dangerous is going on here, and it’s up to him to figure it all out, way before it’s too late and something bad happens to him. Whatever that may be, he doesn’t know. But he sure as hell isn’t going to stick around and wait to see what happens.

Young happy couple. Time to ruin their lives.

Young happy couple. Time to ruin their lives.

It’s crazy that someone like Jordan Peele had Get Out within him; all of those years of creating and writing some hilariously biting and funny satire, behind it all, there was a dark, rather sick and twisted soul who wanted to get his voice and vision out there for the whole world to see. It’s actually shocking how different Get Out is from what you’d expect from Peele, but to take it one step further, but also by how different it is from so many mainstream horror movies. It’s as if the movie was made on a hand-shake agreement between Peele and the studios, where he would give them the funny bits of his persona, only so that they would invest and allow his freak-flag to fly.

And yeah, it pays off. For the most part.

The one interesting aspect surrounding Get Out is that you never quite know where it’s going to go, both in terms of its story, as well as its tone. That can sometimes back-fire, but for the longest time, Get Out is a suspenseful, tense and rather exciting horror-thriller that doesn’t try to grab out at us with the big, loud and obvious shocks and scares that we’re so used to seeing with horror movies of this same kind (although there is that conventional scene early-on of the couple running into a deer for a jump-scare, but it’s easy to forgive). Instead, Peele shows a resistance in giving us everything we need to know about this story, and slowly builds this story, giving us small, itty, bitty clues and hints into where this story may be headed and what the overall shocker’s going to be.

It’s the kind of suspense-horror that the genre doesn’t quite utilize that much anymore – in a way, it’s as if Polanski’s influence has come and gone out the window, once it appeared like he himself left the genre in the back-burner. But Get Out does suspense right, never letting us forget where the story may head, as well as what it’s trying to say about numerous things, like race, gender, and the class-system in our country. But it’s interesting that Peele doesn’t quite hit us over the head with these points; you’d think that a movie about black people being practically whitewashed would be a lot more irate and angry, but instead, Peele uses it as a platform to discuss further more troubling issues about identity and losing one’s self-respect.

White parents. Nice and presentable on the outside, evil and heartless on the inside.

White folks: Nice and presentable on the outside, evil and heartless on the inside.

Oh, and yes, we are still talking about a horror movie here, folks.

So yes, Peele should definitely be commended here for taking the horror-aspect of the story and working it for all that he’s got. The only regard where Peele seems to lose himself and show a bit of a room to grow in his debut feature, is that he doesn’t quite nail the comedy down as much as he thinks he does. Lil Rel Howry – who is a scene-stealer in the Carmichael Show – plays Chris’ best buddy who is, for the most part, seen having phone-conversations and that’s about it. He’s funny and the scenes in the first-half that we get of him work and help break-up the tension every so often, but then it gets to become a little tiresome, with a whole ten or so minutes dedicated to watching this character make dick and sex jokes.

Howry’s timing is on-point, but the movie’s is not. It doesn’t do much but take away from the momentum that the movie has going for itself and just seems like cheap laughs, for no exact reason other than to have cheap laughs. Maybe in a far less serious movie, it would have been fine, but Get Out is not that movie. It’s very deep, very dark, very serious and very drab, and it deserves to be that way, with some comedy sprinkled throughout – not whole segments.

But hey, Peele’s just getting started and he’s constantly going to be creating. I’m excited to see just where he sets him ambitious sights next. Whether it’s in a comedy, or another horror movie, remains to be seen.

Can’t wait to see, though.

Consensus: Even with some narrative flaws here and there, Get Out is still a suspenseful, unpredictable and chilling horror-flick that also proves Peele to be a talent to keep a look on when he’s behind the camera.

7.5 / 10

White people will do this to you.

White people will do this to you.

Photos Courtesy of: Aceshowbiz

Snowden (2016)

It doesn’t matter if you’re awkward and kind of nerdy – if you can type fast, the world is yours.

Edward Snowden (Joseph Gordon-Levitt) was just another typical, young dude from North Carolina who had an obsession with Ayn Rand and most of all, wanted to be in the Army and serve his country. However, due to a disability that made it so that any pressure applied to his legs would almost certainly cripple him for life, he had to opt-out for something that he was far better advanced and skilled in: Typing. That’s when he heads up to Virginia, where he learns a thing or two about network systems, hacking, and most importantly, how to maintain confidential information. And for Snowden who, at first, felt like he was doing a justice for his country, this was the perfect life to live; he was a patriot, a hard-worker, while making lots of money, as well as some sweet money with his supportive, but also incredibly liberal girlfriend Lindsay Mills (Shaliene Woodley). This all begins to change for Snowden when he not only realizes that the government is using its resources to destroy the lives of, quite possibly, innocent people, but also spying on each and everyone of its citizens for reasons that he apparently doesn’t have the clearance to hear the answers to.

Edward Snowden. War hero?

Edward Snowden. War hero?

Did we really need a Snowden biopic after Citizenfour? Not really, but much like with Man on Wire and the Walk (yet again, another JGL flick), did we really need a movie about Philippe Petit? Probably not, but sometimes, it does help to get a little more info and attention on a subject who, for some reasons or another, may actually need, or deserve it. In Snowden’s case, this is especially true – while he will, in no way, ever be a forgotten person of our times, his cause and what he believes in still seems to be forgotten about, even when people seem to be putting more and more of an over reliance on WikiLeaks, despite all of the issues going on with that website and what it publishes to the rest of the world.

That said, Citizenfour is probably the go-to movie for finding out everything you need to know about Snowden, the person.

Or better yet, by checking out the web itself, even if the government is spying on you actually do it, that is.

But regardless, the tale of Edward Snowden, as done by Oliver Stone, isn’t all that bad. Sure, it’s by-the-numbers and rather conventional, but because the tale of Snowden, how he became someone we know about, why he got there, and where he had to go through, is actually very interesting. Even if you do a small Google search on Edward Snowden himself, you may find one or two things that you didn’t already know about, discovered here – but then again, you may not. Either way, it’s less that Snowden is a meaningless movie, it’s more of a movie that isn’t doing anything particularly ground-breaking, yet, doesn’t have to – it’s telling a story of a person whose life in the past decade or so, has become quite the compelling one.

And while Stone is typically known for the kinetic, sort of crazy outrage in movies such as these, believe it or not, he’s actually a lot more chill and relaxed here – rather than running off the seams, trying to tell us more and more about the paranoid state of mind one must be in while working for the government, Stone keeps everything on even-ground along with Edward, allowing for us to see, hear and think everything that he’s seeing, hearing and thinking at the same time. It actually works in the movie’s favor, especially since a lot of Snowden’s tale is, unfortunately, about a lot of inner-angst, depression and paranoia that only he seemed to feel and for us to feel as if we are one step closer to him, actually works with the movie.

That said, the movie does lack in actually giving us more to the characters surrounding Snowden, even including Snowden, too.

Love at first bit.

Love at first bit.

As Edward Snowden, Joseph Gordon-Levitt does the best that he can – because he’s playing someone with as much personality as a pebble, he has to dial down all of the charm and fun that we’re so used to seeing from him. However, even with the deep-voice and awkward twists and turns of his body, the performance still works; there’s not a whole lot of heavy-acting moments where he loses his cool and stops the whole movie dead in its tracks, but there’s still enough to watch and be compelled by, even when everyone and everything else around him seems not to be so up-to-snuff.

Case in point: Shaliene Woodley and her performance as Snowden’s girlfriend, Lindsay Mills. Of course, Woodley’s a great actress and lovely as all hell, but still, even her good looks and chemistry with JGL can’t help Mills from seeming like just a case for Stone to get all sorts of liberal opinions and views out there, and also challenge Snowden’s viewpoint and career. It’s too preachy to really work, but it does help that it’s all being done through Woodley, who is able to show some sort of heart and emotion with a character who, quite frankly, needed a whole lot more of it.

After all, she’s a real woman and is the love of Edward’s life. So why not a little more?

As for the rest of the heavily-stacked ensemble, they all fair fine, but once again, they aren’t nearly as developed as they should be. Zachary Quinto and Melissa Leo play the distraught but always interested Glenn Greenwald and Laura Poitras, respectively; Rhys Ifans is hamming it up completely as Snowden’s seemingly evil boss; Ben Schnetzer has a good couple of moments as a fellow hacker within the CIA that teaches Snowden a thing or two and wakes his eyes up; and yes, believe it or not, with barely even ten minutes of screen-time, Nicolas Cage does a pretty solid job evoking a sense of pride, playing one of Snowden’s peers who, like everyone else around him, teaches him something about life. It’s cheesy, but hey, it still kind of works.

Consensus: Perhaps the movie we didn’t quite need, yet still actually get, Snowden is very much a play-by-play of what we can expect from a traditional biopic, but still benefits from an interesting store and a solid lead performance from Joseph Gordon-Levitt, who, unfortunately, has to do a lot of acting, for a lot of people.

7 / 10

And he just keeps typing, and typing, and typing....

And he just keeps typing, and typing, and typing….

Photos Courtesy of: Indiewire