There’s a scene in Spike Lee’s Do the Right Thing when Señor Love Daddy, the neighborhood DJ on We Love Radio played by Samuel L. Jackson, reads out a litany of the names of great African-American musicians —””WE LOVE ROLL CALL, Y’ALL! Boogie Down Productions, Rob Base, Dana Dane, Marley Marl, Olatunji, Chuck D, Ray Charles, EPMD, EU, Alberta Hunter, Run-D.M.C., Stetsasonic, Sugar Bear, John Coltrane,…”— that stands as a declarative paean to Black musical culture.
Spike Lee’s latest film, BlacKkKlansman, the true story of a black police detective in Colorado Springs who in the 1970s infiltrates the KKK, has a number of such tributes. It’s in the soundtrack, of course, and the dancing. It’s in the clothing, the hair, the jewelry, but most powerfully, Lee focuses in on the faces, sometimes filling the screen with collages of faces, loving and lingering images of beautiful young African-American faces, as they listen and learn from their elders and leaders as they talk of the struggle for rights and dignity.
That is one of tones in this film.
There’s another scene in Do the Right Thing where the bigotry and hatred is at the boiling point and Lee cuts from character to character as each spews racist slurs at their particular object of prejudice and bile, (Italians, Koreans, Blacks, Jews, Puerto Ricans) until finally Señor Love Daddy, once again, jumps in and tells them, “Ya need to cool that shit out!”
That’s another tone in this film. There is lots of verbal hate in BlacKkKlansman. Lots. As you would imagine nearly all of it is directed at African-Americans, though the Jews get their fair share, as well. It’s ugly language, vicious and violent, and it never loses its dehumanizing impact; dehumanizing the speaker, that is.
Did I mention that BlacKkKlansman is a comedy?
It is indeed a comedy. And a campy homage to the Blaxploitation films of the 70s. And a true crime story. And a political diatribe. And like nearly all films that try to be so many disparate things, it does some better than others; and in the end, the combination of it all weakens the film. It feels more scattershot and uneven than it needed to be.
As a comedy, the laughs don’t come easy. And at the same time, they come way too easy. The humor arises from the display of prejudice, but given the film’s embrace of the campiness of Blaxploitation genre, many of the characters … several of the Klansmen, the racist cop, the Klan wife … are so over-the-top that the humor doesn’t have enough solid ground to bounce. And when the talk turns serious, like the conversations between Ron (John David Washington) and Patrice (Laura Harrier), the black student leader/loveinterest, it’s so jargon and rhetoric heavy that it often sinks.
But really this movie is about rhetoric, about persuasion and figures of speech; it’s an argument that the troubles of today, both the vile racism that is so public and the insidious racism that lies barely hidden in contemporary slogans and rallying cries, is the latest manifestation of the historical snake of racism that is wrapped around the heart of America.
Lee leaves no doubt what he’s getting at. Nor should he.
There’s an early scene where former Black Panther leader Stokely Carmichael (who changed his name to Kwame Ture) is giving a rousing speech. It’s full of the turns of phrases and powerful exclamations that characterizes an effective rallying cry to action. As a speech, though, it stands apart in a narrative. It gives a context to the action and characterization, but it engages in a different way than a story. This film is filled with speeches, formal and informal. Sometimes when the characters speak, it’s as if they’re giving speeches. In-between there’s a story, but it plays second fiddle to the rhetoric. With the exception of Adam Driver’s character, Flip Zimmerman, who sometimes seems like he’s acting in a different movie, a realistic drama, nearly all the characters seem like rhetorical devices fashioned to drive a point home.
Adam Gobnick pointed out recently that “mockery cleanses cliches, then restores emotion.” For me, the mocking tone in the film, directed at the Klansmen, particularly at David Duke, who is comically captured by Topher Grace, was too diluted by all the other tones Lee was pitching.
To be honest, I found that by the end, when Spike Lee caps the film with contemporary footage from the White Power rallies in Charlottesville, Virginia, that I was stuffed numb from the cornucopia of Blaxploitation campiness, hate speech, earnest appeals, and heavy-handed treatment that had proceeded it. I understood it politically and intellectually, but the film’s hopping from tone to tone had so emotionally disengaged me that I didn’t feel the gut kick like I should have. Perhaps that is Lee’s point: When one is constantly hammered by hate and prejudice, even if done “in jest”, that ultimately we lose the ability to feel.
But it was clear that Lee was going for something more than illustrating the deadening effect of racism. He wants us to wake up.
Directed by: Kishore Kumar Pardasani
Written by: Siva
Studio: North Star Entertainment
Runtime: 149 minutes
Genre: Action, Drama
Cast:
Pawan Kalyan as Katamarayudu
Shruti Haasan as Avanthika
Siva Balaji as Katamarayudu’s younger brother
Ajay, Kamal Kamaraju, Chaitanya Krishna in supporting roles
Katamarayudu is a Telugu-language remake of the Tamil film Veeram. This movie blends family drama with high-octane action sequences, delivering a narrative that is quintessentially rooted in southern Indian cinema’s flair for heroism and larger-than-life characters.
The story revolves around Katamarayudu, a righteous and fiercely protective elder brother who has dedicated his life to looking after his younger siblings. Known for his aversion to marriage, his life takes a turn when Avanthika, a poised and graceful woman, enters his life. The movie skillfully combines lighthearted romance, brotherly camaraderie, and intense action sequences, creating an engaging watch for the masses.
Kishore Kumar Pardasani delivers a visually grand spectacle while staying true to the essence of its Tamil original. While the screenplay lacks novelty, it compensates with fast-paced action and emotional beats. The dialogues, although simple, hit the right chords when it comes to showcasing family bonds and love.
Pawan Kalyan is the heart of the film. His screen presence and charismatic portrayal of Katamarayudu dominate every frame. Shruti Haasan offers a refreshing on-screen presence, and her chemistry with Pawan Kalyan adds charm to the narrative. The supporting cast, especially the actors playing the brothers, do justice to their roles, adding depth to the storyline.
The film boasts meticulously choreographed fight scenes, which are a visual treat for action lovers. Anup Rubens’ background score and songs elevate the emotional and action-packed moments. His mass appeal and command over action and emotion anchor the movie effectively.
The film adheres to a conventional template, leaving little room for surprises. At 149 minutes, the film feels stretched, especially in the second half.
Katamarayudu is a feast for fans of Pawan Kalyan and action-packed family dramas. It carries the essence of mass entertainment but doesn’t break new ground. While it caters to the sensibilities of Telugu cinema audiences, others might find its predictability a drawback.
Rating: 8/10 Fans of Pawan Kalyan and high-energy action films will undoubtedly enjoy this one, but those looking for a novel story might find it wanting.
“Do you want to watch a film with me? It’s called Marcel the Shell with Shoes On”
“What?”
“It’s about a little shell named Marcel who wears shoes.”
“…”
And that about sums it up! It’s the blob of a week between Christmas and New Year so it was the optimum time to watch a very surreal film recently added to UK Netflix.
Released in 2021 (a blob of a year) Marcel the Shell with Shoes On is about a one-inch-tall shell called Marcel who lives with his grandmother, Connie, in an Airbnb. Marcel usually stays out the way of the house’s various guests as he utilizes his only means of fast transportation (a tennis ball) and walks his pet lint on a string (Alan). This is until a documentary filmmaker named Dean, who is staying at the Airbnb, discovers Marcel and his unique lifestyle.
As filmmakers are wont to do Dean begins to film interviews with Marcel, consequently we get an insight into Marcel’s world both inside and out. Yes, Marcel is a stop-motion hermit crab shell with surprisingly expressive googly eyes but he feels very human. I was unsure about Marcel’s age and gender because he sounds a lot like Lisa Simpson, I did even check that Marcel wasn’t voiced by Yeardly Smith. But Marcel is voiced superbly by Jenny Slate. Marcel comes off as quite childlike with his wide-eyed optimism and naivety (he is a shell I suppose). Yet, like many children, Marcel will utter something so profound he will seem more of a fossil than a shell. When Dean uploads Marcel’s interviews onto YouTube Marcel of course becomes a viral sensation. Marcel reads the comments on his videos, using his tiny shoes to activate the laptop touchpad, which is just adorable! Despite his obvious popularity, Marcel remarks; “It’s an audience. It’s not a community.” Which just drives a stake into the heart of social media.
No, Marcel does not become a teeny-tiny-TikToker, he in fact uses the internet to find his lost community. The house used to be full of anthropomorphic objects including Marcel’s own shell family. They had been living in the house for generations, Connie herself came from the garage travelling by coat pocket to the main house; it’s why she has an accent. Among the community there are anthropomorphic pieces of cereal and because the internet notices this stuff; a tampon! An unfortunate event occurred and the community were accidentally removed from their home one tragic night, leaving Marcel and Connie on their own.
Being an A24 film I knew it would get deep. Marcel’s journey gives the audience a unique perspective of life, death, and community. In a modern world where we are more connected than ever but loneliness has been recognized as a universal health crisis. We could all learn something from this talented little shell and his grandmother. Be like Marcel and don’t get sanded down by life, stay connected to your community and know you are not just rattling around on your own!
It’s a beautifully poignant and quirky film. Despite its metaphysical and existential content, the film doesn’t take itself too seriously. Whether it’s Marcel making rope by winding together the pubic hairs he finds in the drain (he calls them ‘hardy hairs’) or sleeping on slices of bread referring to them as his ‘breadroom’. The film is painstakingly detailed and you can see its roots in a short film. It’s a delightful adventure that has something far bigger to say than its minuscule protagonist.
Five stars.
As an anime enthusiast and entertainment journalist, I’ve curated a list of the top five must-see anime series of 2024. These selections showcase the diversity and creativity that define the medium, offering compelling narratives and stunning animation.
Delicious in Dungeon
This series combines culinary arts with fantasy adventure, following a group of dungeon explorers who cook and eat the monsters they defeat. The unique premise and mouth-watering depictions of fantasy cuisine make it a standout this year. Kaiju No. 8
Set in a world plagued by kaiju attacks, the story centers on a protagonist who gains the ability to transform into a kaiju himself. The series offers a fresh take on the kaiju genre, blending action with deep character development.
Kaiju No. 8
Set in a world plagued by kaiju attacks, the story centers on a protagonist who gains the ability to transform into a kaiju himself. The series offers a fresh take on the kaiju genre, blending action with deep character development. Solo Leveling
Adapted from the popular web novel, this anime follows a weak hunter who becomes the world’s strongest after a mysterious system grants him unique abilities. Its dynamic animation and gripping storyline have captivated audiences worldwide.
Solo Leveling
Adapted from the popular web novel, this anime follows a weak hunter who becomes the world’s strongest after a mysterious system grants him unique abilities. Its dynamic animation and gripping storyline have captivated audiences worldwide. The Elusive Samurai
Set in feudal Japan, this historical series follows a young samurai who uses his agility and wit to survive in a turbulent era. The anime’s blend of historical context and engaging action sequences has garnered critical acclaim.
The Elusive Samurai
Set in feudal Japan, this historical series follows a young samurai who uses his agility and wit to survive in a turbulent era. The anime’s blend of historical context and engaging action sequences has garnered critical acclaim. Dragon Ball Daima
The latest installment in the iconic Dragon Ball franchise, this series introduces new transformations and challenges for Goku and his friends. Its high-octane battles and nostalgic elements appeal to both longtime fans and newcomers.
Dragon Ball Daima
The latest installment in the iconic Dragon Ball franchise, this series introduces new transformations and challenges for Goku and his friends. Its high-octane battles and nostalgic elements appeal to both longtime fans and newcomers. These anime series exemplify the innovation and storytelling prowess that continue to drive the medium’s global popularity. Whether you’re a seasoned otaku or new to anime, these titles are essential viewing for 2024.
Movie Review: Katamarayudu
You Are Not Ready for ‘Marcel the Shell with Shoes On’
Top Five anime in 2024
Mechanic Rocky
Nosferatu
Did JD from Scrubs Have a Dark Past?
You Are Not Ready for ‘Marcel the Shell with Shoes On’
‘Mufasa: The Lion King’ Will Leave You Breathless
A Brief Review and History of A Year Without a Santa Claus
Is ‘Kraven the Hunter’ a Total Letdown?
Comic-Con 2024: Arthur C Clarke’s Venus Prime TV series
Comic-Con 2024: Max Collins’s TRUE NOIR
Comic-Con 2024: Will Wight’s Cradle
Interview With Heroes & Villains Creative Director Doug Johnson
Thatsmye Interviews: Les Weiler on Henchin’: the Series
