THE WOMAN KING, BLONDE, DON’T WORRY DARLING, THE SILENT TWINS , Disney PINOCCHIO, SEE HOW THEY RUN

THE WOMAN KING | Sony Pictures Releasing | Director Gina Prince-Bythewood |Writer Dana Stevens | Stunt Coordinator Daniel Hernandez

I’m so overjoyed that I’ve lived long enough to see movies like this made. “The Woman King” expands the narrative of black females of the early 19^th Century as other than slaves, but rather as rich protagonists and heroes.  Gina Prince-Bythewood has been creating and directing films and TV for over 20 years, most notably “Love and Basketball” and most recently “The Old Guard” for Netflix. If she had been a white man coming out of Sundance 2000 with the accolades she received, she would have had the opportunity to direct a feature as large scale as “The Woman King” long ago. Of course, back then it was surprising that her film was even shown at Sundance.  And that’s the world we live in, can’t change history, but it never hurts to point out the inequalities.  

Her latest film had its world premiere at the Toronto International Film Festival September 2022, where it was well-received.  What I love is that everyone who’s seen Marvel’s “Black Panther” (click for T&T review) can come to “The Woman King” already fans of the Dahomey Agojie, real-life mighty women warriors of the 1600s to 1800s in West Africa – because writer/director Ryan Coogler already depicted them as the Dora Milaje in the fictional nation of Wakanda.

Prince-Bythewood said her intention with this film was to create the magnitude and awe of epics like “Gladiator” and “Braveheart” and I feel she accomplished her mission with the help of the team she built around her – Akin McKenzie (“When They See Us”) production designer; cinematographer Polly Morgan; Costume designer Gersha Phillips (“Star Trek: Discovery”); visual effects supervisor Sara Bennett; editor Terilyn Shropshire; evocative score by Terence Blanchard and South African composer Lebo M. who composed and produced five original songs for the film.

But what makes “The Woman King” stand out are the incredible actors and the relationships of the characters. Viola Davis (also a Producer) plays General Nanisca with fierce intensity, loyalty, and astuteness.  Thuso Mbedu plays Nawi, who after refusing to marry an old, abusive, rich villager, is disowned by her father, who deposits her outside the King’s doorstep. It’s then through her eyes we get pulled into the ways of this Kingdom and the system of this tough warrior training.  Great casting decision.  I’ve never seen the series “The Underground Railroad”, so this young actress is brand new to me. I admire that Mbedu was able to go head-to-head with Viola Davis in every scene and hold her own. And that she possesses a beautiful countenance, but she’s not someone traditionally cast to play a love interest and ingenue.  

The first person to acknowledge Nawi is Izogie (Lashana Lynch) who I have to admit didn’t seem to add much to “No Time To Die” as the temporary 007. But she brings much to this role as one of the top Agojie fighters. Amenza (Sheila Atim) plays General Nanisca’s confidant and advisor.  I really liked this actress in Halle Berry’s “Bruised” and once again she plays super tough yet tender.  

All these women had a grueling five-month shoot in South Africa and by now you’ve heard how they performed all the adroit, agile, fast-paced, bad-ass fight choreography themselves, no CGI and no stunt doubles! 👏🏿   

No matter what your race, if you like action films which mix history and battles, you’ll enjoy this movie, particularly the scenes of what it takes for the newbies to become a part of this fierce fighting regimen.  But if you’re black, there’s a meaningful surge of pride to see our ancestors fight back against the oppressor and colonizer.  Obviously, it didn’t happen enough in history, but knowing that a valiant fight was fought and won for a time, does my heart good.  

I read on Wikipedia that the last survivor of the Dahomey Amazons is thought to have been a woman named Nawi. In a 1978 interview in the village of Kinta, a Beninese historian met Nawi, who claimed to have fought the French in 1892. Nawi died in November 1979, aged well over 100.

Tinsel & Tine rating: 5 outta 5

Hate the Bullshit of Hashtag on Twitter Boycotting this movie, so short-sighted

BLONDE | Netflix | Writer/Director Andrew Dominik |Based on Blonde by Joyce Carol Oates | Produced by Brad Pitt‘s Plan B

Sick of the term “exploitative” to describe this film, which had its world premiere at the 79th Venice International Film Festival.  I’m not saying that it isn’t exploitative, I’m just tired of every critic using the same term. I think Dominik got the elicited response he was hoping for from most everyone who has seen this movie. Yet I also agree and hold the opinion, that his need to focus exclusively on the most miserable aspects of Norma Jeane/Marilyn Monroe’s life is tiresome and unfair to the woman’s memory; as I’m sure she had many more fun times being a beloved, living icon than this movie would suggest.

The opening sequence, set in 1933, unfolds with Norma Jeane’s mother (Julianne Nicholson) telling her 6 or 7 year-old daughter that a birthday surprise awaits her at their house.  This surprise is a framed photograph over the child’s bed of who supposedly is Norma’s father.  You can tell the mother is nuttier than a cheese log, so the picture could be of anyone, at first, I thought it looked like Clarke Gable.  The Mom does manage to bake a decent looking cake for Norma’s birthday, which in my book is always big points. Too bad a few short hours later she decides to drive her daughter into a wildfire and when deterred from that, turns to scalding Norma Jeane in a boiling hot bathtub.

Blonde is based on Joyce Carol Oates’ fictional novel of the same name, released in 2000. In my theater days, I sorta (I was assistant to the Artistic Director) got to work with this author on a modern opera called “Black Water”, based on her book about the Kennedy/Kopechne Chappaquiddick incident.  Needless to say, that was not an easy read either.  Although, I have not read “Blonde”, but based on this movie, I assume the book is weird and dream-like.  However, I understand it does go deeper into Norma Jeane’s formative years at the orphanage and foster homes, as well as her first marriage at just 16 years old and the adoption of her stage name.  I feel the movie despite its long runtime of 167 minutes, should have included these moments to connect you more fully into who this young woman was and who she becomes.

I think if you’re gonna explore a polyamorous relationship with the son’s of Charlie Chaplin and Edward G. Robinson – two of the most super icky characters I’ve seen in a long time; they may as well have carried the theme into her relationship with JFK and Bobby Kennedy.  For some reason, they decided to leave Bobby out altogether.

What I find most disagreeable about Blonde is the overuse of camera angles, trick shots and other various and sundry displays of cinematography techniques.  I can forgive the whole – this seems like it should be in black and white, this seems like it should be in color, and maybe this scene back to black and white.  But the cavalcade of artsy shots is just overkill.

What is very good is Ana de Armas, the work she puts in is undeniable. I’m certain she must have taken to her bed for a month after shooting wrapped, as it seems a grueling role, full of pain and vulnerability – but, yes! She pulls off a very believable Marilyn Monroe. The scene when Norma Jeane is in the vanity mirror begging the “Marilyn Monroe” in her to come out, pleading that she not abandon her before a film premiere, is inimitable. Hard to believe she’s the same cute, scrappy actress from “Knives Out”. She also put in the work as a Bond Girl in “No Time to Die”. 

In interviews Dominik discussed his fascination with Marilyn Monroe, stating, “Why is Marilyn Monroe the great female icon of the 20th Century?”  I don’t think he found the answer.

T&T Rating: 3.5 outta 5

Starring: Adrien Brody, Ana de Armas, Bobby Cannavale, Caspar Phillipson, Garret Dillahunt, Julianne Nicholson, Lily Fisher, Lucy DeVito, Michael Drayer, Patrick Brennan, Rebecca Wisocky, Rob Brownstein, Ryan Vincent, Sara Paxton, Scoot McNairy, Toby Huss, Tygh Runyan, Vanessa Lemonides, Xavier Samuel

DON’T WORRY DARLING | Warner Bros. Pictures |Director Olivia Wilde | Screenplay Katie Silberman 

Yes, it is an amalgamation of a number of sci-fi movies and recent streaming series and too many scenes are comprised of tricks of the mind gimmicks; but more importantly, it’s stylish, (costume designer Arianne Phillips) gorgeous and directed with a sense of detailed choreography, which I admire. I think some movies can be just about the visual storytelling and light on plot and still be engaging.

Everyone pulls their weight in terms of performances. Nothing tour de force, but Harry holds his own. For me, Florence Pugh‘s best roles have been “Fighting with My Family” and “Black Widow” because both showcase her comedic abilities. Controversy or no controversy, #dontworrydarling is a decent sophomore outing for Wilde and ultimately gets you to that ah ha moment.

Cast: Oscar nominee Florence Pugh, Harry Styles, Olivia Wilde, Gemma Chan, KiKi Layne, and Chris Pine.

T&T rating: 3 outta 5

THE SILENT TWINS | Focus Features | Director Agnieszka Smoczynska | Screenwriter: Andrea Seigel | Based on 1986 Book by journalist Marjorie Wallace

When I was growing up, I always said I’d have twins one day, didn’t have a preference of boys or girls they could even be fraternal. I just felt it would be fascinating to see their bonds develop and witness this unique sibling relationship.  Of course, I wound up not procreating at all, a story for another time. But as I matured, not only did I rethink how much work twins would be, I also thought, what if they’re creepy, too identical and insular?  What parent could handle that sense of separation from your children because they only require each other?  Well, this is what happens to Barbados immigrants to the UK, Aubrey (Treva Etienne) and Gloria Gibbons (Nadine Marshall) the parents of The Silent Twins, June (Letitia Wright) and Jennifer (Tamara Lawrance) Gibbons. They are not neglectful parents, they’re sweet people, but they have no idea what to do with these two troubled souls.

The film starts out with warm tones of light playfulness starting with the animated opening credits, to the opening scene of the two girls (Leah Mondesir-Simmonds and Eva-Arianna Baxter play the twins in childhood) pretending to host a talk radio show with great patter and syncopated rhythm.  You feel at first that this is not the movie you came to see.  But soon we see their reality is nothing like their imaginative play.  Instead, the girls are very somber, withdrawn children who stay completely silent when others are around. The film switches to gray, drab colors.  The mother tells the girl’s teachers and therapist she has no idea why they stopped talking.  But this week I watched a documentary on The Silent Twins, and it was their speech impediment that first made them dummy up. No one was able to understand them. They got so tired of constantly repeating themselves, they decided not to communicate with others at all.  In the film, once the twins break their silence, Letitia and Tamara try to emulate the weird, clamped jaw, severe lisp of the twins, while still remaining intelligible. But listening to the real life June in the documentary, whatever went wrong with their speech pattern, was very wrong, an apparently incurable.

Leah and Eva do a good job portraying the twins growing up, conveying their strangeness and the hold Jennifer seems to have over June when it seems June might break and try to be pleasant or laugh or utter a word.  The effect racism had on their development as the only black children in an all-white school is touched upon only briefly. In fact, I feel their childhood is over too quickly all together.  Soon we meet the young adult versions of the twins. By this time the family has completely given up trying to communicate, food is left outside their bedroom door and “the twinnies,” as their parents call them, are left alone to write fiction stories, poetry and create macabre dolls and puppets. Much of this world is depicted as stop-motion animation sequences carefully crafted by artist Barbara Rupik. It’s both beautifully creative and horrendously morbid.

I’m still shocked and amazed to see movies featuring black women in mainstream theaters.  When I started writing about films in 2009, I’d have to go to a small black film festival to see “me” as a protagonist. We had Whitney Houston in the 90’s and Tarantino’s Jackie Brown, a few other exceptions maybe. But a movie like The Silent Twins would not have been greenlit.  So, it always pains me not to rave about a movie with a black cast and female director.  But Polish filmmaker Agnieszka Smoczynska (The Lure, Fugue) has provided all the ingredients and no seasoning. The Silent Twins is great with cinematic flourishes, but I wish we cared more about June and Jennifer. I wish it were gripping and that the scenes at the mental institute held more emotional impact. Still, it may get some awards season attention and I hope it does.

T&T rating:  3 outta 5

PINOCCHIO | Disney | Writer/Director Robert Zemeckis | Co-Writer Chris Weitz | Visual Effects Supervisor Kevin Baillie | Visual Effects Producer Sandra Scott | Music Composer Alan Silvestri & Glen Ballard

As a kid there were certain Disney animated movies my sister and I played over and over, so many, many times, that scenes and bits of dialogue still pop into my head at unexpected moments. First and foremost, Robin Hood, also Lady and the Tramp, The Aristocats, Jungle Book and a few others; but there were two that we just felt were too dark to play very often, in fact, may only have played each twice, and that was Peter Pan and Pinocchio, these two gave us the shivers.

But of course I’m an adult now, and so far have loved each Disney live-action remake, so I was excited to see this version of Pinocchio, directed by genius storyteller, Academy Award® winning Robert Zemeckis (Back to the Future trilogy, Forrest Gump, Who Framed Roger Rabbit?, Cast Away, The Polar Express) but unlike the other remakes, I had very little memory of the original Pinocchio story to compare and contrast.

“The original animated film is a vast departure from the source material (Book by Carlo Collodi). We use the 1940 Disney version as a template and an outline for our story. So it follows pretty much the same adventure that Pinocchio follows in the animated version. We modernize the storytelling because there was a different sort of pacing in movies 60 years ago than there is now, but we basically kept the spirit and the tone and the theme of the first movie – Zemeckis Production Notes

In being faithful to the earlier version, we have included most of its memorable songs, adding some new ones written by Bob’s longtime collaborator, two-time Academy Award® nominee Alan Silvestri and Academy Award® nominee Glen Ballard. The filmmakers also introduced some new characters, plot points, humor, action and other surprises to delight the entire 21st century family audience – Production Notes

Zemeckis’ long-time collaborator or muse Tom Hanks plays the wood working clock maker, Papa Geppetto, and he’s adequate in the role.  Like most of America, I adored Hanks in his day, but his later projects, particularly his recent interpretation of Colonel Parker in Baz Luhrmann’s Elvis (click for T&T Review), feel forced.  One of the new songs “When He Was Here with Me” is written for Geppetto to talk/sing, expressing his years of loneliness since his wife and son have died. It feels as though it’s been quite some time since these two incidents have occurred and not necessarily at the same time. 

Joseph Gordon-Levitt voices Jiminy Cricket, he doesn’t sound at all like the original, but it’s not Gordon-Levitt’s usual vocal pattern either.  The character looks like he’s wearing a bandit’s mask for some reason, not sure why this design choice? What I do recall of the original Pinocchio, is that Jiminy played a big part as Pinocchio’s conscience; in this version, he has little time to school Pinocchio, as the little cricket is just constantly in terrible danger and peril.

The Blue Fairy, I remember almost nothing about from the original, but of course someone has to grant Geppetto’s wish. Cynthia Erivo, plays her as both good natured and firm.  Rightfully, rather than Jiminy, she sings Disney’s theme song “When You Wish Upon A Star” and she did it Barbra Streisand style, while filming the scene, rather than in a studio and lip-synced later.

There’s some other new characters I’ll let you find out about on your own.  I don’t really get why Geppetto would send a magical, walking, talking puppet off to school on his own and then be surprised when he doesn’t make it back home – but for the most part, the movie is just dark enough to retain that ominous nature and yet unexpectedly laugh out loud funny. And overall a good lesson on what it means to be true, honest and real.

T&T rating: 3.75 outta 5

Wonder what Guillermo del Toro‘s got up his auteur sleeve for his Pinocchio production?

SEE HOW THEY RUN |Searchlight Pictures | Director Tom George | Writer Mark Chappell