Movie star Danny Glover turned funeral officiant on Saturday (18Jan14) as he led the tributes to late poet and playwright Amiri Baraka at a memorial service in New Jersey. The 79 year old passed away on 9 January (14), and friends, family and fans gathered at Newark Symphony Hall over the weekend to bid farewell to the writer, who served as New Jersey's Poet Laureate in 2002.
Glover, who officiated the ceremony with producer/director Woodie King, Jr., recalled meeting Baraka for the first time in 1967 during a visit to San Francisco State University in California, where the Lethal Weapon star was a student.
He credited the author with encouraging him to pursue his passion for acting, and said of Baraka's influence: "It formed the framework of how I've tried to approach the idea of my work as a citizen artist."
Baraka, who was born Everett LeRoi Jones, was best known for his book Blues People: Negro Music in White America, which was published in 1963.
He also wrote a number of notable plays, including The Black Mass and The Toilet and Dutchman, which won an Obie Award for Best American Play in 1964.
"R.I.P. Amiri Baraka, an influence of my youth, a Giant of a writer, a Voice of the people! So glad to have been up close & personal." Samuel L. Jackson pays tribute to poet Amiri Baraka who passed away on Thursday (09Jan14) at the age of 79.
Controversial poet and playwright Amiri Baraka has died at the age of 79. Baraka passed away on Thursday (09Jan14) in New Jersey, weeks after battling a mystery illness in the hospital, according to the Los Angeles Times.
The author, who was born Everett LeRoi Jones, was best known for his book Blues People: Negro Music in White America, which was published in 1963.
He also wrote several plays including The Black Mass and The Toilet and Dutchman, which won an Obie Award for Best American Play in 1964.
In addition to the Obie accolade, Baraka was also awarded the PEN/Faulkner Award, a Rockefeller Foundation Award for Drama, and the Langston Hughes Award and, in 2002, he was selected as New Jersey's second Poet Laureate.
Baraka was also known for his controversial political views - in 2001, he penned the provocative Somebody Blew Up America, a piece about the 9/11 terrorist attacks.
The poem, which suggested Israeli officials had prior knowledge of the bombings, was denounced as anti-Semitic and cost Baraka his post as New Jersey's poet laureate. He held the role until 2003, when state politicians abolished the job after he refused to resign.
Controversial poet and playwright Amiri Baraka is recovering after spending the holidays in hospital battling a mystery illness. The 79 year old was admitted to the intensive care unit at Beth Israel Medical Center in Newark, New Jersey last Monday (23Dec13) for treatment, but he has since made good progress.
Family spokesman Frank Baraff tells the New York Daily News, "His condition continues to improve. It's not a dire situation."
Baraff declined to share further details about what ails the Blues People writer.
Baraka hit headlines a decade ago when he penned the provocative Somebody Blew Up America, a piece about the 9/11 terrorist attacks.
The poem, which suggested Israeli officials had prior knowledge of the bombings, was denounced as anti-Semitic and cost Baraka his post as New Jersey's poet laureate. He held the role from 2002 to 2003, when state politicians abolished the job after he refused to resign.
Fun Size may be the only production from kid-centric studio Nickelodeon to also feature underage drinking (complete with red solo cups) and boob groping. The murky demographic for the movie ends up hurting the well-intentioned Halloween flick — it's not quite suitable for the young ones nor is it funny or wild enough for the Gossip Girl crowd which director Josh Schwartz (creator of the show) knows well. Instead we get a floundering trick or treat adventure that reduces the colorful twisted holiday to a meandering situational comedy.
Nick TV grad Victoria Justice (Victorious) stars as Wren a high school "geek" who finds herself unable to bag the guy of her dreams (who adores her) but finds a glimmer of hope in the big cool kids' Halloween party. Ready for a night out with her best friend April (Jane Levy) Wren thinks life is finally going her way until her Mom (Chelsea Handler) sticks her with her troublemaking little brother Albert (Jackson Nicoll) for the night. If chaperoning Albert wasn't already the worst thing in the world Wren finds herself in an even bigger dilemma when her brother wanders off into his own night of mischievous debauchery.
The "one crazy night" formula fits perfectly with Halloween but Fun Size struggles to find interesting material for its eclectic ensemble. Unlike many of the young actresses who have previously collaborated with Schwartz Justice seems unable to crack his voice and comedic style. She's too hip to too aware to play someone struggling with high school. The material doesn't serve her or Levy either; off-color jokes and a bizarre sense of entitlement turn them into two people you don't want to see succeed. Luckily for the audience during their sweeping search for Albert Wren and April cross paths with two true nerd-looking boys: Roosevelt (Thomas Mann) and Peng (Osric Chau) who along with feeling like real teenagers actually land a joke or two.
Interwoven into this speedy adventure — Fun Size clocks in at a little over 75 minutes giving little time to flesh out our teenage heroes — is Albert's encounter with a convenience store clerk named Fuzzy. The adults of Fun Size see the ten-year-old Albert as a parter-in-crime rather than a lost little boy. Fuzzy recruits him for a raid on his ex-girlfriend's house; after running away he meets a lady who brings him to a nightclub. At one point a sleazebag kidnaps Albert and locks him in his bedroom. If Fun Size were madcap it may all make sense. Instead things just happen — and it's not hilarious scary or even deranged.
Nick's '90s sitcom Pete & Pete created an amazing sense of weirdness and heart in its exploits of two teenage brothers. Anyone could watch and enjoy it. Fun Size has a beautiful look (the colors of Halloween are mesmerizing) and Schwartz as always has impeccable soundtrack tastes but when it comes to telling a story that feels both relatable and wonderfully weird — what Pete & Pete did so well — the movie falls flat. It's stereotype humor (the movie packs many a fat and gay joke) doesn't cut it — when paired to Nick's best efforts the movie lives up to the title: a bite-size portion of a bigger better cinematic sweet.
Actress Chloe Sevigny's DJ brother Paul and The Wrestler actor Armin Amiri have created Los Angeles' most exclusive new club, Smoke & Mirrors, which is housed at The Standard hotel in West Hollywood.
At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.
Take Me Home Tonight directed by Michael Dowse is a comedy about the ‘80s but its futility is timeless: In just about any decade it would be considered generic and unfunny. Set in 1988 it stars the likable and witty Topher Grace as Matt a recent MIT grad with a crippling case of post-college career-indecision. Working as a lowly clerk at a video store he has a chance encounter with his high-school crush Tori (Teresa Palmer) who to his (and our) surprise actually displays faint interest in him. But Matt fails to pull the trigger and so he resolves to make up for his lack of cojones when he sees her later that evening at a party hosted by the preppy douchebag boyfriend (Chris Pratt) of his twin sister Wendy (Anna Faris).
This sets the stage for an eventual romantic union between Matt and Tori; until then there is insecurity to overcome and wacky adventures to be had. Many of the latter stem from the increasingly unhinged behavior of Matt’s best friend Barry (Dan Fogler). The film turns on a bag of cocaine Barry finds in the glove compartment of a Mercedes stolen from the dealership that fired him earlier in the day. Cocaine is renowned for its ability to induce euphoria in even the most mundane of settings but it has arguably the opposite effect on Take Me Home Tonight. I consider Fogler to be a legitimately funny guy but he has the irritating tendency to compensate for underwritten material by wildly overacting. Throw in a bag of blow and that tendency is amplified ten-fold.
A happy standout in the film is Palmer who brings a liveliness and dignity to the stereotypical rom-com role of the Otherworldly Hottie Who Inexplicably Falls for the Stammering Schlub. (It also helps that she's the only member of the main cast who is young enough to realistically portray a recent college graduate.) She is one of the more talented young Australian exports to arrive on our shores in quite some time and has the potential to become a saucier version of fellow Aussie Nicole Kidman. That is if she finds material better than Take Me Home Tonight.
Back in the 1980s when bad-hair rockers ruled so did Randy “The Ram” Robinson (Rourke) a champion wrestler who finds himself at the end of the line. Too many steroids and too much partying have taken their toll on the middle-aged wrestler whose health is failing faster than his self-esteem. In his own way Randy’s just trying to salvage what’s left of his life. Trouble is he doesn’t know how and after retiring from wrestling he discovers that the ring is the only place he’s ever found a modicum of dignity and self-satisfaction and undertakes a comeback that is perhaps unwise but nevertheless inevitable. It’s all he knows. In a performance bound to be much talked-about during awards season Mickey Rourke brings distinct echoes of his own persona and career to the role of Randy “The Ram” Robinson. Yet to be fair to screenwriter Robert D Siegel it’s also a strong and nuanced piece of writing. Character studies are few and far-between these days in Hollywood. This picture not only qualifies but qualifies as something on the level of a 21st-century Requiem for a Heavyweight. The film is unquestionably a showcase for its leading man but there’s exceptional supporting work. Marisa Tomei (who’s made something of a comeback for herself lately considering her work here and in last year’s Before the Devil Knows You're Dead) plays a stripper not quite of the golden-heart variety but close who takes a shine to Randy and Evan Rachel Wood as Randy’s long-estranged and long-embittered daughter. Additional flavor is added by the appearances of many real-life pro wrestlers in the background. But there’s no question to whom this movie belongs to and Rourke’s performance is indeed among the very best and perhaps the single most appealing of his screen work to date. Since his auspicious feature debut Pi a full decade ago Darren Aronofsky has made two subsequent feature films -- the powerhouse adaptation of Requiem for a Dream and the epic fantasy romance The Fountain which polarized audiences; he’s made every one count. In some ways this is his most accessible and human film but it’s in no way a traditional crowd-pleaser. It’s gutsy and gutty yet heartfelt. It’s also unlike Aronofsky has ever done before although there are a few thematic echoes to his earlier work (particularly The Fountain in terms of the principal character’s musings about loss) and again helps to stake his claim as one of today’s most daring young filmmakers -- unwilling to coast on previous success and instead intent on treading new ground each time out.