I, recently, spoke with screenwriter, director and Daytime Emmy Award-nominee Dui Jarrod about his time in the film industry and what he has planned for the future.
Frankenstein, or, The Modern Prometheus, which was first published in 1818, has been adapted for the screen for more than a century. Now you can see Bomani J. Story’s reimagining of The Angry Black Girl and Her Monster.
The Tribeca FIlm Festival is in full-swing with big time actors and actresses taking over New York City for exclusive screenings, but let’s be serious here, we’re all here for the after parties! Casamigos has been at the center for several exclusive parties, famously associated celebrity founder George Clooney, Rande Gerber and Mike Meldman.
Serial killer films are ripe for exploration.
Brett Smith is the writer and director of his latest film “Freedom Path” and The Knockturnal was able to sit down with him and talk about his work on the project.
Yes, Will Smith is still under some scrutiny for his assault against Chris Rock at the Oscars, but that doesn’t mean that his latest movie should face the same amount of criticism and, in all honesty, Smith does a bang-up job with this particular film that Apple TV+ has released.
Smith portrays Peter, a slave who is separated from his family, and is forced to work building a railroad and attempts to escape, when the slave masters have their guard down, to Baton Rouge where he gets work as a Union soldier and receives his freedom, eventually, reuniting with his family, in the process.
Looking closely, it seems that director Antoine Fuqua decided to mute the colors to add to the bleakness of slavery in the 1860s. His stylish and admirable cinematography makes it seem that the camera can go anywhere at any given time like a Robert Zemeckis film.
Moreover, Will Smith probably gives one of the best performances of his career that outmatches even the likes of King Richard. Smith transforms into the role of Peter and he wages a crusade against his evil, malevolent masters and the South. His plight almost reminds me of Leonardo Dicaprio’s work as Hugh Glass in 2015’s The Revenant.
Smith embraces the first and gruffness of the character and his raw emotion shines through with visceral intent and audacious fervor. The beauty doesn’t lie in just the film’s gorgeous cinematography, but more so in Smith, who commands the screen with every waking minute that he’s on.
Even as he speaks, you can hear the pain and suffering that this man has endured. Every crack in his voice, every breath that he takes and every tear that descends from his eyelids are a beautiful facsimile of what Smith was trying to capture for the character that the film was inspired by. It’s very clear that this man knew what the assignment was and he knew it well.
With that being said, Will Smith definitely deserves a second chance in Hollywood and we need to give it to him.
After four long years, Marvel Studios has finally blessed us with a Black Panther sequel: Black Panther: Wakanda Forever. Having been released mere days ago, the film is already the highest grossing theatrical debut for the year and 13th highest opening weekend grossing film of all time. How do we suggest you see this top crossing film? On a Dolby screen, of course. And here’s why…
To begin, much of the film is a tribute to Chadwick Boseman, who tragically passed away in 2020 of stage III colon cancer at the age of 43. Dolby’s ultra-vivid colors and sound system make seeing Boseman’s face on the silver screen feel like we never lost the talented actor at all. Beginning with T’Challa’s (Boseman) death, Queen Ramonda (Angela Bassett) is now at the helm, running an empire that is rich in vibranium, a metal used to make weapons and armor. Tensions rise when other nations attempt to procure this scarce resource via taking it by force or tracking missions in the Atlantic Ocean led by the US government.
The Atlantic is populated by the Talokan and led by Namor (Tenoch Huerta), who wishes to keep Talokan secluded. However, the tracking mission threatens exposure to his secret empire. Infuriated, Namor goes to Wakanda, claiming them responsible for the mission and asks for help to kill the lead scientist who built the vibranium tracking device, but Wakanda refuses, thus spurring conflict between the two worlds. What ensues is a complex tale of colonialism, struggle, and loss.
Seeing the world building executed by Ryan Coogler on the Dolby screen enriched the experience for the viewers. The Dolby screen unlocked the emotional impact of every scene and enhanced the costume design that defines each character within their respective communities. And thanks to Dolby’s superior sound capabilities, the audience felt like they were part of the action scenes.
In all, if you want to be one of the millions who have seen Black Panther: Wakanda Forever on the silver screen, our suggestion is to experience the beauty and power of this film on a Dolby screen near you.
The sixth annual Brooklyn Horror Film Festival brought the boogeyman to the beloved borough.
With events at fan favorite venues Williamsburg Cinema, Stuart Cinema, and the newly-reopened Nitehawk Cinema, BHFF offered something for everyone. From the sold-out closing night East Coast premiere of The Sadness to the 35mm screening of Session 9 in honor of its 20th anniversary, BHFF truly outdid itself in its first year back in theaters since the pandemic.
See our favorite festival moments below!
The Last Thing Mary Saw is an outstandingly haunting portrayal of a woman in 1843 New York who faces deadly (and supernatural) consequences for her affair with a maid. Stefanie Scott, who also stars in new Peacock series The Girl in the Woods, portrays Mary, who falls in love with Eleanor, played by Isabelle Fuhrman. Rory Culkin stars as a stranger who threatens to disrupt everything. Writer-director Edoardo Vitaletti was present at Brooklyn Horror Film Festival for the U.S. premiere. The film will be distributed by AMC+ and Shudder.
Family drama When I Consume You returned home to Brooklyn, where the film was shot, after premiering at Fantasia Film Festival earlier this year. Siblings Daphne (Libby Ewing) and Wilson Shaw (Evan Dumouchel) tackle their shared childhood traumas while warding off a demon stalker. Director Perry Blackshear told Variety that horror films are specifically designed to be watched in a dark theater: “It feels like when I watch a scary movie in the theater, it’s like going through a kind of timeless ritual where you die, you feel death,” Blackshear stated. “You get to undergo this intense pain and suffering and yet you survive, maybe stronger than when you began. This catharsis is my favorite part of the genre.”
Netflix’s Night Teeth was a crowd-pleaser with a sultry take on sexy vampires who secretly run L.A. We believe it! Debby Ryan and Lucy Fry play two BFFs who take driver Jorge Lendeborg Jr. on a very different type of ride. Megan Fox and Sydney Sweeney have memorable cameos as queen vampires, while Alfie Allen and Alexander Ludwig round out the urban undead underworld. BHFF hosted the world premiere of Night Teeth, now streaming.
The Home Invasion shorts programs featured a slew of standout films, but two especially caught the attention of BFHH audiences: Still Together and Hazel. Christopher Piazza’s Still Together is at once horrifyingly claustrophobic as well as hilarious. A department store window designer falls in love with a Nordic warrior trapped inside a mannequin. The couple try to plan their escape, but will the other employees thwart their happily ever after? A funky score and a bloody kicker prove we are Still thinking about this off-beat take on horror.
Hazel, directed by Jordan Doig, is a memorable portrayal of postpartum depression. New mom Libby struggles to take care of her daughter, Hazel, especially when her husband Pat isn’t supportive. Libby’s downfall into psychosis has a sinister turn, and you have to watch to see how this short film ends. The horror genre is best when its uncovering the real horrific moments of reality, and Hazel does just that.
See the full list of films at Brooklyn Horror Film Festival here!
Oui, j’adore la cinema française!
Merci pour Wes Anderson, because the auteur’s partnership with the French Institute Alliance Française (FI:AF) has brought some of the greatest French films stateside for a very special curated event. Is there a greater double feature–no, triple feature–than Anderson’s ode to a fictional French town with a François Truffaut classic, followed by a Jacques Becker comedy?
While Anderson could not be in-person for the U.S. premiere of his gorgeously whimsical anthology film “The French Dispatch” at the stunning 59th New York Film Festival, he certainly achieved the goal of placing a beret atop the Big Apple thanks to his “French Connection” collaboration with FI:AF.
From Sept. 14 through Oct. 26, running every Tuesday, FI:AF screens selected films through its CinéSalon, beginning with “Peppermint Soda” and concluding with “Antoine and Antoinette.”
Highlights from the program include Truffaut’s “The Man Who Loved Women,” telling the story of a philandering writer whose final lovers reunite at his funeral, while his female editor retraces the missteps of his heart. “Max and the Junkmen” offers a unique twist on a dark comedy about an aloof Parisian detective who tries to deceive a gang of bank robbers, all while falling for one of the criminal’s girlfriends. Lastly, Becker’s “Antoine and Antoinette” is a magnificent romp of a romantic comedy as a young couple seeks out a misplaced winning lottery ticket.
“French cinema has always been part of Anderson’s artistic heritage and the acclaimed auteur has picked some of his favorite French films to be screened for FI:AF audiences,” the site reads. “The series coincides with the highly anticipated release of Anderson’s star-studded film, ‘The French Dispatch.'”
Calling all cinephiles and francophiles, Anderson’s FI:AF curation certainly should not be missed. And, “The French Dispatch” is a must-see, perfect for a hazy fall Sunday where we can all escape into a European fantasy world of art, passion, and promise.
For more information, visit here.
The film is a very personal medium, and to have an intimate connection with an independent cinema great is the stuff of legends. Or, at least the subject of an award-winning documentary.