Cast members of “Spinal Tap II: The End Continues.” Pictured in front, from left to right: Christopher Guest, Michael McKean and Harry Shearer. Pictured in back, from left to right: Chris Addison and Kerry Godliman. (Photo by Kyle Kaplan/Bleecker Street)
Culture Representation: Taking place in New Orleans and in England, the comedy film “Spinal Tap II: The End Continues” (a sequel to 1984’s “This Is Spinal Tap”) features a predominantly white cast of characters (with a few African Americans) representing the working-class, middle-class and wealthy.
Culture Clash: British rock band Spinal Tap does a reunion concert in New Orleans, while there is still a lot of friction between lead singer/rhythm guitarist David St. Hubbins and lead guitarist Nigel Tufnel, and American filmmaker Martin “Marty” DiBergi is there to film the reunion for a documentary.
Culture Audience: “Spinal Tap II: The End Continues” will appeal mainly to people who are fans of “This Is Spinal Tap,” the movie’s headliners and amusing mockumentaries that are largely improvised.
Paul McCartney, Harry Shearer, Michael McKean and Christopher Guest in “Spinal Tap II: The End Continues” (Photo by Kyle Kaplan/Bleecker Street)
The 1984 mockumentary “This Is Spinal Tap” (a mostly improvised movie about the misadventures of the fictional British heavy metal band Spinal Tap) is a classic comedy film that many people think didn’t need a sequel. “Spinal Tap II: The End Continues” doesn’t surpass the first “Spinal Tap” movie, but it’s a solidly entertaining comedy that’s very aware of the Spinal Tap legacy. The band members are no longer underdogs and have reunited for a sold-out arena show. Because the stakes for Spinal Tap are lower in this sequel, the movie isn’t as edgy or as surprising as the first Spinal Tap movie.
Rob Reiner directed “This Is Spinal Tap” and also had the actor role of Martin “Marty” DiBergi, the documentary director who appears on camera to do interviews with Spinal Tap and other people. Reiner, who also directed “Spinal Tap II: The End Continues,” reprises his role as Marty in this sequel. In “This Is Spinal Tap,” the band members struggled with the harsh reality that the band’s fortunes were on a downward spiral, with a current album (titled “Smell the Glove”) that flopped and a failing tour that led to some humiliating experiences.
Adding to the tension, lead singer/rhythm guitarist David St. Hubbins (played by Michael McKean) and lead guitarist Nigel Tufnel (played by Christopher Guest), who were best friends since childhood, were feuding off and on during the tour. At one point on the tour, Nigel quit the band. David is a stereotypical lead singer who has a huge ego and thinks he should always be the band’s leader. Nigel, who is equally stubborn, can be dimwitted and emotionally immature.
The other core member of Spinal Tap is bass guitarist Derek Smalls (played by Harry Shearer), who has a laid-back personality and gets in embarrassing situations because of bad luck or poor judgment. A running joke in Spinal Tap history (although the band doesn’t think it’s very funny) is that all of their drummers have had untimely deaths. Spinal Tap has a rotating number of keyboardists, who are not considered permanent members of the band. Reiner, McKean, Guest and Shearer (who are all American in real life) are the credited screenwriters for “Spinal Tap II: The End Continues,” just as they were for “This Is Spinal Tap.”
In “Spinal Tap II: The End Continues,” the members of Spinal Tap went their separate ways after the band broke up years ago. Spinal Tap’s former manager Ian Faith (played by Tony Hendra, who died in 2021) is deceased and has left his estate to his daughter Hope Faith (played by Kerry Godliman), who is also a manager in the entertainment business. Spinal Tap’s contract is part of the estate. She has discovered that Spinal Tap has one last obligation to fulfill in the contract: a concert, regardless if the band has officially broken up or not.
It just so happens that a video has gone viral of Garth Brooks and Trisha Yearwood singing the Spinal Tap song “Big Bottom.” Public interest in Spinal Tap has been revived. And so, Hope teams up with a shady and opportunistic concert promoter named Simon Howler (played by Chris Addison) to get Spinal Tap to do a reunion concert. Hope genuinely wants the best for Spinal Tap and prides herself in being a music fan and a champion for artists.
By contrast, Simon openly admits that he doesn’t care about music and only cares about making money through exploitation and gimmicks. One of the movie’s recurring gags is Simon coming up with tacky schemes to sell more concert tickets and merchandise. The venue for the reunion concert is the Lakefront Arena in New Orleans. It’s mentioned that this venue became available for the concert because a previously scheduled event (An Evening With Stormy Daniels) was canceled.
Marty is hired to direct a documentary about this reunion, so he’s also tasked with tracking down David, Nigel and Derek in England, where all three musicians still live. Marty finds out that David now writes soundscape music. Nigel owns a shop that sells cheese and guitars. Derek owns the New Museum of Glue. David and Nigel haven’t communicated with each other for several years. This reunion will be a test to see if these two former best friends have the ability to work together again.
All three former Spinal Tap members are bachelors. Nigel has a live-in partner named Moira (played by Nina Conti), a Scottish woman who is loving and supportive. There are scenes of Nigel and Moira doing video chats by phone. Derek is still the “unlucky in love” bachelor of Spinal Tap who doesn’t seem be able to have a long-term romance.
David is still bitter that his ex-wife Jeanine (played by June Chadwick), who was his meddling girlfriend in “This Is Spinal Tap,” divorced him years ago. David has deliberately refused to know where Jeanine is and what she’s been doing with her life. David finds out from Marty that Jeanine became a nun who is now known as Sister Jeanine Immaculata.
Before this reunion, David cut off contact from Nigel for several years for a reason that is revealed in the last third of the movie. There isn’t just bad blood between David and Nigel. Derek was estranged from David and Nigel because Derek got David and Nigel to invest in a cryptocurrency company (which had Derek as a spokesperson) an untold number of years ago, but the company went out of business soon after David and Nigel invested.
Most of “Spinal Tap II: The End Continues” is about what happens when David, Nigel and Derek convene in New Orleans to audition a guest drummer and to rehearse for the concert. Famous drummers Lars Ulrich of Metallica, Ahmir “Questlove” Thompson of the Roots, and Chad Smith of Red Hot Chili Peppers (all have cameos as themselves in the movie) turn down Spinal Tap’s request (via videoconferencing) to be a guest drummer for the concert. The band ends up hiring drummer Didi Crockett (played by Valerie Franco), a cheerful Spinal Tap superfan who aces her audition. The keyboardist for the concert is Caucasian Jeff (played by CJ Vanston), who has a happy-go-lucky personality.
“Spinal Tap II: The End Continues” makes several references to “This Is Spinal Tap” and the effects that this first Spinal Tap movie had on pop culture. Although the comedy bits in “Spinal Tap II: The End Continues” are frequently amusing, the movie doesn’t have much a plot beyond showing the rehearsals and the concert. The middle part of the movie drags a bit, but many other parts of the movie crackle with the same levels of mischievous comedy that was in “This Is Spinal Tap.”
Noteworthy cameos in “Spinal Tap II: The End Continues” include Paul McCartney and Elton John, who portray themselves when they visit Spinal Tap during rehearsals. As already revealed in the movie’s trailer, piano-playing superstar John is persuaded to perform “Stonehenge” with the band at the concert. Fran Drescher and Paul Shaffer reprise their “This Is Spinal Tap” roles as, respectively, Bobbi Flekman (who was Spinal Tap’s publicist) and Artie Fufkin (who was Spinal Tap’s record promoter), in cameos that give updates on what these characters are currently doing with their lives. “Spinal Tap II: The End Continues” is much like a school class reunion: It can be nostalgic and enjoyable, even though it can’t recapture the magic of the original experience.
Bleecker Street will release “Spinal Tap II: The End Continues” in U.S. cinemas on September 12, 2025. A sneak preview of the movie was shown in U.S. cinemas on September 10, 2025.
Culture Representation: Taking place in 2023 in New Orleans (with flashbacks to the region formerly known as Lorraine, France, in 1693), the horror film “Witchboard” (a re-imagining of the 1986 film of the same name) features a predominantly white cast of characters (with some black people and Latin people) representing the working-class, middle-class and wealthy.
Culture Clash: A young woman comes into the possession of a stolen witchboard that has a connection to an accused witch who was burned at the stake in 1693.
Culture Audience: “Witchboard” will appeal primarily to people who are fans of the 1986 “Witchboard” movie and predictable horror films about occult artifacts and supernatural spirits.
Pictured clockwise, from left: Melanie Jarnson, Jamie Campbell Bower, Madison Iseman and Aaron Dominguez in “Witchboard” (Photo courtesy of The Avenue and Atlas Distribution)
In the seemingly never-ending list of horror movies that are remakes, re-imaginings and sequels, “Witchboard” is a movie series (which began with 1986’s “Witchboard”) that legions of horror fans haven’t been demanding to continue. The “Witchboard” fan base is very niche. All of the “Witchboard” movies so far have been mediocre at best and complete trash at worst. Although this mid-2020s version of “Witchboard” made the effort to be very different from the 1986 version of the movie, it’s all resulted in an unimpressive collection of witchcraft clichés. Most of the acting isn’t very good, and this re-imagining isn’t very scary.
Directed by Chuck Russell (who co-wrote this “Witchboard” screenplay with Greg McKay), “Witchboard” has almost nothing in common with 1986’s “Witchboard” (written and directed by Kevin Tenney), except for the movie’s title and a concept about a young dating couple whose lives are turned upside down by a mysterious witchboard that becomes a fixation of the woman in the couple. Both movies also share a small plot point of a lost engagement ring that is found with help from whatever spirit is possessing the witchboard. The re-imagiing of “Witchboard” had its world premiere at the 2024 edition of Fantasia Fest.
This version of “Witchboard” begins in 1693, with a scene of a witch ritual taking place in the region that was then-known as the province of Lorraine, France. A fanatical witch hunter named Bishop Grogan (played by David La Haye) is tied up, as several witches dance around a fire. While the witches are dancing around the fire, several men invade the campfire grounds and massacre all of the witches. The only thing that remains on the ground is a witchboard, also known as a pendulum board.
The movie has other flashbacks to 1693 to reveal that Bishop Grogan accused a local woman named Naga Soth (played by Antonia Desplat) of being a witch and was obsessed with capturing her and having her burned at the stake. These flashbacks are somewhat sloppily edited in the movie, which is already jumbled with formulaic plot developments and plot twist “reveals” that aren’t surprising at all.
After the witch massacre scene, “Witchcraft” then shifts to 2020s New Orleans. At the New Orleans Museum of Natural History, there’s a break-in, where a burglar named Lebarge (played by Shawn Baichoo) steals the same witchboard that was shown in the witch massacre scene. Two security guards (played by Jason Moran and Vincent Michaud) try to stop this thief, but Lebarge shoots and kills them both and manages to escape with the witchboard that has various symbols on it.
It should be noted that even though this movie takes place mostly in New Orleans, none of the New Orleans characters sound like they’re from New Orleans. It’s one of many things that look phony in the movie. Even the people who speak French in “Witchboard” don’t sound like natives of France. “Witchboard” was actually filmed in the Canadian province of Quebec.
Not long after the murders and theft at the museum, four young people are shown walking in a wooded area in New Orleans, as they look for non-poisonous, non-psychedelic mushrooms. Emily (played by Madison Iseman) and Christian (played by Aaron Dominguez) are an engaged couple in their mid-20s. Christian and his two best friends—neurotic and fidgety Richie (played by Charlie Tahan) and mild-mannered Zack (played by Jamal Azémar)—are planning to open an organic cafe-styled restaurant called The Creole Kings, as an evolution from the food truck business the three pals used to operate together.
Emily finds the witchboard when she comes across a stray Maine Coon cat that leads her to the burglar bag where the witchboard is still tucked inside. Emily shows the witchboard to Christian and mentions that it looks like an artifact that would look good as a decoration in the restaurant. Christian agrees, so they take the witchboard home with them. Emily and Christian don’t notice that only a few feet away is the mutilated and dead body of museum thief Lebarge.
Meanwhile, at the museum, a museum official named Alexander Babtiste (played by Jamie Campbell Bower), who is a native of England, is upset with another employee named Booker (played by Kent McQuaid) because Booker failed in his task to find the witchboard. It’s explained later in the movie that Alexander is an expert in wicca. But in this scene, the movie reveals too early (within the first 15 minutes) that Alexander is the chief villain.
Alexander has a sniveling Booker murdered by his harem-like mercenaries: three look-alike women, each named Asha (played by real-life twins Renee Herbert and Elisha Herbert and their older sister Chiara Fossati), who look like “The Lord of the Rings” Sindarin elves wearing skin-tight Goth clothing. The three Ashas could have been compelling characters in a better movie. But in “Witchboard,” they are merely underdeveloped sidekicks with blank personalities.
Emily hears on the local news that the witchboard was stolen from the New Orleans Museum of Natural History, but she wants to keep the witchboard anyway. She finds a pendulum made of a human finger bone and uses it to summon the spirit of the witchboard to answer her questions. And sure enough, the witchboard starts acting like a Ouija board.
We all know what happens next: More people start to die in gruesome ways, all seemingly because of the witchboard. And that Maine Coon cat keeps lurking around. Bad things happen when the cat shows up. Emily is too slow to figure it out and convinces a reluctant Christian to let this stray cat stay at their place on a foster care basis that could lead to them permanently keeping the cat.
Too many scenes in “Witchboard” resemble a soap-opera-styled drama instead of a horror movie. Christian’s ex-girlfriend Brooke (played by Melanie Jarnson, also known as Mel Jarnson), who is a sophisticated antiques expert, has recently come back from a European trip. Brooke shows up at a tasting party hosted by Christian and his business partners. Emily isn’t too happy to see Brooke there because she knows that Brooke still has unresolved romantic feelings for Christian.
Emily has a troubled past: She’s in recovery for needle-using opioid addiction, and she has a drug-related arrest. Christian knows about Emily’s past and is supportive of her recovery. It’s implied that Emily received court-ordered rehab treatment and is on probation. Her probation is one of the reasons she doesn’t want to call police when certain things happen later in the movie.
Christian gets paranoid that Emily has relapsed back into drug addiction when she starts having nightmares and when she begins babbling about the witchboard being possessed. It doesn’t help that Emily’s former drug dealer Jessie (played by Francesco Filice) has been lurking around. Alexander finds out where the witchboard is and inevitably meets Emily and Christian when Brooke introduces Alexander to them.
One of the problems with “Witchboard” is the main characters are too generic. Christian’s personal history is barely mentioned in the movie, and Dominguez’s acting is unfortunately wooden is some of the scenes. Emily is a basic stereotype of a “woman in peril and the target of evil” who is the protagonist in so many horror movies. Iseman’s performance as Emily is as two-dimensional as the character is written. Brooke has a cynical personality with a little bit of edge, but she’s not interesting enough to be a scene-stealing standout.
As for Alexander, his creepy mannerisms, his harem trio of elf-looking women, his imperious British accent, and his obsession with reclaiming the witchboard all but telegraph that he fancies himself as some type of occult leader. There is nothing that Alexander does in the movie that is a surprise. Also not shocking are the all secrets revealed toward the end of the movie.
“Witchboard” has some kill scenes that look very fake and awkwardly staged. The movie also stretches credibility to the breaking point because certain people don’t try to get rid of the witchboard when they believe it’s causing so many problems. Have these people not heard of garbage dumps?
Of course, many horror movies rely on the characters not thinking logically in certain fear-filled moments. However, the entire plot for this version of “Witchboard” is built on the main characters being dimwits. And when the flimsy story’s scares are underwhelming, and the directing and editing are slipshod, they all make “Witchboard” a derivative and unsatisfying horror movie.
The Avenue and Atlas Distribution released “Witchboard” in select U.S. cinemas on August 15, 2025. Paramount Home Entertainment will release “Witchboard” on digital and VOD on September 16, 2025.
Culture Representation: The documentary series “Homicide Squad New Orleans” features a group of mostly African American and white people involved in murder cases in New Orleans.
Culture Clash: The police detectives on these cases often have to deal with witnesses who are untruthful or refuse to cooperate.
Culture Audience: “Homicide Squad New Orleans” will appeal primarily to people who are fans of cheaply made true crime documentaries that follow a TV procedural format.
A scene from “Homicide Squad New Orleans” (Photo courtesy of A&E)
Ever since the documentary series “Cops” premiered in 1989, there’s been a growing number of docuseries or reality shows that showcase law enforcement officers doing their jobs. Most of these shows copy each other and don’t do anything that’s considered award-worthy. “Homicide Squad New Orleans,” which follows homicide investigators who work for the New Orleans Police Department, is one of these generic shows.
The homicide squad’s hard-working people are commendable in how they solve cases. They deserve better than this inferior imitation of “The First 48.” This sluggish show’s format is too formulaic and perpetuates racial stereotypes of New Orleans murders. “Homicide Squad New Orleans” is produced by Wolf Entertainment and 44 Blue Productions for A&E. “Law & Order” creator Dick Wolf is one of the executive producers of “Homicide Squad New Orleans,” which is probably why every “Homicide Squad New Orleans” episode looks like a predictable procedural with the same expected outcome.
Only the first two episode of “Homicide Squad New Orleans” were available to review before the series premiered. Although each episode focuses on a different murder case, there are alarming similarities that raise some questions about how much stereotyping this series is going to continue to have in choosing which murder cases will be featured. This series makes it look like certain people in New Orleans are most likely to commit murders and be murder victims.
Both episodes feature African Americans being murdered by gun violence for no apparent reason than a petty argument. The murder suspects are young African Americans. In a city as diverse as New Orleans, it’s hard to believe that these are the only homicides that take place in the city. You get the feeling that these are mostly the types of homicides that will be featured in this dreadfully tedious series.
Each episode has narration from the lead detectives for each case. Unfortunately, the detectives read their narration stiffly. And it’s not their fault. They are not professional actors. Still, viewers of “Homicide Squad New Orleans” have to sit through the monotonous tone of the show’s scripted portions, which are basically exposition dumps.
Episode 1, titled “My Sister’s Keeper,” is about the murder of 15-year-old Raynard Williams, who was gunned down on a residential street on March 18, 2024, after defending his younger sister Ray’Anna in a verbal argument with other teens. Raynard’s mother Anndrea describes Raynard as “intelligent, outstanding and hilarious” and a good kid who wasn’t involved in crimes. Raynard’s grandmother describes him as a “loving child. He would give you the shirt of off his back.”
Detective Maurice Stewart is the lead investigator on the case. He mostly gets assistance from Detective Tianay Marshall. Stewart’s background is mentioned briefly in the episode: When he was 8 years old, he witnessed his father being murdered by gun violence. And in a bizarre twist of fate, the family of murder victim Raynard Williams lives the same home where Stewart lived when Stewart’s father was murdererd.
Stewart shows compassion for the family members and a persistent determination to solve the case. However, “charismatic” is not the first word that comes to mind when seeing Stewart talk on screen. The only other thing he’ll say about himself is that he’s “an honorary ‘hood member” when describing how he can relate to the people in the community that he serves. As for how his father’s murder affects him as a cop, Stewart comments: “We can’t let it affect our jobs.”
Episode 2, titled “In Cold Blood,” shows the investigation of two murder victims who were both shot to death on the streets on January 6, 2024. Based on the gunshot evidence and surveillance videos, police believe that both victims were killed four hours apart by the same person. The lead investigator on the case is Detective Walter Edmond, who mostly gets assistance from Detective James Fyfe.
One of the murder victims is a beautician in her 20s named Cayla Kelley. Almost nothing is told about her in the episode except that she had no history of criminal activity. The other murder victim is a homeless man whose name and age are not mentioned in this episode.
Edmond has a more passionate personality than most of his peers. (One of the best scenes in the episode is when he interrogates the murder suspect.) But the episode falls very short of telling any meaningful information about the murder victims. There are no epilogues with updates on what happened to the arrested supsects. Instead, each episode has a disclaimer stating that suspects are innocent until proven guilty, and charges could be reduced or dropped.
If you’ve seen enough of these types of shows, then you can easily predict how the police catch most of these murder suspects who are eventually arrested for the murders—collecting evidence at the crimes scenes, interviews with witnesses, surveillance videos, searches of homes and property, and checking phone records. Considering the plethora of other “cops on the job” docuseries that already exist, there isn’t enough in “Homicide Squad New Orleans” that stands out from the rest of the pack to make it a “must see” show.
A&E premiered “Homicide Squad New Orleans” on January 1, 2025.
Chase W. Dillon, Rosario Dawson, LaKeith Stanfield, Owen Wilson and Tiffany Haddish in “Haunted Mansion” (Photo by Jalen Marlowe/Disney Enterprises, Inc.)
Culture Representation: Taking place in New Orleans, the comedy horror film “Haunted Mansion” (based on the Disney amusement park ride) features an African American and white cast of characters representing the working-class, middle-class and wealthy.
Culture Clash: A single mother and her son move into a haunted mansion and enlist several people (including a ghost tour guide, a history professor, a priest and a medium) to help get rid of the evil spirit haunting the house.
Culture Audience: “Haunted Mansion” will appeal primarily to people who are fans of the movie’s headliners, the Disney amusement park ride on which the movie is based, and mildly interesting but underwhelming horror comedies.
Jamie Lee Curtis in “Haunted Mansion” (Photo by Jalen Marlowe/Disney Enterprises, Inc.)
As a horror comedy, “Haunted Mansion” is built on a sinkhole of mishandled opportunities. The jokes are weak. The action is underwhelming. This stale reboot isn’t a complete waste of time, but it’s disappointing, considering the talented people involved. But it’s not too surprising, considering there’s nothing much that’s truly innovative in this lazy “Haunted Mansion” retread that has a lot of annoying product placement mentions incorporated into the mediocre dialogue.
Directed by Justin Simien and written by Katie Dippold, “Haunted Mansion” is a reboot of the 2003 comedy film “The Haunted Mansion” (starring Eddie Murphy), which was also a not-very-funny movie version of Disney’s iconic Haunted Mansion amusement park ride. The 2023 “Haunted Mansion” movie could have done so many unique and fantastic things for the story, but instead took the most obvious and boring route possible: A family moves into a haunted mansion, experiences terror from an evil spirit, and then must find an artifact previously owned by the ghost, in order to cast the spell that will permanently send the evil spirit away.
It takes an awfully long time for “Haunted Mansion” (which clocks in at a little more than two hours) for the characters to get to the revelation of how to get rid of the ghost. The “adventure” part of the story doesn’t really start until the movie is more than halfway over. Until then, “Haunted Mansion” is just a series of scenes where characters are introduced, and then they babble and argue about different ways to find out the secret of this haunted mansion. Just because certain characters get a lot of screen time, doesn’t mean that viewers will really learn a lot about these characters during the course of the movie.
“Haunted Mansion” was filmed on location in New Orleans, where the story takes place. Although the 2023 “Haunted Mansion” movie has an ensemble cast, the story’s chief protagonist is a former astrophysicist named Ben Matthias (played by LaKeith Stanfield), who now works as a “ghost tour” guide in New Orleans. Ben’s wife Alyssa (played by Charity Jordan), who died in a car accident, used to have this job. Near the beginning of the movie, a flashback shows that Alyssa and Ben met at a New Year’s Eve party. During their flirtatious conversation, Alyssa told him that she was a ghost tour guide, and she invited him on a tour, even though Ben says he doesn’t believe in ghosts.
Ben and Alyssa’s marriage is never shown in the movie, except for a few fleeting and superficial scenes of them cuddling as spouses. The problem with this void in the story is that a huge part of the plot hinges on Ben’s grief over Alyssa’s death. Viewers only get a quick “drive-by” version of the marriage. And therefore, there’s not much context given for Ben’s grief, since he barely talks about the marriage in the movie. Stanfield’s performance as Ben is perfectly adequate (Ben has a big emotional scene toward the end of the movie), but Stanfield also looks bored for a great deal of the movie.
Ben gets mixed up in the haunted house hijinks when he gets a visit from a wisecracking priest named Father Kent (played by Owen Wilson), who tells Ben that someone wants to hire Ben for a paranormal investigation of a mansion that is believed to be haunted. Ben immediately says no, but Ben changes his mind when he finds out that he’ll be paid $1,000. Ben takes the job because he desperately needs the money. Ben also has a “paranormal” camera that he invented because he thinks this camera can take photos of ghosts.
The person whose mansion needs to be investigated for paranormal activity is a doctor named Gabbie (played by Rosario Dawson, in a capable but bland performance), who has moved from New York to New Orleans with her 9-year-old son Travis (played by Chase W. Dillon), who is intelligent, sensitive and a bit nerdy. Gabbie’s deceased mother used to own this mansion, which Gabbie and Travis found out was haunted on the first night that they both stayed there as residents. And where is Travis’ father? That information is revealed later in the story.
To Ben’s surprise, his paranormal camera works and takes a photo of the ghost at the mansion. An investigation reveals that the mansion, which was built in 1888, used to be owned by a wealthy man named William Gracey (played by J.R. Adduci), who bought the house for his ailing wife Eleanor Gracey (played by Erika Coleman). A psychic medium named Madame Leota (played by Jamie Lee Curtis) and an affluent real-estate heir named Alistair Crump (played by Jared Leto), who both lived in New Orleans during that era, also factor into the story.
Alistair’s story is an obvious spoof commentary of Donald Trump’s story. It should come as no surprise to many viewers which character is the story’s villain. Leto appears in “Haunted Mansion” as a CGI ghost that looks like a tuxedo-wearing version of the Cryptkeeper from “Tales from the Crypt.” The Madame Leota character is trapped in a crystal ball, so only Madame Leota’s talking head is shown for most of Madame Leota’s screen time. It’s all very ho-hum horror.
Joining the investigation are a loudmouthed psychic/medium named Harriet (played by Tiffany Haddish) and a cranky professor of history named Bruce Davis (played by Danny DeVito), who is the most oddly placed character in the movie. Due to sloppy film editing and a jumbled screenplay, Bruce randomly shows up here and there and doesn’t do much but say things that often offend the other characters. There’s a scene where Bruce spends the night at the haunted mansion, with no good explanation for why he’s sleeping there.
“Haunted Mansion” is very deficient in character development. Almost all of the characters don’t have fully formed personalities, but are only playing “types.” Harriet sure likes to talk a lot (she’s the character with the most “product placement” lines), but by the end of the movie, there’s nothing interesting that has been revealed about Harriet. Travis is supposedly treated like an outcast by his student peers at school, based on what he tells people, but the movie never shows Travis in school. Father Kent has a secret that is so obvious and not surprising at all when it’s revealed. Ben is the only “Haunted Mansion” character who has something resembling a backstory, but it’s shown in fleeting clips.
As an example of how much the 2023 “Haunted Mansion” movie squanders the chance to bring some memorable flair to the story, the movie severely under-uses a sassy character named Vic (played by Dan Levy), who is a tour guide for the Crump mansion, which has been declared a historic landmark. Vic is in the movie for less than 10 minutes. There’s a scene where Vic is entertaining guests at the Crump mansion with a sing-along, but everything is only heard (not seen) in another room, for a brief moment that last less than 30 seconds.
It’s incredibly mind-boggling and foolish to waste the talents of Emmy-winning “Schitt’s Creek” star Levy by barely featuring him in the movie. The “Haunted Mansion” audience is teased with the fact that Levy’s Vic character is a music performer, but the movie never shows Vic actually being a music performer. Also very under-used is Winona Ryder, who has a quick cameo as another Crump mansion tour guide named Pat. Ryder’s screen time in “Haunted Mansion” is less than three minutes of uttering forgettable dialogue.
The blame for these bad decisions lies mostly with director Simien, whose previous films “Dear White People” and “Bad Hair” (he wrote and directed both movies) had elements of sharp satire that are absent from “Haunted Mansion,” which is admittedly a family-oriented movie. But even if “Haunted Mansion” is supposed to be a tame horror comedy that shouldn’t be too scary or too edgy for underage kids, Simien seems to have been worn down by the Disney corporate machine, to the point where “Haunted Mansion” has no spark or creative vision. Simien’s real-life amusing personality does not shine through in this generically directed movie. And that’s a shame, because the 2023 “Haunted Mansion” movie had the opportunity to be an instant classic.
Compared to the 2003 “Haunted Mansion” movie, the 2023 “Haunted Mansion” mansion movie benefits from better technology for more advanced visual effects. However, in the 20 years between the releases of the two “Haunted Mansion” movies, Disney has not offered a reboot with a better story than its predecessor. The 2023 “Haunted Mansion” film exists as a hollow promotional tool for the Disney amusement park ride and the companies that paid for the movie’s awkward and shameless product placements.
Walt Disney Pictures will released “Haunted Mansion” in U.S. cinemas on July 28, 2023.
Little Freddie King in “Music Pictures: New Orleans”
“Music Pictures: New Orleans”
Directed by Ben Chace
Culture Representation: The documentary “Music Pictures: New Orleans” (which was filmed in 2020 and 2021) features a racially diverse (African Americans and white people) group of music artists and people in the New Orleans music scene talking about Irma Thomas, Benny Jones Sr., Little Freddie King and Ellis Marsalis Jr., who all participated in the documentary.
Culture Clash: Thomas, Jones, King and Marsalis were all in their 70s and 80s when this documentary was filmed, and they talk about the challenges they’ve faced in their personal and professional lives.
Culture Audience: Besides appealing to fans of these artists, “Music Pictures: New Orleans” will appeal mostly to people who are fans of New Orleans music and documentaries that celebrate music artists who were influential to countless numbers of people.
“Music Pictures: New Orleans” is not a definitive or impactful documentary about the New Orleans music scene. However, it’s a pleasantly entertaining, early 2020s snapshot of four influential artists in blues and jazz. These four artists are Irma Thomas, Benny Jones Sr., Little Freddie King and Ellis Marsalis Jr., who all participated in the documentary, which was filmed from January 2020 to April 2021. Marsalis died from COVID-19-related pneumonia on April 1, 2020. He was 85.
Directed by Ben Chace, “Music Picture: New Orleans” (which clocks in at a brisk 72 minutes for its total running time) has a straightforward format of giving each artist profile a separate chapter. “Part 1: The Soul Queen” spotlights blues singer Thomas. “Part 2: The Heartbeat of the Band” focuses on jazz musician Jones, the leader and snare drummer of the Treme Brass Band. “Part 3: Last King of the Blues” centers on blues singer/guitarist King. “Part 4: Modern Men” showcases jazz icon Marsalis. All of these artists have been vital to the New Orleans music scene and influential in their own ways to many people around the world.
“Music Pictures: New Orleans” (which had its world premiere at the 2022 Tribeca Film Festival in New York City) has some archival photos and archival footage of these artists, but the vast majority of the screen time consists of just documenting these four artists’ lives as music performers during the time that the documentary was filmed. Expect to see footage of them in recording studios or on stage, but don’t expect a lot of insight into their personal lives that hasn’t already been covered elsewhere. The movie is an easy watch, but it’s not particularly revealing.
Thomas (born in 1941) is shown recording songs for an album that has not yet been released, as of this writing. This album will be her first album of new recordings since 2008’s “Simply Grand.” Her “Full Time Woman – The Lost Cotillion Album” (released in 2014) was an album that she originally recorded in the early 1970s.
One of the songs she sings in the recording studio is “Don’t Go to Strangers,” which was the title track to Etta James’ 1960 album. Conga player Alfred “Uganda” Roberts and pianist Kyle Roussel are two of the musicians in the recording studio with her. Thomas is confident and relaxed in the studio, but she does say out loud that she’s very aware that this will be the first album she’s making in several years.
Thomas talks a little but about how she got started in the music business. When she was a teenage waitress, she got fired for singing on the job. Her boss was also a racist because he told her that he didn’t like her singing music from black people, and he used the “n” word racial slur. Thomas went from being fired from that waitress job to becoming a professional singer. Her first single, “Don’t Mess With My Man,” released in 1959, was a hit on the R&B charts.
She opens up about a few low points in her career, including being ripped off by a manager, whom she parted ways with in the 1970s. Her next manager was Emile Jackson, who also became her third husband. The couple got married in 1976. She jokes about her partnership with Jackson: “I found it cheaper to keep him. And I don’t want to train another one.”
Jackson is briefly interviewed in the documentary. He remembers the first time he met Thomas: “I didn’t know who she was.” At the time, Thomas had split from her unscrupulous manager and wasn’t actively looking for another manager. However, she says in the documentary that she told Jackson: “You can be my manager. And what you don’t know, we can learn together. And that’s the way it’s been ever since.”
The documentary’s segment on Jones (who was born in 1943) is perhaps the least interesting of the four, mainly because he doesn’t give much insight into himself and his career. Jones’ part of the documentary mainly shows him performing with his band. While playing music in a small nightclub, Jones says generic things, such as: “When I see people dancing, and I see a smile on their face, that makes my work much easier.”
King (born in 1940) has the liveliest personality out of the four artists. He’s quite the raconteur, as he tells stories about his life. He talks about how he was shot by his wife Amy (before they were married) with a .357 Magnum that he kept hidden in his garden. Despite this shooting incident, he married her anyway.
King’s segment also shows him performing at a nightclub and in the recording studio. Songs he performs include “Bad News,” “Mean Little Woman” and “Pocketful of Money.” Some of King’s associates are also interviewed, such as drummer/manager “Wacko” Wade Wright and harmonica player Bobby Lewis. Not surprisingly, they praise King for his talented musicianship and his resilience during tough times.
Although he is originally from Mississippi, King considers New Orleans to be his true home. As far as King is concerned, he thinks the most authentic blues artists are those who’ve experienced real struggles. King comments in the documentary: “The young don’t know what the blues is, because they didn’t live the blues, and they didn’t go through hard tribulations and hard times.”
This comment is a little dismissive of the fact that people of any age can go through hardships. Maybe he meant that young people in America didn’t have to grow up in an era when racial segregation was legal and enforced. It’s why this documentary probably needed an interviewer asking more probing questions. Some of of King’s commentary tends to ramble, so the documentary needed better editing for this segment.
Knowing that he has passed away, viewers will probably be the most moved by the documentary’s segment on Ellis Marsalis Jr., who is shown recording music with his son Jason Marsalis. (Ellis is on piano, while Jason is on xylophone.) Some of these recording sessions ended up on Ellis’ final studio album, “Discipline Meets the Family,” which was released in 2021. Jason’s daughter Marley (who was 15 at the time), who played piano on the album, is also in the documentary during these studio sessions. She is not interviewed and doesn’t say much.
The documentary also has footage of Ellis as a guest performer during a show that Jason headlined at the Snug Harbor nightclub in New Orleans. In a voiceover, Jason says of the footage in the documentary, “What I didn’t know at the time was that was going to be his last session and one of the last times we would play together.” Jason adds that he’s grateful these moments were recorded and that he collaborated with his father for Ellis’ last album.
The Marsalis family is the most famous jazz family from New Orleans. Ellis’ musician children (who are all sons) are Wynton, Branford, Delfeayo, Jason, Ellis III and Mboya Kenyatta. In the documentary, Ellis Jr. makes this admission, which might surprise some people: “I never wanted a family band.” It’s one of the reasons why Ellis Jr. would perform with most of his sons on special occasions, such as Jazz Fest, but not do albums and tours with the entire family.
If Ellis Jr. did collaborate with any of his sons in the recording studio, it was with one or a few of the sons at a time. Ellis Jr. comments on Wynton, the most famous Marsalis family member: “For me, to be in Wynton’s band is to date it, because what I learned is much earlier, and Wynton is still in a state of evolution.” Ellis Jr. offers this observation of Jason: “From [his] very, very young years, there were very few things that he heard that he didn’t have an appreciation for.”
Watching three generations of the Marsalis family in the recording studio is an undoubtable highlight of “Music Pictures: New Orleans.” And the movie certainly does touch on some of the struggles that these musicians faced in their lives. What’s missing from this very male-dominated documentary is any acknowledgement or exploration of how sexism affected who got the most and the best opportunities in the music industry when these artists were in their heyday. The fact that Thomas is the only woman interviewed in the documentary is a clear example of how women are often overlooked and sidelined as important parts of the music industry.
As for how the New Orleans music scene has changed over the years, the documentary includes some commentary about it, but none of it is particuarly new or revealing. The artists who comment on changes in New Orleans mainly mention Hurricane Katrina, which devastated the New Orleans area in 2005. Thomas says Hurricane Katrina “changed everybody.”
Jones also comments on the impact of Hurricane Katrina on the New Orleans real estate market: “After Katrina, people with money were buying property” and charging rent that was “sky-high.” And so, many of the people who were displaced by Hurricane Katrina who “want to come back can’t afford it, probably.”
According to Jones, the Treme neighborhood in New Orleans is still recovering from an exodus of artistic people who relocated because of Hurricane Katrina. He comments, “The music is back, but delivered in a different way, in a different neighborhood.”
“Music Pictures: New Orleans” keeps the focus solidly on these artists, but the documentary could have used some perspectives from other people besides a few of the artists’ family members or employee associates. “Music Pictures: New Orleans” will delight fans of these artists, but casual music fans might not think this movie is essential viewing. As far as documentaries about New Orleans music artists go, “Music Picture: New Orleans” is like a select buffet that’s satisfactory, but it’s not a full-course feast that people will be raving about for days.
A scene from “Take Me to the River: New Orleans” with entertainers that include Aaron Neville, Cyril Neville and Charles Neville (far right); members of the Dirty Dozen Brass Band; and director Martin Shore (second from left). (Photo courtesy of 360 Distribution)
Culture Representation: The documentary “Take Me to the River: New Orleans” features a racially diverse (African Americans and white people) group of music artists and some producers talking about New Orleans music as they record the movie’s soundtrack songs.
Culture Clash: New Orleans has been a melting pot of different types of music, with certain genres (such as jazz and blues) originating directly from African American experiences of being enslaved and oppressed.
Culture Audience: “Take Me to the River: New Orleans” will appeal mostly to people who are interested in seeing New Orleans music and culture celebrated by music artists of many different generations.
Irma Thomas in “Take Me to the River: New Orleans” (Photo courtesy of 360 Distribution)
“Take Me to the River: New Orleans” is partly a promotional vehicle showing the recording of the songs on the movie’s soundtrack and partly a history of New Orleans music culture. The documentary has got some editing issues, but the diverse performances in the studio are joyous to watch. Fans of jazz, blues, R&B, rap/hip-hop, Cajun and brass band music will find something to like in “Take Me to the River: New Orleans,” which has representation of all of these music genres.
Directed by Martin Shore and narrated by actor John Goodman, “Take Me to the River: New Orleans” is a sequel to Shore’s 2014 documentary “Take Me to the River,” which focused on the musical history and legacy of Memphis. “Take Me to the River: New Orleans” is not a fully comprehensive history of New Orleans music, because most of the history discussed is about the New Orleans music scene in the 20th century and the early 21st century. And the history is only covered in the context of which songs are on the soundtrack album to “Take Me to the River: New Orleans.” For example, before the recording of a Cajun song is performed, the movie does a brief history of Cajun music in New Orleans.
Filming of the documentary mostly took place at two New Orleans recording studios: Music Shed Studios and The Parlor Recording Studio. On the one hand, it gives viewers a very up-close and intimate view of the artists and their creative process when recording music in a studio. On the other hand, it makes the documentary look somewhat insular by putting so much focus on the recording studio sessions.
New Orleans has a vibrant live music scene that is barely covered in this documentary. There is some brief footage of outdoor performances by local street performers during parades, as well as very old archival clips of concerts by a few well-known New Orleans artists. That’s the extent to which live performances are covered in “Take Me to the River: New Orleans.”
The concept for the documentary and its soundtrack was to bring together artists of various generations to record classic songs that have New Orleans origins. Many of the artists in these recording sessions are New Orleans natives or people whose careers have been significantly influenced by New Orleans culture. And, not surprisingly, the documentary interviews have nothing but praise for New Orleans.
The artists who participated in these recording sessions included the Neville Brothers, Dr. John, Irma Thomas, Ledisi, G-Eazy, Snoop Dogg, William Bell, Galactic, Mannie Fresh, Preservation Hall Jazz Band, George Porter Jr., Christian Scott, Donald Harrison Jr., Big Freedia, Ani DiFranco, Maroon 5 keyboardist PJ Morton, Rebirth Brass Band, Dirty Dozen Brass Band, Soul Rebels, Voice of the Wetlands, 79rs Gang, The Givers, Dumpstaphunk, Cheeky Blakk, Lost Bayou Ramblers, Big Sam, Terence Higgins, Shannon Powell, Whirlin’ Herlin Riley, Alvin Ford Jr., Stanton Moore, 5th Ward Weebie, Walter Wolfman Washington, Eric Heigle, Dee-1, Erica Falls, Ivan Neville, Ian Neville and Davell Crawford. In addition, “Take Me to the River: New Orleans” has interviews with some artists who weren’t part of these recording sessions, including Jon Batiste, Mia X, DJ Soul Sister, Jazz Fest founding producer Quint Davis and Deacon John Moore.
The documentary features the recordings of these songs:
“Wish Someone Would Care,” performed by Irma Thomas and Ledisi
“Li’l Liza Jane,” performed by drummers Terence Higgins, Shannon Powell, Whirlin’ Herlin Riley, Alvin Ford Jr. and Stanton Moore
“Firewater” performed by Donald Harrison Jr. and Christian Scott
“Wrong Part of Town,” performed by 79rs Gang
“Sand Castle Headhunter,” performed by the Dirty Dozen Brass Band
“Blue Moon Special,” performed by Roots of Music, Ani DiFranco and Lost Bayou Ramblers
“Stompin’ Ground,” performed by Aaron Neville
“Hey Mama (Wild Tchoupitoulas)” performed by the Neville Brothers
“504 (Enjoy Yourself),” performed by Soul Rebels and 5th Ward Weebie
“Street Parade,” performed by Cyril Neville
“New Orleans Girl,” performed by PJ Morton, Rebirth Brass Band and Cheeky Blakk
“Act Like You Know,” performed by Dee-1, Mannie Fresh, Erica Falls and Big Freedia
“Jack-A-Mo,” performed by Dr. John and Davell Crawford
“Yes We Can Can,” performed by William Bell, Snoop Dogg and G-Eazy
“Take Me to the River: New Orleans” includes discussions of Mardis Gras Indian culture in New Orleans; the origins of “bounce” hip-hop in New Orleans; the influential legacy of New Orleans musician/producer Allen Toussaint; and the impact of 2005’s Hurricane Katrina on the New Orleans music scene. The words “family” and “community” come up a lot when people talk about the New Orleans music scene.
DJ Soul Sister, Big Freedia and Mia X are among the artists who say that many musicians permanently moved out of New Orleans after the devastation of Hurrican Katrina. Mia X comments on the New Orleans music scene after Hurricane Katrina, “We have this sense of family, unlike no other city, but it’s different.” As difficult as it was for many people to recover from Hurrican Katrina, the recovery process is testament to New Orleans’ resilience. In the documentary, rapper 5th Ward Weebie says, “If you ever seen people go through tough times, rough times, and still come at the end of the day smile about it, that’s what makes New Orleans unique.”
New Orleans native Morton says that he wrote “New Orleans Girl” after Hurricane Katrina changed the city. Morton says about the song “New Orleans is the girl. I’ve been all over the world, and there’s no place like New Orleans.” Snoop Dogg comments, “New Orleans is a safe haven of love.” Aaron Neville states, “New Orleans music is a way of life.”
A recurring theme in the documentary is the importance of passing down musical and cultural traditions or “passing the torch” to younger generations. Many of the New Orleans native musicians have the experience of growing up in musical families and with older musical mentors, perhaps more than musicians who grow up in many other cities. Powell says of learning from his elders: “I hung out with the old cats. I was taught not only how to play the drums but how to be a man.”
Riley, who’s been a drummer for Wynton Marsalis and George Benson, says in the documentary: “My family were my biggest influences My uncle and my grandfather [band leader Frank Lastie], they showed me how to play the drums. My grandfather showed me how to play [the drums] with butter knives … on the breakfast table … There’s a unique and distinct way we play the bass drums here. It really identifies the New Orleans sound.”
There’s a considerable segment on how African-oriented music intertwined with Native American culture in New Orleans, and this blend gave rise to Mardi Gras Indians, who have elaborate costumes and ritual dancing. The male leaders of these Mardi Gras Indian groups are called Big Chiefs, while the female leaders are called Big Queens. Many of these leaders have their own music groups.
The documentary features interviews with Big Chief Bo Dollis Jr. of the Wild Magnolias; his mother Big Queen Laurita Dollis; and 79rs Gang members Big Chief Romeo Bougere of the 9th Ward Hunters and Big Chief Jermaine Bossier of the 7th Ward Creole Hunters. Bougere and Bossier say that even though the 7th Ward and the 9th Ward are considered rival wards with a lot of feuding, these two musical collaborators decided to form the 79rs Gang to show that these two communities can be united through music.
Bougere comments, “We need to get past hating someone because they’re from another ward.” Bossier adds of Mardi Gras Indian culture, “This is a warrior culture. Things happen. But for the most part, it’s about being pretty. It’s about showing off your suit.”
One of the highlights of “Take Me to the River” is the collaboration between Thomas and Ledisi, who is ecstatic over being able to perform and record a song with one of her musical idols. Ledisi (who grew up in the New Orleans music scene, where her mother Nyra Dynese was in a band) practically swoons when Thomas greets her at the studio by giving Ledisi a gift of shrimp and okra. “Yes! She hooked me up, man!” Ledisi exclaims. And later Ledisi literally jumps up and down with joy after she and Thomas record their duet of “Wish Someone Would Care,” one of Thomas’ classics.
Thomas says of Ledisi and the legacy of New Orleans music culture: “As far as I’m concerned, she’s one of the few who will be passing it on … She seems to have a natural knack for it. And that’s a good thing. I feel very good about passing the torch to her.” Ledisi adds, “We don’t want to lose the story. We’ve got to honor our legends while they’re here.”
DiFranco comments, “The deepness and the intactness of the New Orleans community is being threatened. As a result, people here have to be more intentional about staying in touch with those roots, so the continuum is not broken.”
Preservation Hall Jazz Band member Ben Jaffe, whose parents Allan and Sandra Jaffe co-founded the legendary Preservation Hall music venue, says of continuing this legacy: “The most important thing that Preservation Hall can do is make music available to people. When we’re collaborating with musicians, we’re not looking for someone who has an affinity for New Orleans jazz or understands New Orleans jazz. We’re looking for people who share our soul.”
Another documentary highlight is the Neville Brothers’ recording of “Hey Mama (Wild Tchoupitoulas).” Not only was it the first time in years that brothers Aaron Neville, Cyril Neville, Art Neville and Charles Neville were in the same recording studio together, it would also turn out to be the last recording that all four brothers would make together. Charles Neville died in 2018, and Art Neville died in 2019.
Unfortunately, parts of “Take Me to the River: New Orleans” look very dated because of the deaths of some of the documentary’s on-camera participants. By the time “Take Me to the River: New Orleans” was released in theaters in 2022, several people in the documentary had already passed away. They include Charles Neville, Art Neville, Dr. John (who died in 2019) and 5th Ward Weebie (who died in 2020). However, it doesn’t take away from the great music shown in the documentary.
“Take Me to the River: New Orleans” has some flawed editing that doesn’t always make the transition between the topics very smooth. And except for a brief mention by a Neville family member that the Neville Brothers were ripped off by bad business deals at the height of their careers, the documentary glosses over any mention of corruption in the music industry and how it affected New Orleans artists. Ultimately, the best parts of the movie are in seeing the artists and their talent come alive when collaborating in the studio with other artists they admire and respect.
360 Distribution released “Take Me to the River: New Orleans” in select U.S. cinemas, beginning in New Orleans on April 22, 2022, and in New York City and Los Angeles on April 29, 2022.
Culture Representation: Taking place in New Orleans, the documentary “Jazz Fest: A New Orleans Story” features a cast of white and black people (with a few Latinos), mostly music artists, who are connected in some way to Jazz Fest, an annual music and cultural festival in New Orleans.
Culture Clash: Jazz Fest has had its share of obstacles, including overcoming racial segregation issues, Hurricane Katrina and the COVID-19 pandemic.
Culture Audience: “Jazz Fest” will appeal primarily to people who are interested in this festival and its impact on New Orleans and pop culture.
Nashville Super Choir in “Jazz Fest: A New Orleans Story” (Photo courtesy of The Kennedy/Marshall Company and Sony Pictures Classics)
“Jazz Fest: A New Orleans Story” is a purely laudatory documentary, told mostly from artists’ perspectives. The film is sometimes unfocused, and some of the commentary praise is too effusive, but the dynamic concert scenes make the movie a worthwhile watch. The movie capably demonstrates how Jazz Fest has become a necessary and influential cultural institution in New Orleans.
Directed by Frank Marshall and Ryan Suffern, “Jazz Fest: A New Orleans Story” does nothing groundbreaking in how the film is presented. It’s a traditionally formatted documentary that blends archival footage with the movie’s exclusive interviews. “Jazz Fest: A New Orleans Story” does an excellent job of showing the diversity of Jazz Fest, the commonly used name for the New Orleans Jazz & Heritage Festival.
Despite its name, this beloved event isn’t just a festival for jazz music. Jazz Fest—an outdoor festival which traditionally takes place in the spring at Fair Grounds Race Course and Slots—also features R&B, rock, pop, country, gospel, blues, Latin music, Americana, world music, and a number of other music genres from numerous artists from around the world. Jazz Fest, which launched in 1970, is owned by the non-profit New Orleans Jazz & Heritage Festival Foundation Inc. The event is produced by AEG Presents and Festival Productions Inc.-New Orleans.
Jazz Fest founder George Wein (who died in 2021, at age 95) is one of the people interviewed in the documentary. A longtime concert promoter, Wein says in the documentary that he was first approached to do Jazz Fest in 1962 by “someone from the Hotel Corporation of America” to do a “Newport [Jazz Festival] type of festival.” Wein said that because of Jim Crow laws at the time that made racial segregation legal in Louisiana, “I couldn’t have white musicians and African [black] musicians on stage at the same time.”
And so, Jazz Fest had to wait to launch only after the U.S. Civil Rights Act of 1964 passed into law and ended legal racial segregation in the United States. Shell Oil Company signed on to be Jazz Fest’s first corporate sponsor. Jazz Fest’s first concert lineup in the event’s inaugural year included Mahalia Jackson, Duke Wellington, Pete Fountain, Al Hirt, Clifton Chenier, Fats Domino, The Meters, and the Preservation Hall Band.
Jazz Fest received support from the artistic community from the beginning, although attendance from the public was very low by today’s Jazz Fest standards. In the first year of Jazz Fest, which took place in Congo Square in 1970, about 350 people attended. Since then, Jazz Fest has become the biggest annual concert event in New Orleans, with an estimated 425,000 to 475,000 people in attendance, before the COVID-19 pandemic.
Jazz Fest founding producer Quint Davis comments in the documentary: “When Jazz Fest started, it was like we were presenting this music to the world … There were a lot of reasons everybody thought we would fail. One of them was bringing Cajun people and Latin people together.”
Davis adds, “Well, everybody eats, and everybody dances. So, if we can get people together to see what they eat and see what they dance to, I think that can work. When it was all put together in one place, it was stunning to the local people. They were amazed at themselves and felt tremendous pride.”
One particular New Orleans family became integral to Jazz Fest: the Marsalis family, who are world-renowned for their musical accomplishments, particularly in jazz. Ellis Marsalis Jr. (who died in 2020, at age 85) and four of his six sons—Wynton, Branson, Delfeayo, and Jason—are interviewed in the documentary, and they share fond memories of performing at Jazz Fest. The Marsalis brothers literally grew up at Jazz Fest and frequently performed as part of the musical group called the Ellis Marsalis Family Tribute. Branford Marsalis comments on performing with his brothers and his father Ellis: “When we walked out on stage, he ceased being my dad. He was the leader of the group.”
Davis comments on another popular Jazz Fest artist: “Jimmy Buffett is very, very special to us. He’s been responsible for drawing more people to the New Orleans Jazz & Heritage Festival than maybe anybody else.” Buffett says in the documentary: “Everything I do, from writing shows to writing songs comes out from being a child of the Mardi Gras.”
Other artists interviewed include Irma Thomas; Pitbull; Boyfriend; Sony Landreth; Big Freedia; Tom Jones; Divine Ladies member Angelina Sever; Preservation Hall Jazz Band member Ben Jaffe; Cowboy Mouth member Fred LeBlanc; High Steppers Brass Band member Daryl Fields; Tab Benoit; Marc Savoy; John Hammond; and Earth, Wind & Fire members Philip Bailey, Verdine White and Ralph Johnson. The documentary also has archival footage of several performances, including those by Aaron Neville; Katy Perry with the Gospel Soul Children; Thomas; Pitbull; B.B. King; Al Green; Hammond; Big Freedia; Preservation Hall Jazz Band; Herbie Hancock; Nashville Super Choir; and Earth, Wind & Fire.
There’s an entire segment in the documentary about the food of Jazz Fest, with soundbites from some Jazz Fest food vendors, along with the expected delectable-looking display of New Orleans cuisine, such as jambalaya, crawfish, pralines and beignets. The movie tends to drift off-topic in the middle of the film, when it veers into a prolonged discussion of Mardi Gras, including the history of Mardi Gras and how Mardi Gras has impacted New Orleans Fortunately, the documentary eventually gets back on track to talking about Jazz Fest.
One of the best aspects of the documentary is the discussion about how Jazz Fest had a triumphant comeback in 2006, after the devastation of Hurricane Katrina in 2005. Bruce Springsteen’s emotionally moving Jazz Fest 2006 performance of “My City of Ruins” is in the documentary. Springsteen comments, “There are certain moments when you meet your audience, and that’s when the healing begins. It was one of the most beautiful concert experiences I ever had.”
The epilogue of “Jazz Fest: A New Orleans Story” includes mention of how, for the first time in Jazz Fest history, the event was cancelled. It happened in 2020 and 2021, due to the COVID-19 pandemic. The epilogue includes a brief mention of Jazz Fest’s return in 2022, with footage of Buffet performing a rousing cover version of the Rolling Stones’ “You Can’t Always Get What You Want.”
“Jazz Fest” is a documentary that often comes across as an electronic press kit video, because the commentary is non-stop praise of Jazz Fest and/or New Orleans, with no mention of any under-reported problems of Jazz Fest. The movie lacks any constructive criticism of the event and doesn’t talk about issues such as overcrowding or overpricing. But as a documentary that’s meant to celebrate the event, “Jazz Fest: A New Orleans Story” is at its best when it lets the music and performances do the talking.
Sony Pictures Classics released “Jazz Fest: A New Orleans Story” in select U.S. cinemas on May 13, 2022.
Culture Representation: Taking place in New Orleans, the horror film “Black as Night” features a racially diverse cast (Latino, white, African American and Asian) representing the working-class, middle-class and wealthy.
Culture Clash: Teenagers battle vampires that are plaguing their city.
Culture Audience: “Black as Night” will appeal primarily to people who want to see botched preaching about racism in a low-quality horror movie.
A scene from “Black as Night” (Photo by Alan Markfield/Amazon Content Services)
The vampire flick “Black as Night” uses racism and colorism as punchlines in ways that aren’t very funny and end up being grating in how these jokes are repeated. It’s an awful horror movie that thinks it’s being clever, when it actually dumbs everything down for the audience in a very formulaic way. As an example of how shoddy and phony the filmmaking is in “Black as Night,” the movie takes place in New Orleans and was filmed on location in New Orleans, but no one in the movie sounds like they’re from New Orleans.
“Black as Night” is filled with degrading stereotypes of African Americans and gay men. The movie’s protagonist is an African American teenage girl who is constantly made to feel inferior because she has darker skin than her African American peers. (It’s the reason why the movie’s title “Black as Night” has a double meaning.) And when viewers find out who the chief villain is in the story, it just shows more terrible stereotyping of African Americans.
“Black as Night” is part of Blumhouse Television’s “Welcome to the Blumhouse” series partnership with Prime Video to showcase horror/thriller movies directed by women and people of color. Directed by Maritte Lee Go, and written by Sherman Payne and Jay Walker, “Black as Night” wants desperately to look authentic, when it comes to African American culture and how an African American female is supposed to act. However, the filmmaking team chose not to include any African American women as a director, writer or producer for this movie. It’s why so much of “Black as Night,” which centers on an African American female, smacks of so much inauthenticity.
The protagonist and narrator of “Black as Night” is a teenager named Shawna (played by Asjha Cooper), who’s about 16 or 17. Her best friend/classmate is an openly gay, Mexican immigrant named Pedro (played by Fabrizio Guido), who is every bit of the “sassy and gossipy gay best friend” stereotype that has been overdone in movies and TV. Shawna and Pedro spend a lot of their time making racist comments about white people, because they automatically think most white people are racists.
The first time that Shawna and Pedro are seen in the movie, they’re sunning themselves on the roof of a building that could be where Shawna or Pedro lives. In a hindsight voiceover, Shawna says, “We didn’t know it yet, [but] the summer I got breasts was the same summer I fought vampires.” That’s the first sign that this movie about a teenage girl was written by men.
Before the part of the movie happens where Shawna and Pedro fight vampires, their biggest worries are about school and their families. Shawna says she won’t try out for the school’s dance team because “90% of the girls they pick are Creole because of a certain look.” In other words, they look light-skinned or biracial.
Meanwhile, Pedro is a track athlete who’s been offered a full athletic scholarship to a prestigious boarding school in Texas, but Pedro doesn’t want to go because he says that doesn’t want to go to a school that has a lot of white people. He also says that he doesn’t want to move far away from his family in New Orleans. In other words, Shawn and Pedro deprive themselves of opportunities and want to blame their self-sabatoging on other people. Immediately, viewers can see how annoying these two characters are going to be with this negative attitude.
And it gets worse. Shawna has a crush on a good-looking and popular student named Chris Thompson (played by Mason Beauchamp), but she believes she doesn’t have a chance with him because she thinks that Chris is out of her league. Why? Shawna worries that her skin might be too dark for him. It doesn’t help that Shawna’s older brother Jamal (played by Frankie Smith) tells her that Chris prefers “Creole girls.” Jamal also taunts Shawna for her skin color by calling her “Wesley Snipes with braids.”
The negative stereotypes continue. Shawna and Jamal’s mother Denise (played by Kenneisha Thompson) lives in a separate household because she’s a drug addict. The filmmakers have Denise live in a “ghetto” building in a “ghetto” part of town. There is absolutely no good reason for why the filmmakers made Shawna’s mother be a drug addict, except to reinforce negative stereotypes that most African American kids have a parent who’s a drug addict and/or a criminal. In reality, that stereotype is not true for most African American kids and most African American parents.
Shawn and Jamal’s father Steven (played by Derek Roberts) has full custody and is raising Shawn and Jamal as a single parent. There’s a scene where Shawna visits her mother, who seems more concerned about how much money she can get from Shawna than spending quality time with Shawna. And since “Black as Night” is a movie has no use for showing any African American woman as a positive female role model for Shawna, viewers shouldn’t be surprised to find out what happens to Denise.
Meanwhile, community activists are protesting the impending demolition of the Ombreaux housing projects to make way for the construction of higher-priced residential buildings. The reconstruction will displace low-income residents, who won’t be able to afford the new housing that will be built. What does this all have to do with the vampire story in “Black as Night”? It’s because homeless or low-income African Americans in the area are being turned into vampires, as shown in the movie’s opening scene.
The “Black as Night” plot has a few twists and turns that aren’t very imaginative. But it’s enough to say that Shawna has very personal reasons for the “race against time” to find the head vampire to kill. Keith David appears toward the end of the movie as a character named Babineaux, who holds the key to the mystery.
Meanwhile, Shawna and Pedro enlist the help of another teen named Granya (played by Abbie Gayle), who’s the leader of a vampire book club for other teenage girls. Shawn and Pedro need Granya to teach them about how to hunt vampires. Pedro and Shawna make a lot of snarky racist comments about Granya because she’s white and comes from a well-to-do family—as if those are good-enough reasons to automatically ridicule someone.
Anyone who watches “Black as Night” has to endure a lot of bratty teen talk and politically correct preaching that tries too hard to make this low-quality horror flick look like it has a social conscience. It’s all so fake because of all the reverse racism that is condoned and celebrated in this movie. That’s not to say that the movie shouldn’t acknowledge that white supremacists exist, but the movie is unrelenting in repeating Shawna’s and Pedro’s belief that all white people are racists until proven otherwise. That belief is racist too.
The acting in “Black as Night” isn’t very impressive. Cooper shows potential if she’s given better characters to play. The rest of the cast members either play stereotypes or characters with bland and forgettable personalities. Shawna is supposed to be a hero, but the filmmakers have this misguided belief that it’s heroic to make African Americans blame everything on white supremacy. It’s an oversimplified and irresponsible portrayal about the complex issues surrounding racism and colorism. And it’s an understatement to say that this horror movie badly mishandles these issues.
The answer to the movie’s vampire mystery is a complete cop-out that just reinforces negative stereotypes of African Americans. The final battle scene isn’t very creative and actually quite irritating because the characters make wisecracking jokes during this fight. It’s one of many examples of how “Black as Night” can’t decide if it wants to be a social justice horror movie or a comedic horror movie. Trying to be both at the same time just cancels any credibility of either intention.
And arguably worst of all, “Black as Night” has an unbelievably weak and moronic ending. There are at least a dozen better ways that the movie could have ended. The ending is so bad, it’s like the filmmakers wanted to give a middle finger to viewers who wasted their time watching this smug trash dump of a film. If movie fans want to see a quality horror movie, then the best way that they can give a middle finger back to this filmmaker contempt of viewers is to avoid watching “Black as Night.”
Prime Video premiered “Black as Night” on October 1, 2021.
Culture Representation: Taking place during three days in New Orleans, the dramatic film “National Champions” features a cast of African American and white characters representing the working-class, middle-class and wealthy.
Culture Clash: Two football players for the fictional Missouri Wolves college team launch a boycott, right before a national championship game, in protest of the National Collegiate Athletic Association (NCAA) policy that NCAA student athletes are not entitled to salaries, disability pensions and health insurance for playing in NCAA games.
Culture Audience: “National Champions” will appeal primarily to people who are interested in watching well-acted movies about civil rights in athletics and in the workforce.
Uzo Aduba and David Koechner in “National Champions” (Photo by Scott Garfield/STX)
“National Champions” is a memorable sports movie where all the action and battles take place outside of the game. This tension-filled drama about a college student-athlete boycott features standout performances and a diverse look at various sides of the debate. How you feel about this movie will probably come down to how you answer these questions: Should student athletes of the National Collegiate Athletic Association (NCAA) get salaries, disability pensions and health insurance? And should NCAA student athletes form their own union?
Those questions are at the heart of the issues that are contentiously argued about in “National Champions,” directed by Ric Roman Waugh and written by Adam Mervis. Although the story is fictional, it takes a realistic-looking “what if” approach in depicting what would happen if NCAA football players decided to boycott playing in games, in order to get the NCAA to change its longstanding policies over these issues. And what if that boycott was staged just three days before a national championship game?
Those are the high-pressure circumstances under which the movie opens. “National Champions” does not let audiences go from its tightly wound grip during this entire movie, which is a suspense-filled ride from beginning to end. Even though this is a fictional story where the outcome can easily be predicted, the movie’s intention is to draw attention to the issues that are intensely debated in the movie. People who are not aware of these issues before seeing “National Champions” probably won’t look at NCAA sports in the same way again after seeing this movie.
At the beginning of “National Champions,” which takes place entirely in New Orleans, NCAA football player LeMarcus James (played by Stephan James) is seen at 6:10 a.m. on the balcony of his hotel room, as he gears up for the biggest fight of his life. He’s about to hold a press conference announcing the boycott and the list of demands that he and his fellow boycotters want to be fulfilled by the NCAA, in order to end the boycott. The national championship game is being held in New Orleans, and LeMarcus is expected to be a star of the game.
LeMarcus, who is 21, is the current quarterback for the fictional Missouri Wolves. He recently won the Heisman Trophy. And he is widely predicted to be the first overall pick of the next National Football League (NFL) draft. LeMarcus is well-aware that by launching ths boycott, it will likely ruin his chances to play in the NFL, since he will be branded as a “troublemaker.” However, he is determined to fight for what he strongly believes in, no matter that the consequences.
LeMarcus knows he’s facing an uphill battle in this boycott. At this point in time, LeMarcus and his best friend Emmett Sunday (played by Alexander Ludwig), who is also a Missouri Wolves teammate, are the only two athletes who are solidly committed to this boycott. They both come from working-class backgrounds and have gotten full athletic scholarships to attend their university because of football.
While in New Orleans for the natonial championship game, LeMarcus and Emmett have planned to “go missing” from practice. They move around from hotel to hotel, so that they can’t easily be found. During the course of the movie, they only allow a select number of trusted people into their hotel room. LeMarcus is also battling a nasty cold, but it doesn’t deter his inner strength to fight for his cause. LeMarcus and Emmett are starting this boycott without any help from attorneys.
Emmett, who is the more laid-back of the two friends, doesn’t seem to like public speaking because he’s not seen in the movie making speeches or doing press conferences. Emmett is happy to let LeMarcus take the lead as the spokesperson for the boycott and as the one who articulates the demands that they want the NCAA to follow. Throughout the movie, Stephan James gives an effective performance that shows how LeMarcus has a powerful talent of persuasion and a steely determination to not give up in the face of several obstacles. LeMarcus’ stubbornness and refusal to compromise make him a formidable but very underdog opponent.
LeMarcus has his share of skeptics and naysayers. Before the press conference, a teammate named Orlando Bishop (played by Julian Horton) tries to discourage LeMarcus from going through with the boycott. Orlando tells LeMarcus that the NCAA system won’t change just because LeMarcus doesn’t play in the national championships. “Aint nobody marching in the streets for the number-one anchor. You’re going to embarrass yourself, bro,” Orlando comments. When the boycott is underway, someone else warns LeMarcus that LeMarcus is going to be blacklisted from professional football, just like former NFL star Colin Kaepernick, who is outspoken in his support of the Black Lives Matter movement.
During the brief televised press conference, LeMarcus gives the list of demands that the boycotters want from the NCAA:
(1) NCAA will create of a non-revokable trust fund for every Division 1 varsity athlete.
(2) NCAA will contribute to a disability penision for Division 1 athletes who are injured in college athletics
(3) NCAA will recognize and collectively bargain with the proposed NCAA players’ union, submitting to all federally mandated guidelines of a unionized workforce.
LeMarcus doesn’t sugarcoat what he thinks is going on with the NCAA having a policy forbidding NCAA athletes from being paid athletes: He calls it “slave labor,” where the athletes work for free and other people get rich off of them. “Slave labor” is a hot-button phrase, because it can’t be ignored that most of the NCAA football players are African American, while most of the NCAA officials who are millionaires because of their NCAA salaries are white.
The NCAA doesn’t pay NCAA athletes because of a policy that refuses to classify NCAA athletes as NCAA employees. The NCAA makes a bulk of its profits from licensing its games to television, as well as from collecting money from sponsors that pay the NCAA and individual teams for NCAA athletes to wear sponsor items or use sponsor equipment for free advertising. People who don’t want the NCAA to pay its athletes say it’s because NCAA athletes are college students, not working professionals, and if these athletes got paid, they’d be more likely to be corrupted and drop out of college to spend the money.
During the press conference, LeMarcus gives a damning example of the disparity between how the athletes are not compensated for their work and how the NCAA officials are being highly compensated. He mentions how the unpaid NCAA athletes have to pay for their own medical bills if they are injured during games, while high-ranking NCAA officials each get millions of dollars in salaries and employee perks, such as health insurance benefits, life insurance benefits and lucrative pensions. The billions of dollars that flow through the NCAA, after expenses are paid, end up mostly with an elite group at the top.
To make his point, LeMarcus names the multimillion-dollar annual salaries of some high-ranking NCAA officials, including the salary of Missouri Wolves head coach James Lazor, who is not happy about having his salary being revealed for the whole world to know. By contrast, many NCAA athletes spend so much required time on their sport (which is usually more than a regular 40-hour work week) in additon to their academic requirements, they don’t have time to get salaried jobs, and many of them are financially struggling. NCAA athletes are not allowed to accept high-priced gifts and donations. However, in July 2021 (after “National Champions” was filmed), the U.S. Supreme Court lifted a monetary limit that the NCAA wanted to keep on student-athletes getting education-related gifts and benefits.
The fact that many NCAA athletes get their college tuition and living expenses paid for through scholarships (which usually comes from the athlete student’s college/university, not the NCAA) is of little comfort if it comes at a price of being injured from NCAA games or NCAA training, and the NCAA won’t help with health insurance or medical bills for the injuries. And if athletes in the NCAA have career-ending injuries, or if the athletes don’t make it to the professional leagues, then they are often stuck with paying for medical bills for injuries that they got while playing for the NCAA.
By the time athletes make it into the NCAA, they’re already at least 18 years old, in most cases. And because almost all NCAA athletes are legal adults and working full-time hours for the NCAA, many people believe that NCAA should be compensated like full-time employees. However, too many people are invested in keeping the status quo because they don’t want to share the NCAA’s wealth with the athletes.
These are harsh realities that many people don’t want to think about when they root for their favorite American college teams and athletes. However, as depicted in “National Champions,” people who believe in a boycott of the NCAA until things change in favor of athletes’ civil rights think that the only ways that these changes happen are if the public puts pressure on the NCAA and if activists play hardball with the NCAA. LeMarcus knows that he will probably ruin his promising football career with this boycott, and changes might not come in his lifetime, but he wants to get the ball rolling.
At first glance, it might seem that the plan to launch this boycott is poorly conceived, since only LeMarcus and Emmett seem to the only athletes who are part of the boycott. But the plan, although very risky, is actually a bold strategic move. And that’s because LeMarcus and Emmett plan to use the media to get the word out quickly to a massive audience and gain as much public support as possible.
If LeMarcus and Emmett had secretly tried to recruit other athletes for weeks behind the scenes, the word would’ve gotten out to the people who would want to stop the boycott. By staging the boycott right before the national championship game (the most lucrative football game for the NCAA), it would catch the NCAA off guard and force them to make a decision, or else possibly have the game cancelled. And because of the media attention, the NCAA has to make its decision publicly. LeMarcus and Emmett are fully prepared not to play in the game, but what other NCAA football players will join them?
The media blitz part of the plan works, because the boycott becomes big news. And there are some star NFL athletes who voice their support of the boycott, including Russell Wilson and Malcolm Jenkins, who portray themselves in cameos in the movie. These celebrity endorsements convince some other NCAA national championship football players to join the boycott too. The movie has a scene where LeMarcus gives a passionate speech in a hotel room that further convinces some of his fellow NCAA football players to join the boycott.
It isn’t long before so many Wolves team members are boycotting the game, the team is in danger of having mostly inexperienced freshman left as available team members. An emergency meeting takes place with the key players who will put up the fight in trying to squash the boycott. The people in this meeting are:
Coach James Lazor (played by J.K. Simmons), the hard-driving leader of the Missouri Wolves, who sees his athletes as his surrogate sons.
Richard Everly (played by David Koechner), the arrogant, sexist and crude leader of the powerful Southeastern Conference (SEC).
Wes Martin (played by Tony Winters), a Big 12 Conference executive who has some sympathy for the boycotting athletes.
Kevin McDonald (played by David Maldonado), director of communications for College Football Playoff (CFP), who is loyal to his employer and has to run interference with the media.
Mike Titus (played by Jeffrey Donovan), senior vice-president of championships for Division 1 NCAA Football, who is calm and level-headed.
Katherine Poe (played by Uzo Aduba), who describes herself as “outside counsel,” and seems to have a specialty in crisis management.
In this initial meeting, the men do almost all of the talking, while Katherine mostly sits quietly and listens in the background. But as time goes on, Katherine proves to be a fierce competitor in this boycott war. And she’s willing to do what it takes to win, including digging up some of LeMarcus’ secrets that could hurt his credibility. Coach Lazor wants the boycott to end, but he’s reluctant to play dirty in ways that could ruin LeMarcus’ life and reputation.
In a cast of very talented actors, Aduba and Simmons give outstanding performances not only because their characters are so strong-willed and outspoken but also because Coach Lazor and Katherine have their own unique charisma and flaws. Aduba and Simmons give two of the best monologues in the movie. The screenwriting for “National Champions” is mostly solid, and these cast members definitely elevate the material.
Coach Lazor’s big moment comes when he assembles the remaining Wolves team members in a hotel conference room and gives a rousing and emotional speech about how money doesn’t make someone happy and that he’s not a coach for the NCAA because of the money. He shares a story about his personal background and how his dreams to become professional football player were dashed, but he found a way to channel his passion for football by coaching. Coach Lazor says that money shouldn’t be these athletes’ motivation, but glory should be the main motivation.
Katherine’s impactful monlogue comes in a scene when Emmett accuses her of being heartless. It’s in this scene where Katherine, who comes across as obsessed with her job and somewhat mysterious up until this point, unleashes a tirade to show her human vulnerabilities and emotional pain. She also reveals that she’s not siding with the NCAA because it’s her job, but also because she truly believes that the boycott will hurt NCAA funding for lower-profile sports that don’t get as much attention as football and men’s basketball.
Katherine is probably the most interesting and complex character in this movie. There are many sports movies that show clashes between athletes and authority figures. However, almost all of these movies are about ego conflicts between men. Katherine embodies every woman who’s in a male-dominated job who is constantly underestimated because of her gender. She also happens to be African American, which is adds another layer of discrimination that she no doubt has experienced for her entire life.
It’s this type of life experience that makes her more clear-eyed and prepared for the times when people’s worst natures come out, compared to people who are unprepared and gullible because they go through life never having to experience real discrimination or hatred. Katherine’s way of dealing with opposition can be too extreme, by a lot of standards. She wants to win at all costs, even if she gives up a lot of compassion or empathy that she might have.
“National Champions” is at its best when it focuses on the characters of LeMarcus, Coach Lazor and Katherine. The movie tends to falter when it goes off on other tangents. There’s a soap opera-like subplot about Coach Lazor’s philandering wife Bailey Lazor (played by Kristin Chenoweth) and her lover Elliott Schmidt (played by Timothy Olyphant), a college professor who decides that he’s going to take a job in Italy. The movie shows if Bailey decides to run off with Elliott or not, in the midst of this boycott crisis.
Meanwhile, some supporting characters are introduced in the movie, but their character development is non-existent. Lil Rel Howery portrays Ronnie Dunn, the Wolves’ defensive coordinator coach, who might have to step in for Coach Lazor during the championship game when Coach Lazor seems to be on the verge of having a personal meltdown. Tim Blake Nelson is Rodger Cummings, the head of the Missouri Wolves boosters club, who is not about to let all the booster donations that were poured into the team possibly go down the drain with a boycott that could cost the Wolves the championship game. Andrew Bachelor portrays Taylor Jackson, another wealthy booster of the Wolves.
All the other football players depicted in the movie aren’t given enough screen time for viewers to see if they have distinctive personalities. Cecil Burgess (played by Therry Edouard), who has the nickname the Haitian Hammer, is another star athlete for the Missouri Wolves. However, Cecil only has a few brief scenes, mainly to show that he’s staying loyal to the NCAA, and he thinks the boycott is a mistake. Emmett is portrayed as a nice guy, but his personality is fairly bland.
Despite some of the flaws in the “National Champions” screenplay, the movie is directed, filmed and edited in a way that makes this an engaging thriller for people who want to watch movies about the business side of sports. “National Champions” might disappoint people who think they’re going to see a lot of football playing in the movie. But for other people who appreciate what the film is actually about, they’ll understand that it’s about real-life stakes that are much higher than a championship game.
STX will release “National Champions” in U.S. cinemas on December 10, 2021. The movie is set for release on digital and VOD on December 28, 2021.
Culture Representation: Taking place in New Orleans and briefly in Baltimore, the horror film “The Seventh Day” features a predominantly white cast of characters (with some Latinos, Asians and African Americans) representing Catholic clergy and middle-class citizens.
Culture Clash: Two Catholic priests who hunt demons try to perform an exorcism on a 12-year-old boy who’s accused of murdering his parents and 16-year-old sister.
Culture Audience: “The Seventh Day” will appeal primarily to people who don’t mind watching dull and mindless horror movies about exorcisms.
Guy Pearce in “The Seventh Day” (Photo courtesy of Vertical Entertainment)
An exorcism patient who’s strapped to a bed probably has more fun than anyone who watches this tedious train wreck of a horror film until the movie’s very ludicrous end. “The Seventh Day” (written and directed by Justin P. Lange) also has an awkward mix of experienced, more talented actors with less-experienced, less-talented actors whose lack of talent further lowers the quality of this already substandard movie. It’s the type of forgettable horror flick that’s heavy on gore but unbearably light on an interesting, well-crafted story.
“The Seventh Day” begins with a flashback to Baltimore on October 8, 1995. A middle-aged priest named Father Louis (played by Keith David) is getting ready to travel somewhere with a priest in his 20s named Father Peter Costello (played by Chris Galust), who is Father Louis’ protégé. The two priests are going to an exorcism in Baltimore on the same day that Pope John Paul II was visiting the city. (The movie includes archival footage of this visit.)
Father Louis says in a voiceover: “It chose today of all days. The Holy Father, a mere stone’s throw away. I suspect that’s no coincidence.” What is the “it” that this priest is talking about? The demon that these priests are hunting, course.
Father Louis then tells Father Peter: “I fear that this one will be different from the others. This one seems to have a purpose.” Too bad this movie doesn’t seem to have a purpose except to badly recycle ideas from other exorcism movies.
And then Father Louis says, “Soon, Peter. I promise. I have complete faith in you.” This is the type of simplistic dialogue that’s littered throughout the movie. Viewers of this dreck will soon lose faith that it will get any better.
Father Louis and Father Peter are overseeing the exorcism of a boy named Nicholas “Nicky” Miller (played by Tristan Riggs), who’s about 12 or 13, with Nicky’s parents (played by Heath Freeman and Hannah Alline) also in attendance. Nicky is strapped to a bed. Because Father Louis is training Father Peter to be an exorcism master, Father Peter is leading this particular exorcism session.
As Father Louis says the Lord’s Prayer, the lights in the room start to flicker. And then little Nicky starts to talk like a man trying to sound like a demon. A possessed Nicky blurts out this insult to Father Peter: “You look lost, you dumb animal! You should find yourself a new shepherd!” Is this demon supposed to be terrifying or is this demon trying out someone’s rejected lines in a stand-up comedy insult act?
It might be bad comedy, not horror, because Nicky then shouts, “Smile like you’ve never done before!” His face (through some cheesy visual effects) then contorts into a bloody grin that would make “It” evil clown villain Pennywise laugh at the absurdity of it all.
All hell then breaks loose. The crucifix necklace around Mrs. Miller’s neck is snatched away by an unseen force quicker than a drag queen can snatch a wig. The crucifix is thrown across the room, right into the jugular veins of Father Louis’ neck. This injury then causes Father Louis to bleed to death, right there in the room, in the time it would take for Pennywise to let out one of his famous giggles. That was quick.
But that’s not all. Nicky’s skin on his arms starts to burn until his whole body bursts into flames. It’s one of the more gruesome scenes in the movie. Meanwhile, the Pope is visiting “a mere stone’s throw away” in Baltimore, and no one in the room bothers to ask, “Where’s the Pope when you need him?”
“The Seventh Day” then fast-forwards to the present day in New Orleans. Father Peter (played by Guy Pearce) is now a jaded, middle-aged clergyman. He’s in a meeting with an unnamed archbishop (played by Stephen Lang), who wants Father Peter to train a young priest named Father Daniel Garcia (played by Vadhir Derbez) to become a master exorcist. Father Daniel is called into the room, not knowing that he’s about to become an exorcist protégé.
As the archbishop explains to Father Daniel, they are part of a small secret society of Catholic clergy who still provide training on how to perform exorcisms. According to the archbishop, the Vatican adopted a negative attitude toward exorcism and stopped teaching exorcism rites. And now, only a “handful, no more than a dozen” Catholic clergy secretly train for and perform exorcisms.
The archbishop tells Father Daniel, “You need to know that Father Peter trained with the very best. And I feel, in my heart, that I’m putting you into the right hands.” The archbishop describes the late Father Louis as the “most revered” exorcist in this secret society. The archbishop, who knows about the botched exorcism that killed Father Louis, conveniently doesn’t tell Father Daniel about this messy tragedy.
The archbishop might feel that he’s putting Father Daniel in the right hands, but Father Peter isn’t as open to the idea of taking on this new trainee. At first, Father Peter is cold and condescending to Father Daniel and treats him more like an altar boy who’s supposed to do errands. At one point in the meeting, Father Peter orders Father Daniel to go across the street to get Father Peter some coffee.
And so begins Father Peter and Father Daniel’s training session, where they travel by car together in search of some pesky demons to expel. It has all the makings of a formulaic movie about a cynical and gruff older cop who’s assigned to mentor/train a naïve and eager-to-please younger cop—except that Father Peter and Father Daniel have crucifixes, not guns, as their weapons.
One of the first things that Father Peter tells Father Daniel is that he doesn’t like wearing a formal clergy uniform because it can intimidate some of the people with whom they interact. Father Peter’s preferred fashion style makes him look more like an angst-filled, scruffy liberal-arts college professor, with a well-worn plaid blazer and a chain-smoking habit as part of that image. It takes a little while for Father Daniel to loosen up in his wardrobe choices, but he eventually starts to wear more casual clothing when he’s with Father Peter, except when they want to use their priesthood to get certain privileges.
As they spend more time together, Father Peter warms up to Father Daniel and opens up a little bit more to Father Daniel about his past. He tells Father Daniel about the horrific exorcism of Nicky Miller and that Nicky burst into flames and died. Father Peter says that he’s still haunted by this tragedy. Meanwhile, Father Daniel won’t tell Father Peter much about himself. When Father Peter asks Father Daniel why he wants to become an exorcist, Father Daniel doesn’t really give an answer.
Before Father Peter and Father Daniel find out about the big exorcism that they have to do in this story, there’s a nonsensical scene of the two priests encountering a demon at a run-down area where homeless people live. They stop in the area, since Father Peter seems to know a homeless charity worker named Helen (played by Robin Bartlett), who is there to distribute some food.
Upon arrival, the two priests see a homeless man named George (played by Acoryé White) chanting out loud while standing over a cylinder garbage can whose contents have been lit on fire. As Father Peter and Father Daniel get closer to the man, Father Daniel brings out a rosary and prays. George reacts as if Father Daniel is the crazy one.
Suddenly, Helen cries out in pain and a wind-like explosion happens that knocks everyone out except for someone who’s become possessed by a demon. (Take a wild guess if it’s George or Helen.) The two priests manage to exorcise the demon in the most mundane and predictable way possible. There’s really nothing terrifying about this scene. Besides, there’s another exorcism in the movie that’s supposed to be scarier but it’s even more ridiculous.
Charlie Giroux (played by Brady Jenness) is a 12-year-old boy who’s going on trial for the murder of his parents and 16-year-old sister. For now, he’s being kept in solitary confinement in a juvenile detention center. And so, Father Peter and Father Daniel naturally want to find out if this boy is possessed by the devil.
They use their status as priests to visit Charlie at the detention center. However, Father Peter thinks Father Daniel should learn how to do these interviews on his own, so Father Peter usually waits outside while Father Daniel talks to Charlie. Thus begins a tiresome and repetitive slog in the movie: Father Daniel does a series of interviews with Charlie, who tells the priest that he keeps having visions of strange men crawling on his chest until he can’t breathe. At one point, Charlie does the inevitable hissing “demon child” attack on Father Daniel, just in case it wasn’t clear that Charlie needs an exorcism.
There are also some distractions to stretch out the already thin plot. Father Daniel suddenly shows that he’s got psychic abilities, so he’s able to vividly see what happened in the Giroux house and what led up to the murders. And so, that leads to scenes of Father Daniel being a ghost-like voyeur in the house, where he spies on some family arguments. It explains the type of relationships that Charlie had with his father (played by Major Dodge), his mother (played by Stephanie Rhodes) and his sister Nellie (played by Evangeline Griffin) before the murders happened.
And there’s a very unnecessary and badly written scene of Father Peter and Father Daniel interviewing some kids, who are around Charlie’s age, at a hangout called Skate City, where the priests and the kids use a ouija board. And somehow, even though these two priests are not psychiatrists or lawyers and have no reason to be involved in Charlie’s murder case, Father Peter and Father Daniel have convinced the cops to let them watch while the police interrogate Charlie.
Longtime actors Pearce, Lang and David have considerable talent that is wasted in this junkpile movie. Fortunately for David, who has the unfortunate role of a priest killed by a crucifix necklace, he isn’t in the movie for very long. Lang has a mediocre supporting role that only gets a few scenes.
Pearce seems to know he’s in a terrible movie and makes an effort to bring some personality to a character that’s written as very hollow. Father David has a much more lackluster personality. Together, Father Peter and Father David are a dreadfully monotonous duo.
This horrendous movie is made worse by Derbez’s wooden acting and Jenness’ hammy over-acting. And because Derbez and Jenness share several scenes together, it makes for a lot of embarrassingly bad moments that are hard to watch. A more effective director should have been able to prevent this clumsy mismatch of actors by making better casting choices.
“The Seventh Day” writer/director Lange makes the same mistakes that a lot of directors of terrible horror movies make: They spend more time on violent mayhem and visual effects (none of which are that good in this film) and neglect the elements of telling a captivating and suspenseful story. The casting in this movie doesn’t work well, and there’s a plot twist which is predictable and obvious to anyone paying attention. It might be hard to pay attention though because “The Seventh Day” is so mind-numbingly boring that it might put people to sleep.
Vertical Entertainment released “The Seventh Day” in select U.S. cinemas and on digital and VOD on March 26, 2021.
