Release Date: February 7th, 2019 Directed by: Xavier Burgin Written by: Ashlee Blackwell, Danielle Burrows Based on:Horror Noire by Robin R. Means Coleman Music by: Timothy Day Cast: Robin R. Means Coleman, Ashlee Blackwell, Rusty Cundieff, Keith David, Ernest R. Dickerson, Ken Foree, Richard Lawson, Kelly Jo Minter, Miguel A. Nunez Jr., Paula Jai Parker, Jordan Peele, Ken Sagoes, Tony Todd, Rachel True
Stage 3 Productions, Shudder, 83 Minutes
I’ve seen quite a few documentaries on the history of horror as well as ones on blaxploitation and grindhouse movies. What makes this a unique film is that it examines the history of black horror, specifically.
This is well organized, fabulously presented and the thing that really gives this a lot of life is all the people that they were able to bring in and chat about the subject matter.
Also, this was told from the perspective of black people. We were able to see how certain things in movie history effected them, which is refreshing when most documentaries that cover black cinema usually feature a lot of white voices trying to interpret what they assume black people were feeling.
I think that this film gave a lot of clarity to the cultural impact of certain horror tropes regarding minority characters, as well as Hollywood tropes about race in general.
Most importantly, this honors the films it features, as well as all the talent that worked behind the scenes and on the screen.
This is a Shudder exclusive but between this, the new Joe Bob Briggs show and all their great horror film selections, you should already be subscribed. Plus, it’s cheaper than all those other streaming services.
Rating: 7.5/10 Pairs well with: other retrospective documentaries on horror and blaxploitation cinema.
Also known as: Tales From the Crypt Presents: Demon Knight (complete title) Release Date: January 13th, 1995 Directed by: Ernest R. Dickerson Written by: Mark Bishop, Ethan Reiff, Cyrus Voris Music by: Edward Shearmur Cast: Billy Zane, William Sadler, Jada Pinkett, Brenda Bakke, C. C. H. Pounder, Thomas Haden Church, Dick Miller, John Schuck, Gary Farmer, Charles Fleischer, Chasey Lain, Traci Bingham, John Larroquette (cameo), John Kassir
EC Comics, Universal Pictures, 92 Minutes
“Fuck this cowboy shit! You fucking ho-dunk, po-dunk, well then there motherfuckers! All you had to do was give me the goddamn key! Then we could get on with our lives. [cuts his hand to make new creatures] Alright… this house is hereby… condemned…” – The Collector
As a horror loving kid in the ’80s, I used to watch the shit out of HBO’s Tales From the Crypt. So when the show ended but they turned to producing movies, I was saddened but also kind of stoked.
I saw Demon Knight when it first came out in my local theater and I even got a copy of it on VHS when it was released later that year. It has been a really long time since I’ve seen it, however. Actually, the last time I saw it was when I still had a working VCR. Seeing it now, I forgot how absolutely insane and fun this movie was.
The film is directed by Ernest Dickerson, who started his career doing the cinematography in Spike Lee’s earliest films. Before directing this, he was in the director’s chair for Juice and Surviving the Game, two films I really liked as a teen and still enjoy today. Dickerson was a young, up and coming filmmaker when he got this gig. I feel like his work on Demon Knight enriched his oeuvre.
It didn’t hurt that Dickerson had an all-star cast in this thing. The two top roles went to William Sadler and Billy Zane. To be frank, this is still my favorite role that Zane has ever played. The film is rounded out by Jada Pinkett, Thomas Haden Church, C. C. H. Pounder, Dick Miller, Brenda Bakke and Roger Rabbit himself, Charles Fleischer. As a huge Dick Miller fanboy, I love him in this and he got his just desserts, at this point in his long career, as he gets to star opposite of a horde of big breasted naked ladies in his final scene.
This is a film that pulls no punches and just goes for it and that’s why it works so well, has held up nicely and is infinitely more fun and entertaining than 99 percent of modern horror. The demons are cool, Zane is cool, Sadler is cool, Dick Miller is Dick f’n Miller and this is just a bonkers movie in the greatest regard. In a lot of ways, Dickerson out Joe Dante’d Joe Dante.
I’m glad that I revisited this, which also has got me enthused about revisiting that other Tales From the Crypt movie, Bordello of Blood.
Rating: 8/10 Pairs well with: Anything related to Tales From the Crypt.
Release Date: March 7th, 2014 (SXSW) Directed by: Elijah Drenner Music by: Jason Brandt Cast: Dick Miller, Lainie Miller, Gilbert Adler, Allan Arkush, Julie Corman, Roger Corman, Joe Dante, Fred Dekker, William Sadler, Robert Picardo, Ernest R. Dickerson, Corey Feldman, Robert Forster, Zach Galligan, Jonathan Haze, Jack Hill, Leonard Maltin, John Sayles, Mary Woronov
Autumn Rose Productions, End Films, 91 Minutes
If you don’t know who Dick Miller is or at least recognize his face, you were probably born after the year 2000. Even then, if you’ve ever watched a film before that time, you have most likely seen him at one point or a dozen.
Dick Miller was in everything from the 1950s through the 1990s. No, seriously, he was. Well, at least it seemed like he was in everything. The man has 180 credits to his name according to IMDb. Growing up in the ’80s, I saw him pop up a few times a year in the coolest movies of the time. The one that will always stand out the most for me was his part in Gremlins, which was the first time I remember seeing him. Every time I saw Mr. Miller after that was always a nice treat.
As I got older and went back and watched older films, especially when I found a love for Roger Corman’s pictures, I started to experience a younger and hip Dick Miller. He started his career in a lot of those early Roger Corman pictures and that association would serve him well, as all the young directors who rose to prominence, who were influenced by Corman, started hiring Miller for their films.
This documentary goes back and shows Miller’s early life, how he made the connection with Corman and how his career blossomed in unseen ways because of it. I love that it goes through his long history in films and interviews a lot of the people who were there alongside him. It also talks to the directors who hired him and have a love for his work.
Dick Miller is a guy that deserves some sort of lifetime achievement award for his contributions to the films he was a part of. He was a mainstay in Hollywood for decades and if he was in a movie it sort of legitimized it as cool. It didn’t matter when he got older either, as he took over the screen in his cameos in a lot of Joe Dante’s pictures.
That Guy Dick Miller is a pretty awesome documentary for fans who grew up watching this guy work. Even if you aren’t familiar with him, this is probably still enjoyable and will give you a solid appreciation for the man and the films he was a part of.
Rating: 8.25/10 Pairs well with: Other showbiz documentaries: Corman’s World and Harry Dean Stanton: Partly Fiction.
Also known as: Angel Town 2 (Europe video title) Release Date: January 17th, 1992 Directed by: Ernest R. Dickerson Written by: Ernest R. Dickerson, Gerard Brown Music by: Hank Shocklee and The Bomb Squad Cast: Omar Epps, Tupac Shakur, Jermaine Hopkins, Khalil Kain, Cindy Herron, Vincent Laresca, Samuel L. Jackson, George O. Gore II, Fab 5 Freddy, Doctor Dre, Ed Lover, Donald Faison, Oran “Juice” Jones, Special Ed, EPMD (Erick Sermon and Parrish Smith)
Island World, Paramount Pictures, 95 Minutes
“You gotta snap some collars and let them motherfuckers know you here to take them out anytime you feel like it! You gotta get the ground beneath your feet, partner, get the wind behind your back and go out in a blaze if you got to! Otherwise you ain’t shit! You might as well be dead your damn self!” – Bishop
Any film that opens with a Rakim song is going to get me pumped up. Juice opens up with the best Rakim song, so I was hooked right away.
Truth be told, this was a favorite film of mine during my middle school years. It came out at the very beginning of the black film movement that happened in the ’90s. This, along with New Jack City, Boyz N The Hood and Menace II Society made a huge cultural impact and for good reason.
Watching it now, I do notice some of the weaknesses of the film, which weren’t as apparent in my younger days.
A big part of the narrative towards the end of the movie has to do with how the gun crazy Bishop (Shakur) is pinning his killings and crimes on his ex-best friend Q (Epps). While Bishop gets his just desserts and Q survives, it’s left unknown what the outcome really was. Was Q in trouble? Would he still be punished for these crimes? Or would his other friend Steel, who survived an attempt on his life, be able to save his friend. While Steel mentions that Bishop is setting up Q to a nurse that is their friend, you don’t know if he survives his trip to the ER. I guess it is to be assumed that it worked out okay but after Bishop’s death, the film ends abruptly.
Another issue I have with the narrative, is that it doesn’t really develop Bishop’s power trip enough. Sure, having a gun is power but it is pretty one-dimensional in how it is handled. Also, the group of friends, who skip school and steal records, still feel like decent kids. The plot shifting to them all of a sudden deciding to rob a corner store just happens out of nowhere.
Still, shaky narrative aside, the film is an adrenaline rush, especially over the course of the last act.
It is well acted by all important parties in the film. Epps and Shakur are pretty exceptional and both men were incredibly young in this. In fact, this was what brought Tupac into the mainstream for most people. He was given an opportunity, ran with it and did great.
The film is very stylistic and represents early ’90s east coast hip-hop well. There are also cameos from several known rappers and hip-hop personalities besides Tupac: Queen Latifah, Treach, Special Ed, EPMD and from Yo! MTV Raps, Ed Lover, Doctor Dre and Fab 5 Freddy. You also get to see Samuel Jackson in an early role, just before he broke out as a star in 1994’s Pulp Fiction.
I also love that they focused a lot on Q’s quest to make it as a respected DJ in the super competitive New York City landscape. The movie does a good job of showcasing what DJ battles were like at the time, when DJs still mixed manually and didn’t have computers and gadgets to make their lives infinitely easier.
Juice is gritty and has a strong feeling of realism to it. Plus, it has a lot of energy and a great soundtrack.
Also known as: Nola Darling (alternate international title) Release Date: May, 1986 (Cannes) Directed by: Spike Lee Written by: Spike Lee Music by: Bill Lee Cast: Tracy Camilla Johns, Redmond Hicks, John Canada Terrell, Spike Lee, Raye Dowell, Fab 5 Freddy
40 Acres & A Mule Filmworks, Island Pictures, 84 Minutes, 88 Minutes (Director’s Cut)
“It’s really about control, my body, my mind. Who was going to own it? Them? Or me? I’m not a one-man woman. Bottom line.” – Nola Darling
Everyone has to start somewhere and She’s Gotta Have It was where Spike Lee, one of the top directors of the last few decades, got his. It is also where his character Mars Blackmon originated from. You may remember Blackmon from all those Michael Jordan Nike commericals from the ’80s and ’90s. I think Lee still resurrects the character to this day, actually.
I wanted to revisit this film, as I haven’t actually seen it in at least fifteen years but I was always fond of it. Plus, Spike Lee has recently rebooted it for a television series on Netflix. Therefore, I wanted to re-familiarize myself with these characters before jumping into Lee’s new take on this story.
A lot of critics have referred to this as a romantic comedy with a feminist perspective but I think it’s more or less a romantic comedy with a realistic view. It isn’t just about Nola Darling (Johns) and what she wants, it is also about the men and what they want. You see, it is a story told from multiple perspectives.
You have Nola and you have the three men in her life, all of whom want her and her alone. Each man fills a specific need for Nola but ultimately, what this all comes down to is what does Nola really want and is it any of these three men on their own? It’s a film that explores sex in a way that popular romantic comedies at the time could not. And while most romantic comedies are Hollywood schlock, Spike Lee wrote something truly unique and exceptional here. It really isn’t a standard “romcom”, it’s a motion picture about relationships and people that is populated with amusing, charismatic characters.
I wouldn’t call this a well acted film but each of the main characters feels authentic. And each character is likable in their own way. Well, except for Greer (Terrell), who was such a fraudulent and self-absorbed jerk that you kind of wanted to wish him away. Props to John Canada Terrell though, who gave Greer life and did a great job making him a total narcissistic asshat. Really, you just wanted to see this competition for Nola’s heart come down to Jamie (Hicks) and Mars (Lee). Although, Jamie is a bit of an overprotective meddler that gets a bit rapey there towards the end. Really, I was pulling for Mars.
The point is, it doesn’t matter who Nola chooses, if she even chooses anyone at all. It is a story about her journey and seeking out what it is she needs. Any of these men had the freedom to walk away at any time and Nola was usually brutally honest, even if it didn’t deter the men. At one point, Nola even hosts Thanksgiving dinner with the three men as her guests. It’s a great scene where a lot of the emotional baggage of the characters comes to the forefront and certain stands are taken.
She’s Gotta Have It is a simple movie but it is also complex because people, at their core, are complex creatures. Most people don’t know what they want. Nola is someone that has the courage to try and figure that out. While most would be quick to condone her actions, she has certain qualities that people should aspire to possess. She’s not afraid of her desires and pursuing them in an honest and unapologetic way. Really, that’s kind of badass.
I like this film and it holds up quite well. It’s timeless in a way and maybe that’s just because of how it was shot and the great music. Spike Lee wrote a beautiful script, his father provided soulful tunes and the actors played their parts to perfection. It is a short and sweet film and even if it doesn’t come with a storybook happy ending, it leaves you with a satisfying one.
Release Date: May 19th, 1989 (Cannes) Directed by: Spike Lee Written by: Spike Lee Music by: Bill Lee, Public Enemy Cast: Danny Aiello, Ossie Davis, Ruby Dee, Richard Edson, Giancarlo Esposito, Spike Lee, Bill Nunn, John Turturro, John Savage, Roger Guenveur Smith, Rosie Perez, Joie Lee, Steve White, Martin Lawrence, Robin Harris, Paul Benjamin, Frankie Faison, Samuel L. Jackson, Steve Park, Frank Vincent, Nicholas Turturro, Miguel Sandoval
40 Acres and a Mule Filmworks, Universal Pictures, 120 Minutes
In the summer of 1989 I was in Brooklyn visiting family for a few weeks. Being a big film buff, even at ten years-old, I had already seen every big summer movie that year. My cousin was driving us around and he asked if I wanted to see a movie. I did. He asked what I wanted to see. Thinking he would say “no”, I still replied “Do The Right Thing.” Being the cool nineteen year-old kid that he was, he smirked and said, “Well, alright.”
Leading up to my seeing Do The Right Thing in a movie theater in Brooklyn, not far from where the movie took place, I was mesmerized by the trailers and footage I saw on television. Living in Southwest Florida, I didn’t have a lot to do during summer days, except hang with friends, play video games or watch TV. I often times spent hours watching a cable channel called Movietime, which was actually E! Entertainment Television before it re-branded itself. On that channel, they always showed trailers, over and over again, and also went behind the scenes on films in development or coming out. It was a cool channel that taught a young film fan a lot about the industry and art he loved. But it is there, where I saw trailers and other footage for Do The Right Thing. Something about it just drew me in.
I always cherished the experience of seeing this film, so close to where it was made, at a time when I hadn’t quite experienced a real adult film in the theater. It was exciting but at the same time, it was a lot more than that. Do The Right Thing had a profound effect on me and how I saw other people. When I watch it now, much later in life, it is a reminder of that experience and the lessons I learned from it. It also is one of the first films that I saw to really cultivate my love for the art of motion pictures and filmmaking itself. This, alongside Cinema Paradiso, made me see movies differently.
Having just revisited Do The Right Thing for the first time in several years, it is kind of sad. Not because of the film itself but because it took away some of my optimism in regards to people. When I saw it was a kid, I truly believed that society was headed in the right direction. I thought that as time rolled on, the struggle of black people and the prejudices in America would improve. Yet, this film is almost thirty years old and its message is maybe even more relevant today than it was in 1989. Will it be even more relevant in another 30 years?
Spike Lee did a fantastic job with Do The Right Thing and it is, still to this day, my favorite Lee film (Malcolm X is a very close second). Maybe it is due to the experience it gave me when I should have been too young to have to see the world for what it is. But out of all his films, this one has the strongest message not just for African-Americans but for all Americans. And again, it is still a message that needs to be heard today.
The cinematography is stellar. The film really captures the people, the scenery and Brooklyn life in that era. The technique of using first-person perspective, which gets more prevalent as the film progresses and racial tensions increase, is masterfully shot and presented. The breaking of the fourth wall, as characters’ inner monologues come to life, directed at the audience, is effective in understanding their deepest inner prejudices and in helping escalate the tension from a narrative standpoint.
The use of Public Enemy’s “Fight The Power” throughout the film is perfect and really gives an anthem to the attitudes of many of the characters. It represents, what this film, at its core, is all about. The character of Radio Raheem was the perfect vessel within the film to deliver the song to the masses, as he walked up and down the street, all day, blasting the song from his radio. He wasn’t just a vessel for the message though, he was also a symbol, a physical embodiment of it. Bill Nunn did a fine job as Raheem and made him into an iconic figure for many.
There are several really standout performances in the film. I think a lot of props need to go to Giancarlo Esposito as Buggin’ Out. Most people know Esposito as the villainous Gus from Breaking Bad. It was his role in this film, that put him on the map for me. Then years later, when I did see him on Breaking Bad, playing one of the greatest villains in television history, I was ecstatic because this was a guy who I had followed since seeing him on the big screen as a ten year-old in a Brooklyn movie theater. I’ve always thought Esposito was an underutilized actor but those who regularly work with him know his talent. In Do The Right Thing, Esposito is so committed to the role that he really stands out above everyone else. And we’re talking about a movie that has Samuel Jackson, Rosie Perez, John Turturro, Robin Harris, Frankie Faison, Ossie Davis, Danny Aiello, Martin Lawrence, Frank Vincent and so many other faces that own the screen when they are on it.
Roger Guenveur Smith’s performance as Smiley is also superb. You couldn’t not feel for the guy and when he lost his shit, you were right there with him. It’s also heartbreaking to see how others in the film treat him, even his friends, due to his handicap. Smith has played a lot of great characters over the years but Smiley is the one I most fondly remember.
There are few films that illustrate a sense of human brotherhood as much as Do The Right Thing. While it shows cultural clashes and tensions boiling over into violence, it also provides hope and displays a lot of wisdom. Most of the characters try to maintain order but the few who keep pushing each other bring the whole neighborhood to its breaking point. And then the cops show up to screw it up even more.
Do The Right Thing isn’t just a great film, it is an important film, maybe even more so today than in 1989.