Tag Archives: Regina Hall

The Hate U Give (2018)

16 Sunday Dec 2018

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D: George Tillman Jr / 128m

Cast: Amandla Stenberg, Regina Hall, Russell Hornsby, Anthony Mackie, Algee Smith, Issa Rae, K.J. Apa, Lamar Johnson, Sabrina Carpenter, Dominique Fishback, Megan Lawless, Common

Starr Carter (Stenberg) is a sixteen year old black girl living in a predominantly black neighbourhood – Garden Heights – but who attends a predominantly white prep school, Williamson. One night, while at a party, she reconnects with a childhood friend, Khalil (Smith). Later, as Khalil takes her home, they’re pulled over by a white police officer, who insists Khalil gets out of the car. When Khalil reaches into the car for a hairbrush, the officer thinks he’s going for a gun, and reacts by shooting Khalil dead. The shooting causes a local outcry, but Starr’s involvement is kept a secret, even from her best friends (Carpenter, Lawless) at Williamson, and her white boyfriend, Chris (Apa). But as racial tensions increase, and Starr is required to testify before a grand jury, matters are further complicated by the attentions of local gang leader, King (Mackie), who doesn’t want Starr saying anything about Khalil selling drugs for him. Torn between keeping quiet and not putting herself or her family at risk, and honouring Khalil’s memory, Starr must find the courage to chart a course that ensures she does the right thing…

A contentious and powerful adaptation of the novel by Angie Thomas, The Hate U Give doesn’t shy away from tackling some pretty serious issues, and does so in spite of its YA backdrop, proving that the genre can address issues beyond dystopian futures and awkward romantic entanglements. And while the continuing effects of cultural and political racism are front and centre, the movie also delves into topics such as social deprivation (Garden Heights isn’t exactly an affluent neighbourhood), peer pressure, police accountability, gang culture, cultural appropriation, and political activism. It’s a heady brew, and as such, a challenge for any one movie to assimilate without running the risk of minimising the impact or importance of any one aspect at the expense of the others. But Audrey Wells’ screenplay is one of the best literary adaptations of recent years, and it addresses each issue succinctly and with a great deal of care, and ensures that the viewer understands the effects that each issue has on the characters. Whether it’s the injustice felt by a community that has already seen too many people die unnecessarily, or Starr’s increasing unhappiness at the way her friends behave as “black” because it’s “cool”, the movie refuses to treat these issues lightly, or inappropriately (as the kids at Williamson do).

With the script locked in, it’s left to the performances to amplify the importance of the issues the movie explores. As Starr, Stenberg gives one of the best performances of the year, courageously tackling her role head on, and always finding the emotional truth in any given scene. It’s such a mature portrayal, so nuanced and impressive, that on the rare occasions Starr isn’t the focus of a scene, you can’t wait to have her back. There’s fine support from Hall and Hornsby, and Smith proves that his break-out performance in Detroit (2017) wasn’t a flash in the pan. Tillman Jr has assembled a powerful, hard-hitting movie, but despite the quality of Wells’ script and the quality of the performances, it’s a movie that is often more effective in its quieter moments than when it seeks to escalate the tensions inherent within it. A protest march that descends into violence feels timid in relation to the emotions it’s engendered, while the sequence where Starr and Seven are trapped in their father’s burning store is over before any real threat to their lives can be allowed to create any tension. Minor bumps in the road such as these, however, do serve to distract from the good work the rest of the movie revels in, and as they come in the last half hour, unfortunately they undermine some of what’s gone before. But even so, this remains an intense and vigorous exploration of issues that rarely get addressed with this much clarity and confidence.

Rating: 8/10 – despite a few narrative leaps and bounds designed to wrap things up more quickly than necessary, and a few soap opera moments that always feel out of place, The Hate U Give is a vivid, potent examination of America’s continuing racial divide; with its superb central performance, and its ability to tackle complex issues without resorting to being dogmatic or condescending, it’s a significant reminder – as if it has to be said – that all lives matter.

Support the Girls (2018)

14 Sunday Oct 2018

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D: Andrew Bujalski / 90m

Cast: Regina Hall, Haley Lu Richardson, James Le Gros, AJ Michalka, Dylan Gelula, Shayna McHayle, Lea DeLaria, Jana Kramer, Brooklyn Decker, John Elvis, Lawrence Varnado

It’s another day of problems at Double Whammies, a Hooters-style sports bar-cum-restaurant (or ‘breastaurant’) managed by the ever-reliable and ever-resourceful Lisa (Hall). What with having to carry out interviews before the bar opens, dealing with a man stuck in one of the air vents, organising a car wash with the proceeds going to a staff member who’s in financial difficulties, solving the issue of the TV screens having lost their signal, and the unwanted management advice of bar owner Cubby (Le Gros), as well as the prospect of a similar, rival company opening a restaurant nearby, Lisa has her work cut out for her – and that’s without providing support and practical advice to the staff, who have their own issues. Lisa is more of a den mother than a manager, but her expertise lies in treating everyone like family, and for this she gets back a lot of respect and loyalty. As she sidesteps further potential problems that arise as the day progresses, it’s not until an encounter with Cubby that she begins to question whether or not it’s time to move on…

Although the setting for Support the Girls is a tacky, less than appealing restaurant that promotes “family values” and which has a zero tolerance policy on customers who are disrespectful to the waitstaff, this isn’t about the restaurant itself, but about those waitstaff, and their manager, and the sisterhood that they promote amongst themselves. It’s this sense of solidarity, and everyone pulling together, that gives the movie much of its heart and soul, as writer/director Bujalski paints a portrait of ordinary women working in a low paid, low reward job but finding a purpose in supporting each other that makes up for the problems that said job throws at them on a daily basis, whether it be unruly patrons, unfair rules and prohibitions (Cubby won’t allow two black women to work the same shift), or their own unrealised needs and/or ambitions. Lisa does her best to juggle all these things and to keep Double Whammies running as smoothly as possible, but she’s like the classic image of a swan: on the surface she seems able to deal with anything, but below the surface she’s paddling like mad to maintain that semblance of being in control.

Adding depth to proceedings are themes surrounding perpetuated sexist attitudes, the socio-economic climate that keeps workers such as these from doing any better for themselves, and how senior management or owners are divorced from the day-to-day realities of managing such a business. These issues are given their due without the need for strident politicising or deftly written monologues bemoaning the current state of employment matters in the US, and this is because Bujalski is focused on how female solidarity allows the staff to feel and be more fulfilled than perhaps they would be otherwise. It’s a positive message given in the unlikeliest of locations, but it’s also the reason why it works so well. These are women who are working in an environment where it’s not just their gender that can come under attack but their sexuality, their physical appearance, their class, their race, and that’s without any challenges to their ability to do the job. That the movie balances all this without being too blunt or obvious, is a testament to the skill of Bujalski’s screenplay, and his confidence in handling the material. It’s also due to the talents of a terrific cast, with Hall giving her best performance yet as a woman doing her best to keep everything going, and by being that rare thing in the movies: consistently nice.

Rating: 8/10 – a comedy that avoids clumsy attempts at satire by being sincere in its approach to its characters’ environment, and their hopes and dreams, Support the Girls does just that, and in an affecting, heartwarming manner; as a snapshot of what it’s like to be a woman in 2018 America, it could be construed as dispiriting, but what it shows instead is that female solidarity is alive and well and ready for anything – and on its own terms.

Monthly Roundup – July 2017

01 Tuesday Aug 2017

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The Hatton Garden Job (2017) / D: Ronnie Thompson / 93m

Cast: Matthew Goode, Phil Daniels, Larry Lamb, Clive Russell, David Calder, Joely Richardson, Stephen Moyer, Mark Harris, Jack Doolan

Rating: 6/10 – a group of aging ex-cons decide to rob an underground safe deposit facility in London’s Hatton Garden, but find that too many interested parties want in on the job, and the proceeds; based on the actual robbery that occurred in April 2015, The Hatton Garden Job is a light-hearted, and often lightweight version of actual events, but gets by thanks to some winning performances, a sense that it’s all too, too implausible, and a broad sense of humour that suits the material well enough despite its low budget origins.

The Zookeeper’s Wife (2017) / D: Niki Caro / 126m

Cast: Jessica Chastain, Johan Heldenbergh, Daniel Brühl, Michael McElhatton, Timothy Radford, Val Maloku, Efrat Dor, Iddo Goldberg, Shira Haas

Rating: 4/10 – at the outbreak of World War II, the Warsaw Zoo, run by Antonina and Jan Zabinski (Chastain, Heldenbergh), is commandeered by the Nazis, but it becomes a hiding place for Jews, and an even more dangerous place without its animals; a true story undone by telling it across the whole course of the war, The Zookeeper’s Wife is a turgid, painfully dull movie that is only sporadically interesting and which wastes the talents of its cast by making their characters’ plight seem like its been lifted from an unsuccessful soap opera.

Day of the Mummy (2014) / D: Johnny Tabor / 77m

Cast: Danny Glover, William McNamara, Andrea Monier, Eric Young, Philip Marlatt, Michael Cortez, Brandon deSpain

Rating: 4/10 – an archaeological trip into the Egyptian desert in search of a lost tomb sees its members at the mercy of a mummy, while they try and find a sacred stone said to be worth millions; a found-footage movie that like most doesn’t know how to make the most of the format, Day of the Mummy stretches its audience’s patience at every turn, and literally reduces Glover’s role to the bottom left hand corner of the screen, something that could be construed as “video-phoning” in his performance.

Security (2017) / D: Alain Desrochers / 92m

Cast: Antonio Banderas, Ben Kingsley, Liam McIntyre, Gabriella Wright, Chad Lindberg, Cung Le, Katharine de la Rocha, Jiro Wang

Rating: 5/10 – ex-Army veteran Eddie (Banderas) takes a night security job at a mall, and on his first night, finds himself fighting off a band of mercenaries hired to kill the teenage girl who’s taken refuge there; another Die Hard rip-off (when will they stop coming?), Security does have committed performances from Banderas and Kingsley as hero and villain respectively, but lacks sufficient invention to make this anything other than a pale echo of similar and better movies.

Quincannon, Frontier Scout (1956) / D: Lesley Selander / 84m

aka Frontier Scout

Cast: Tony Martin, Peggie Castle, John Bromfield, John Smith, Ron Randell, John Doucette, Morris Ankrum, Peter Mamakos, Edmund Hashim

Rating: 6/10 – when the Army discovers someone is selling rifles to the Indians, it’s down to experienced scout Quincannon (Martin) to get to the bottom of it all; while there’s nothing new here, thanks to Selander’s astute direction, Quincannon, Frontier Scout zips along at a decent pace and delivers on its basic premise, but not even Selander can mitigate for a pretty awful performance from Martin, a singer who really should have ignored his agent on this one.

Cars 3 (2017) / D: Brian Fee / 102m

Cast: Owen Wilson, Cristela Alonzo, Chris Cooper, Nathan Fillion, Larry the Cable Guy, Armie Hammer, Ray Magliozzi, Tony Shalhoub, Bonnie Hunt

Rating: 6/10 – Lightning McQueen’s days on the race track are numbered, but only he doesn’t get it, until racing for a new team begins to show him that there’s more to life than being Number One; Pixar redeem themselves somewhat after the complete and utter disaster that was Cars 2, but this is still tepid stuff that struggles to make the impact it needs, leaving Cars 3 looking nostalgic for the first movie, and trading on that movie’s glories to make itself look good.

Girls Trip (2017) / D: Malcolm D. Lee / 122m

Cast: Regina Hall, Queen Latifah, Jada Pinkett Smith, Tiffany Haddish, Mike Colter, Kate Walsh, Larenz Tate, Deborah Ayorinde

Rating: 6/10 – self-help guru Ryan (Hall) decides it’s time that she and her three best friends (Latifah, Smith, Haddish) should reconnect while in New Orleans for the annual Essence Festival, but having a good time proves more difficult than she, or they, could have ever imagined; yet another female-centric variation of The Hangover, Girls Trip wants to be raunchy and out there (the urination scene), but ends up instead as a warm and fuzzy ode to sisterhood that conforms to expectations, but is rescued by the committed performances of the “girls” themselves.

47 Meters Down (2017) / Johannes Roberts / 89m

Cast: Mandy Moore, Claire Holt, Matthew Modine, Chris Johnson, Yani Gellman, Santiago Segura

Rating: 6/10 – two sisters (Moore, Holt) on vacation in Mexico find themselves stranded in a shark cage at the titular depth, and they only have an hour to save themselves before their oxygen runs out; better than it sounds thanks to Roberts’ hand on the tiller, 47 Meters Down isn’t beyond making some silly mistakes (let’s have Modine’s captain recite the perils of nitrogen narcosis – twice), being too repetitive once on the sea bed, and building up tension only to allow it to dissipate to no great effect.

People Places Things (2015)

22 Sunday Nov 2015

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People Places Things

D: Jim Strouse / 87m

Cast: Jemaine Clement, Regina Hall, Stephanie Allynne, Jessica Williams, Aundrea Gadsby, Gia Gadsby, Michael Chernus

Will Henry (Clement) is a graphic novelist and teacher of same who, on the day of his twin girls’ fifth birthday, discovers that his wife, Charlie (Allynne), is having an affair. Charlie feels unfulfilled and wants a change to her life, but she appears confused as to exactly what she wants. Nevertheless she and Will split up and she takes their children with her. Fast forward a year and several things happen within the space of a few days: the twins celebrate their sixth birthday, Charlie announces she’s pregnant and getting married to her lover, Gary (Chernus), and one of his students, Kat (Williams), invites Will home to meet her mother, Diane (Hall).

Through all this, Will moves like a man in a bad dream, baffled by most of what’s happening around him, and unable to gain any traction. His meeting with Diane is undermined by her telling him she’s already seeing someone. He does get Charlie to agree to his having the twins more often, but this brings with it further problems. They converge one morning when their school is closed unexpectedly and the only place he can find to leave them while he teaches is at Kat’s. When Will goes to collect them, it’s late, Diane is there, and the kids are asleep. Diane refuses to let him wake them and take them home, so he stays the night, and their relationship starts to become more serious.

People Places Things - scene1

Matters are further complicated when Charlie voices doubts about marrying Gary and she and Will kiss. Believing that Charlie wants to try again, Will reluctantly informs Diane that he can’t see her anymore. To his surprise, Charlie denies any confusion on her part and maintains that she’s marrying Gary. Will retreats to his apartment, but Kat intrudes on his despair, and using some artwork he’s shown her, gets him to think about what he really wants, and what he needs to do next.

If you only see one romantic comedy about a graphic artist having to decide which one of two women he should be involved with, then make sure its People Places Things. It’s a wonderfully smart, sharply scripted movie – by the director – and packs in more laughs than the likes of Vacation (2015) or Get Hard (2015) combined. And though they might not be huge belly laughs, they’re the kind that leave a residual smile on the viewer’s face long after the scene they’re in has ended. The script makes a virtue of awkward dialogue, making Will sound prickly and insulting without thinking, responding to some comments with such disdain that you can’t believe he doesn’t get slapped more often than the one time in the movie when he does.

People Places Things - scene2

But it’s likely that Strouse’s acid-tinged script wouldn’t have been as effective if it weren’t for the casting of Clement as Will. His deadpan, slightly nasal delivery of his lines, along with several variations of open-mouthed dismay, makes Will a hugely enjoyable character to spend time with, as he stumbles his way through the various ups and downs of being a part-time father and apparent ex-husband (apparent because the script never makes it clear that he and Charlie have actually divorced). You can’t help but feel sorry for Will as he does his best to work out why everyone around him is doing their best to confuse him. (For fans of the UK TV show The IT Crowd, Clement’s performance may be a little off-putting as it’s very reminiscent of Richard Ayoade’s character, Maurice; he even wears trousers that are too short at one point.)

Strouse also scores strongly by making Charlie as confused as Will. Their scenes together are wonderfully plaintive, as each tries to state their own case for being miserable and wanting to be happy. Allynne makes Charlie’s struggle for happiness something to admire, and when she starts to have doubts about marrying Gary, the character’s sense of bewilderment is so beautifully played that you can’t help but feel sorry for her – even if it does screw things up for Will and Diane. As Diane, Hall is more direct and more certain about what she wants, and she challenges Will in ways that Charlie never did during their marriage. There’s a meeting of minds that Strouse makes deliberately fractious at first, and their dinner together is a mini-masterclass in how two people can be attracted to each other and still take umbrage at nearly everything each other says.

People Places Things - scene3

With the cast having a field day with the script, Strouse is free to take his somewhat lightweight plotting – and that’s not a negative, by any means – and add some depth to the movie by relating Will’s plight to the way in which graphic novels are constructed, and how they can be more expressive in a single panel than people can be their whole lives. This allows us to see Will for the implacably lonely man that he is, and gives us a better insight into why he struggles to understand Charlie’s motivaions, and often his own. Strouse also makes the point about how so much can happen in the space between panels and how this is similar to the way in which so much in our own lives happens without us even realising it.

Strouse also uses tight close ups to focus our attention on the emotions of a scene, and with DoP Chris Teague he keeps the action weighted in the ordinary and mundane, with only the various graphic realisations offering any visual relief. These images are provided by the artist Gray Williams and are witty, incisive and clever, and also mirror Will’s feelings throughout. They add strong support to the sincerity of Strouse’s script and are amusing all by themselves. And there’s a distinctive and well-chosen soundtrack that also adds to the simplicity of Strouse’s tale.

Rating: 9/10 – completely charming and free from all the “cuteness” of many recent romantic comedies, People Places Things has enough heart and quirky humour for a dozen similar movies; deceptively ambitious and a pleasure to watch, Strouse’s third feature as a director – after Grace Is Gone (2007) and The Winning Season (2009) – is a sure-fire crowd-pleaser and easily one of the best movies of 2015.