The Chicago star and her business partner Shakim Compere will give bosses at the U.S. Internet firm a first look at new projects from their Flavor Unit Entertainment company to screen for customers.
Ted Sarandos, Chief Content Officer for Netflix, states, "We are delighted to work with Queen Latifah to be the exclusive destination for what are sure to be relevant, entertaining movies. Queen Latifah has a long track record of creating hits and Flavor Unit Entertainment is a fresh and exciting voice in the industry."
Latifah adds, "Shakim and I are thrilled to do business with Netflix. Netflix is a strong brand and the perfect place to showcase our projects."
Executives at Flavor Unit Entertainment have previously produced films such as 2003 comedy Bringing Down the House and 2010's Just Wright, as well as the popular Lifetime TV movie remake Steel Magnolias.
Meanwhile, Netflix bosses have enjoyed success with the exclusive streams of Steven Van Zandt's hit drama Lilyhammer and Kevin Spacey's new series House of Cards.
A massive hit never ends at its own conclusion for better or worse. Lost Tim Burton's Alice in Wonderland The Blair Witch Project and other pop culture milestones spawned plenty of imitators of wavering quality that trickled on to screens until the phenomena tapered off. Joyful Noise the new film starring Queen Latifah and Dolly Parton is one these auxiliary creative endeavors a direct descendant of the cheeky drama/comedy/musical hybrid Glee. But instead of teenage issues and pop covers Joyful Noise swaps in familial struggles gospel tunes and a sizable serving of Christian faith. The combination results in a movie that lacks the jazz hand energy of Glee but packs good-natured laughs to keep someone awake for its two hour duration. More "noise" than "joyful."
Mere minutes after the passing away of choir leader Bernie Vi Rose (Latifah) inherits the position—along with a serving of negative vibes from Bernie's wife G.G. (Parton) who was hoping to take the job herself. The new responsibility is only the beginning of Vi Rose's troubles as she attempts to balance her rebellious daughter Olivia's (Keke Palmer) raging hormones her son Walter's (Dexter Darden) Asperger's syndrome her husband's absence during a military stint and her own old school God-faring ways. Hardships are whipped into further chaos upon the arrival of Randy G.G.'s rambunctious horny grandson who shows up at rehearsal with an eye on Olivia and undeniable vocal skills. Randy's rock and roll edge is readily embraced by the group but even with the national gospel championship on the line Vi Rose isn't ready to toss tradition aside.
Joyful Noise is a mixed bag sporadically entertaining when director Todd Graff (Camp Bandslam) lets his two commanding stars flex their comedic muscles or belt soulful tunes. Latifah and Parton can do both with ease—Latifah has a natural charm while Parton essentially fills the "kooky Betty White" here—but instead of letting the two fly Graff breaks up the action with overwrought drama and bizarre side character stories. The script injects a lot of ideas into the picture—loss of faith modernizing ideologies coping with tragedy sexuality under the eye of God—but every tender moment is fumbled. A gut-wrenching conversation between Vi Rose and her autistic son should have weight and the actors do their best but the material doesn't service the emotional complexity of the scenario. Instead it opts to cut to a musical number. Another sequence involving the overnight demise of another character is even played for comedy even when it causes one woman to question her beliefs.
Thank God for the musical numbers which have enough energy to brush the flimsier moments under the rug. The Glee-inspired pop tune covers (Michael Jackson's "Man in the Mirror " Usher's "Yeah"—both tailored with religious modifications) aren't nearly as interesting or powerful as the straight-up gospel songs. But unlike the tunes Joyful Noise doesn't have rhyme or reason. A mishmash of played out character stereotypes narrative cliches and enjoyable but erratic music the movie feels more like a cash-in than it should. Latifah and Parton are a sizzling duo but the vehicle built for them is a clunker. As Vi Rose might say the only way to have a great time at Joyful Noise is to believe. Really really hard.
Latifah took inspiration from Beyonce for the film, about a group of girlfriends who are unlucky in love, naming it after the singer's hit Single Ladies (Put a Ring on It).
And now the movie, starring Stacey Dash, LisaRaye McCoy and Charity Shea, is to become an eight-episode VH1 network series, which is set to launch in July, 2011.
Latifah, who was not initially featured in the project, is now scheduled to make a guest appearance in the expanded TV version, reports Variety.
She says: "My (producing) partner Shakim (Compere) and I are excited to collaborate with VH1, as they have a similar vision on how to bring this show to life. I think Single Ladies will really fill a hole in what is needed on television today."
Sure we’ve seen underdog-themed sports comedies ad nauseam. But when was the last time you saw it with mix-ins of toilet and marijuana humor? Aha! Touché Who's Your Caddy? touché. Our token er tokin’ underdog here is C-Note (Antwan Patton aka Big Boi from Outkast) a multi-platinum Atlanta-based rapper who just wants to get his golf on. But here’s the catch: He wants to do so at an ultra-exclusive ultra-conservative seemingly all-white country club and the club’s president Cummings (Jeffrey Jones) isn’t having any of it. So what’s a golf-lorn hip-hopper to do? Why plunk down millions on the course’s chicest estate and invite his posse (Faizon Love Finesse Mitchell and others) to move in and hassle the prez to grant C-Note club membership. So begins the cat-and-mouse hijinks between C-Note and Cummings each of whom hopes force the other’s hand. And it only ends when—surprise surprise—a do-or-die golf match is agreed upon to settle the score. All of the cast members fit the bill for such crassness—except for oddly enough Patton (Boi?). And when a rapper-turned-actor is too good for a role it’s a solid indication of just how low the bar is. Producers aren’t exactly banging down Patton’s door with Oscar-worthy scripts but his offers must be better than Caddy which he probably viewed as a good first foray into the lucrative family-comedy genre. Oops. Patton is charismatic charming funny in spots—despite appearing to break character once or twice—and as seen in Idlewild and heard in his music highly talented. But Caddy is a misstep in an otherwise promising movie career. Luckily not too many people will venture to theaters to witness the degree to which it is. The brunt of the minimal comedy comes from Notorious B.I.G. doppelganger Love and former SNL-er Mitchell. The few funny scenes with the two in which Love injects his standup humor and Mitchell his stoner aloofness are scenes of (likely improvised) non-sequiturs. Ferris Bueller's Day Off villain Jones is as hateful and hateable as ever only to be topped by MTV star Andy Milonakis who plays Jones’ onscreen son. Milonakis initially plays it so straight that even his fans will squirm in embarrassment; it only gets worse when he rebels against his father and changes teams. Who's Your Caddy? writer-director Don Michael Paul’s only other movie you may have heard of (2002’s Half Past Dead) was a Steven Seagal movie—and his latest pales in comparison. Paul’s interests clearly lie in the lowest of lowbrow but whereas the Scary/Date/Epic Movie clan for example manages a few laughs—and millions of dollars—out of their comedies he can’t ever get Caddy going in any positive direction. At times in fact the movie borders on blatant racism as he tries to exploit black stereotypes and white stereotypes for cheap laughs. When that’s not the case the movie merely rips off bits of countless other better movies—despite the “originality” of fart and weed jokes being in a sports movie. Look closely if you dare and you may detect theft from Happy Gilmore Caddyshack How High Friday or maybe even Malibu's Most Wanted. Worse still than his plot devices is Paul’s implementation of directorial devices such as ever-changing cinematography depending upon the degree of giddiness he’s trying to attain or freeze-frame shots to introduce certain characters.
You remember Gina (Queen Latifah) from Barbershop 2? She's the one who worked at a beauty shop next door to the barbershop and gave Eddie (Cedric the Entertainer) all kinds of grief. In Beauty Shop the widowed Gina has moved from Chicago to Atlanta so her daughter can attend a prestigious music school. With scissors in hand Gina quickly becomes the most sought-after stylist at a chic-chic salon. Unfortunately the guy who runs it is a superficial egotistical jerk named Jorge (pronounced "Hor-eh") (Kevin Bacon) who tosses his weight--and his stringy hair--around a lot. Obviously the headstrong Gina isn't going to stand for that nonsense for very long. She eventually tells him off and storms out to open her own shop taking a few choice clients with her. And what a shop it is! The ever-creative and determined Gina stocks it with her own hair products or "hair crack" as it's lovingly referred to a cappuccino maker and a myriad of colorful employees who also aren't afraid to speak their minds. So grab a seat under the hairdryer and watch how these women get busy.
Beauty Shop also has a myriad of animated performers. Everyone seems to be having a great time except maybe the Queen Bee herself. In Barbershop 2 Latifah's Gina got to be one of those full-of-life supporting players sparring with Cedric the Entertainer and delivering some of the film's better moments. Now that the actress has to carry the film she also has to play it straight most of the time which doesn't suit her quite as well as it did for Ice Cube. But she still manages to infuse her own particular brand of charm every once in awhile when the film warrants it. The rest of the cast keep things light and lively especially the over-the-top Bacon who plays Jorge as a cross between one of those pretentious hair salon owners we all know and a bit player in a bad disco movie complete with a faux Austrian accent and gold chains. It's good to see him have some fun. It's also good to see Alfre Woodard who plays one of the shop's more eccentric hairdressers wearing low-cut leopard prints and spouting poetry by Maya Angelou. Also making an impression are Alicia Silverstone as the token white girl in the salon who eventually gets a ghetto makeover; and Keisha Knight Pulliam all grown up from playing little Rudy Huxtable on The Cosby Show as Gina's lackadaisical sister-in-law.
Initially it's fun to see the same Barbershop dynamics applied to Beauty Shop this time from a woman's point of view. Director Bille Woodruff (Honey) does a nice job setting up all the different personalities in the shop from the sardonic to the bubbly to the unconventional as the women talk about anything from bikini waxes to men crying during sex to interracial love. It's amusing and will hit home for many of the women in the audience but you'll soon realize Beauty Shop's script is far more tame and predictable than outrageous. Basically Beauty Shop doesn't have an Eddie character which is what makes the Barbershops work so well. He's there to say the most outlandish--and sometimes offensive--things that make people stop think and then laugh their butts off. Beauty Shop only touches upon social and cultural differences never really digging in deep and rarely making you laugh out loud.