Irene Monroe: While some will contest that Tarantino is being well…Tarantino, and he means no disrespect, others argue that his privilege as a well-respected moneymaking white heterosexual male filmmaker gives him carte blanche to recklessly express his creative juices even if it reinscribes stereotypes that many feel Django does.
Linda Milazzo: Serendipitously, perhaps even miraculously, a second movie had been made; a documentary originally titled THE CHORUS as a take-off on THE SOLOIST, that was now titled LOST ANGELS. It was an expose dedicated entirely to Skid Row and to the extras employed on THE SOLOIST. Joe Wright was an Executive Producer. Susan Klos, author of the above email, who’d read my article, was a Co-Executive Producer, and Thomas Napper, a long-time associate of Joe Wright, lovingly and patiently directed.
Randy Shaw: While conservatives love bashing “Hollywood liberals,” Sunday night’s Oscar telecast showed how little this description applies. From Kathryn Bigelow’s promoting George W. Bush’s argument that the U.S. invaded Iraq to protect Americans, to the disproportionate acclaim given to films exalting the military, to the exclusion of Michael Moore’sCapitalism, A Love Story from the documentary nominees, Hollywood now largely avoids any hint of progressive social analysis.
Two Fridays ago on the first day of its release, I went to an early afternoon screening of the film The Soloist. I’d been eager to see it since it focuses on the real life relationship between Los Angeles Times journalist Steve Lopez and Nathaniel Anthony Ayers, a homeless member of Los Angeles’ Skid Row [...]
Black women are accustomed to being referred to and treated as females and workhorses, but not ladies. We are at once the clean-up woman whose tenacity, independence and bull-headedness may render us manless, or increasingly taking care of them in an inversion of traditional gender roles, a la the latest head-nodding about-face to the sistas [...]