“Takers:” the male version of “Set it off?”

Observing the all-star cast of the movie “Takers,” in theaters now, one would expect this film to be the blockbuster hit of the summer, right? Wrong. Though I am not one to give many spoilers, the film does have some pitfalls, in my opinion. My main qualm with “Takers” is that the movie seems to be a male version of 1996’s “Set if off,” featuring the all female cast of Queen Latifah, Jada Pinkett Smith, Vivica A. Fox and Kimberly Elise. The main differences between the two movies include “Takers’” use of different camera angles, explosions and, well … boys.

At the beginning of the film, directed by John Luessenhop, “Takers” places the viewer in the middle of a bank heist. The accuracy and precision that the thieves use to “take” their loot leads many to believe that this is not the robbers’ first time — this is a group of seasoned professionals. The bank-robbing crew includes Gordon Jennings (Idris Elba), John Rahway (Paul Walker), A.J. (Hayden Christensen) and brothers Jake (Michael Ealy) and Jesse Attica (Chris Brown) successfully completing their “latest heist and leading a life of luxury while planning their next job.” Ghost (Tip “T.I.” Harris), a former member of the team, is released from prison and convinces the group to take down an armored car carrying $20 million.

In the midst of the film, you have corrupted cops, druggy sisters and a character that is a double bad guy — not to mention Zoe Saldana’s character playing the “good” fiancé role to Ealy’s Jake. While Saldana’s usual performances exhibit her strong character, her portrayal of fiancé Rachel Jansen became background noise to the story at hand. Her demeanor was rather stiff and would have benefited from being part of the action.

While “Takers” is action-packed, the viewer does not have the same attachment to its characters as they would have in “Set it off;” the female gangsters of that film lived a hard life at the bottom of the totem pole and elicited compassion from the viewer, connecting the viewer to their situation. The film’s director, F. Gary Gray, portrayed a sense of pity and camaraderie between the women that could not be shaken by anything. In “Takers,” however, greed and power are thrust into the hands of the characters. The camaraderie is a bit shaky and the viewer never knows what to truly believe. Also, T.I.’s presence seems to overshadow the plot and the other characters. Although he is a local Atlanta rapper, perhaps someone more sinister should have been cast in the role. He did a great job, but an LA film doesn’t need Georgia.

Overall, “Takers” is a very raw film. While this PG-13 flick is great for mind-numbing action, moviegoers may want to wait until this film comes out on video.

“Scott Pilgrim” versus convention

Rocking into theaters with a level of anticipation second only to the legions of screaming girls for the Twilight saga, the comic-to-film adaptation of Bryan Lee O’Malley’s graphic novel series “Scott Pilgrim” is here. Following a whirlwind fan-courting press tour (including events here in Atlanta) and a successful visit to San Diegos’s Comic-Con comic and science fiction convention, the newest film by “Shaun of the Dead” director Edgar Wright certainly feels big. Some fans may have read the entire series (I haven’t read past book one), but does the movie stand up to its tagline? Is “Scott Pilgrim vs. The World” an “epic of epic epicness?”

For the uninitiated, our hero is Scott Pilgrim, a nebbish 22-year-old loser (played by none other than eternal nebbish loser Michael Cera) who is in a band and currently dates a 17-year-old girl, which he is teased about by everyone around him. He soon meets the swoon-worthy Ramona Flowers at a party, weasels her into a date and impresses her with his band. However, there is a catch. In order to go out with Ramona, Scott must face her seven evil exes and defeat them, in an entirely serious video-game-laden sense of the term, to win her heart.

As faithful to its source material as last year’s “Watchmen” adaptation, “Scott Pilgrim” goes to great lengths to preserve the look, feel and words of the graphic novels. A recent YouTube mash-up where a fan recreated the movie’s trailer from scans of the original comic pages is not far off from the movie’s final product. The film’s unique visual style is complete with on-screen onomatopoeia, split-screen panels and even some actual O’Malley artwork.

“Scott Pilgrim” is the first movie that is truly and unabashedly for the Millennial Generation — the 18 to 30-year-olds who grew up playing video games, consuming pop culture and surfing the Internet, all while putting off adulthood as long as possible. This is the film’s greatest strength as well as its weakness. From the minute the Universal Pictures logo and theme appears pixilated and scored to 8-bit music, the viewer is made aware that the entire movie is one giant paean to gaming and pop culture riffs. Each evil boyfriend is a “boss” in an elaborate video game, even exploding into coins upon defeat. Pixilated weaponry appears from nowhere. The clever and well-executed sound design is laced with gaming references, emoticons, on-screen indicators, even laugh tracks and sound bites from a certain 90s sitcom.

While the sheer amount of Generation Y ephemera makes watching “Scott Pilgrim” a joy for the college crowd, the film can also be brought down by that same crowd’s Internet-addled attention span. In an effort to squeeze six volumes of content into a two-hour movie, Wright must blaze through the plot at breakneck speed. This Attention Deficit Hyperactivity Direction makes any character attachment extremely difficult for the audience, much less introductory plot comprehension, unless you are a devotee to the comic book series. There are massive amounts of paper-thin characters to know and a ream of shallow plot lines to cover in order to make the fan boys happy. Yet, like a movie whose Adderall finally kicks in, the plot begins to focus during the latter half and becomes more comprehensive and enjoyable until the final battle with Jason Schwartzman’s Gideon in an epic four-person melee of fun.

If you have not guessed by now, “Scott Pilgrim vs. The World” is not your typical movie. While entertaining and hilarious, the movie is very much for under-40 audience. Anyone who fits this description will probably eat up the movie as a love letter to the Nintendo generation. “Scott Pilgrim” probably won’t bring in the masses, forever consigned to cult-hit status, but will likely be a dorm room staple in the years to come. At the very least, it earns this movie an extra life.

Dali’s beginnings in “Little Ashes”

Robert Pattinson, best known as Edward from the “Twilight” series, has touched the hearts of fans all over the world. Yet, shortly after he struck Twilight fame, he played Salvador Dali in the film “Little Ashes,” released in the U.S. in 2009. The movie, which is rated R, depicts the early life of the surrealist artist, with Pattinson pushing the envelope just as Dali himself pushed boundaries.

Filmed in Spain, the movie begins with a shy and gifted Dali in an artist residency in Madrid. Here, the young artist comes in contact with the residency’s social elite poet Federico García Lorca (Javier Beltran) and aspiring filmmaker Luis Buñuel (Matthew McNulty). Their trio is soon known as the most modern group in all of Madrid. Eventually, the relationship between Dali and Lorca becomes more intimate. The attraction between the two scares them to the point that Dali flees from the advances of the young poet. He moves to France, where he meets Pablo Picasso. At this point in the movie, Dali’s political mind changes. The political climate of the time influenced his work as well as his relationship with Lorca, though Dali may not have been truly committed to those ideals.

“Little Ashes” is interesting and breaks down the heart of an artist dedicated to his work. The film indicates that Dali himself was not just an artist, he was a piece of art himself. His belief in surrealism prompted many artists to discover the true meaning of being a current artist and a marketable asset. While the film may start off rather slow, it was good overall. However, the story could have delved deeper into Dali’s life and less into the life of Lorca, though the poet was seen here as a driving force behind many of Dali’s actions. A 2010 GLAAD Media Award winner, this film will keep you on your toes and prompt you to want more from one of the greatest artists of all time.

Intimate and complex relationships explored in “Wench”

Diving into an unsettling time in American history, author Dolen Perkins-Valdez’s “Wench: A Novel” takes an intimate look at the relationships between four female slaves and their white masters. The book follows Lizzie, Reenie, Sweet and Mawu, chronicling their lives as mistresses on and off of their plantation homes. Taken every year to a free state vacation spot, the women are treated as greatly as wives yet, also treated as poorly as dogs by their masters.

The novel takes place before the Civil War and the women see what the free world has to offer; they each contemplate if they should risk everything they love — their lives, the belief of a master’s “love” and, namely, their children — to escape to the world of freedom in the North.

While the book shows you the world and experiences of the four women on vacation, Perkins-Valdez decides to dig deeper into the life of Lizzie. Psychologically, the reader is sucked into Lizzie’s abuse and confusing role as a slave and mistress. While unsure of the author’s reasoning behind telling only Lizzie’s full history, the reader will find her story remarkably fascinating. However, interest in the other women’s lives may prompt readers to anticipate a sequel to the novel. Noted with this, readers may find the transition from the four characters’ stories to only Lizzie’s personal experience slightly difficult to follow.

While the book has some cause for confusion, its narrative is quite a page-turner and leaves the reader reeling at the behavior of this past way of life. “Wench” not only shows the yearning of all human beings to be free, but also depicts the complexities of human relationships. Although the plot, characters and subject matter engage the reader, the book lacks a grand finale. The story does not provide adequate closure for the characters and situations at hand — one wonders if Perkins-Valdez will write a sequel after all.

Dolen Perkins-Valdez’s writings have appeared in “The Kenyon Review,” “StoryQuarterly,” “P•M•S: poemmemoirstory,” “North Carolina Literary Review,” “Robert Olen Butler Prize Stories 2009” and “African American Review.” She is a former University of California President’s Postdoctoral Fellow and graduate of Harvard University. Born and raised in Memphis, Tennessee, she now divides her time between Seattle and Washington, DC. “Wench” is her debut novel. You can follow the author on Twitter or visit her website.

“Inception” is the best dream you’ve ever had

Most people know Christopher Nolan’s name as the director behind the mega-hit Batman franchise of the past few years. You know, the one that made half a billion dollars and won Heath Ledger a posthumous Oscar for Best Supporting Actor? Despite his blockbuster success, Nolan’s personal pet projects are the ones that have amazed, mystified and baffled moviegoers since his 2001 film “Memento.” That film, along with “Insomnia” and “The Prestige,” were mind-bending, smartly crafted cinematic wonders that demanded repeated viewings and admiration for the man who could concoct them. Roaring into the current summer movie climate of sequels and underachievers, Nolan’s newest work, “Inception,” is no different.

If you have seen any of the promotional marketing for “Inception,” you know that the film’s public relations department was secretive to the point of confusion. Many were intrigued by the twisty visuals and the wide-ranging cast roster, but few knew the plot’s contents. So, what the heck is “Inception” about, exactly? The film is ⎯ at its heart ⎯ a heist movie, though there are no bank robberies and no hostages taken. Instead of plundering safes, the targets here are people’s minds ⎯ robbing them not of money, but of their free will when the mind is most vulnerable. The film follows Dom Cobb (Leonardo DiCaprio, in his second mind-bender this year), a man who performs corporate espionage with the help of some near-future biotechnology that allows him to enter the dream worlds of others. Usually, Cobb tries to steal ideas hidden in the recesses of a person’s mind, but when offered the chance to redeem his troubled past and return to his family, he assembles an elite team of mind hackers to perform “inception” ⎯ that is, enter the dream state and try to plant an idea instead.

Enigmatic, dense and visually intense are just a few words one would use to describe “Inception.” These sentiments are compounded by the fact that the concept of the film is complex and multi-faceted. This is a movie that equals “The Dark Knight” in length and requires the first hour of the film to set up the ground rules of the world you have just entered. Even though this paragraph may scare away half of those reading this article, I implore everyone to stick with the film ⎯ the back half of the movie pays off in spades.

Some have said that the story lacks pathos, that while we are on the edge of our seats with suspense, we don’t really care what happens to Cobb or any of the other players. They’d be right, to an extent, but when a story is this well done, sometimes you don’t need to be entirely emotionally invested in the characters to anticipate the story’s outcome.

The brilliance of the film emerges over the course of the inception job, as Cobb and his crew attempt to break up a conglomerate by planting seeds of doubt in an energy heir’s mind. To do this, the “architect” (Ellen Page) builds levels of dreams as if they were a video game, and the team must enter deeper and deeper levels of their target’s subconscious. Each level, however, operates under ever-expanding time constraints. If the first level of a dream spans 30 seconds, the next spans several hours, the next spans weeks, and the next spans years. By the time you get to the meat of the third act, Nolan is juggling so many narrative balls that the film is an impressive, exciting feat to watch.

Commercials have shown snippets of some of the amazing, mind-bending special effects, but they really are great to see on the big screen. Nolan was essentially given carte blanche on this production thanks to his Batman success, and spends his money on lavish action sequences, several trips around the globe and manipulations of time that perfectly complement the mechanics set up in the narrative. Yet, the visual interest that gets you to the cineplex is by no means the feature here. This is a story-driven movie with some excellent eye candy for good measure ⎯ the complete opposite of most summer movies.

With “Inception,” Christopher Nolan has crafted yet another unique world that demands repeat viewings to fully grasp what you just saw. The movie is a daring gamble: a self-contained amalgamation of psychological thriller, heist movie and action epic that makes you question what is real. Like the best of dreams, “Inception” may not make sense at times, but stays with you long after you’ve come to.

“Perfect” piece of confusion

What would you do if your mother raised your brother as a sister? Would you be angry, confused or both?  Daniel Black’s “Perfect Peace” is a novel dedicated to the age-old question: Are we born into our gender or taught? This book explores gender identity and roles in this bizarre story.

Following the Peace family in rural Arkansas, the story falls on Emma Jean Peace, who has six sons and another baby on the way. After praying for a little girl, Emma Jean is horrified to discover that she has not given birth to a girl, but rather, a boy. She is disenchanted by the whole ordeal and decides to raise her baby son as a daughter, naming the child “Perfect.” Emma Jean’s secret is well-hidden, until one day, one of her sons — who is blind — discovers Perfect’s awful truth. As Perfect begins to age and house the expectations of any developing girl, the truth becomes awkwardly unavoidable. Emma Jean is faced with the dilemma of explaining to Perfect her true sex and eventually reveals the horrendous facts to the whole family. Perfect later changes his name to Paul and learns to grow into himself, his sexuality and the idea of what it truly means to be a man.

This mesmerizing tale is a must-read due to its subject matter, which may be considered a taboo in the black community. The story grips at any reader’s subconscious feelings of where anyone truly fits in society, especially in regards to gender roles. Although this book is quite a page-turner, the story does not resolve the outcome of the family, or of Perfect/Paul. Leaving the audience with hanging foreshadowing events, the book allows for speculation of a sequel.

“Perfect Peace” is available in bookstores, as well as on Kindle.

Daniel Black is a native of Kansas City, Kansas, yet spent the majority of his childhood years in Blackwell, Arkansas. He is an associate professor at his alma mater, Clark Atlanta University, where he now aims to provide an example to young Americans of the importance of self-knowledge and communal commitment. He is the author of “They Tell Me of a Home” and “The Sacred Place.”

Black will be visiting the Auburn Avenue Research Library, located at 101 Auburn Avenue NE Atlanta, GA 30303, next month.

Fourth of July in the ATL

Photo by Jennifer Mestre

Looking for the perfect venue to celebrate the nation’s independence this year? The following are a few options around the city to watch fireworks, have a picnic with family and friends, see some entertainment and be proud of being an American:

Centennial Olympic Park

The park offers free festivities all day, concluding with a fireworks spectacular provided by Airtran Airways. Children’s activities are from 12 p.m. – 4 p.m. and include arts and crafts, face painting, inflatables, stilt walkers and more. Celebrity guests will be Chef Sara Moulton as well as the Q100 radio personalities. Free musical entertainment begins at 5 p.m. The headliners for the evening are 911 band, Edens Edge and Smithereens. Marta is strongly encouraged for transportation. Click here for more information.

Lenox Square Mall

The “Legendary 4^th of July Fireworks and Fun” is reputed to be the largest fireworks display in the Southeast. Festivities begin at 12 p.m. and include activities for the whole family, such as live musical entertainment and a “Kid Zone.” The featured bands for the evening are Party on the Moon and City Heat. Mall stores and restaurants will be open from 12 p.m. – 6 p.m., with the musical entertainment beginning at 6 p.m. Fireworks are scheduled to begin at approximately 9:40 p.m. Click here for more information.

Stone Mountain Park

The “Fantastic Fourth Celebration” at Stone Mountain is a must-see for the whole family. The park offers outdoor activities including a new ropes course, golf, a scenic train ride, the Summit Skyride, the Antebellum Plantation and Farmyard, museums and the Lasershow Spectacular. Park attractions will open at 10 a.m. on July 3, 4 and 5. Each evening, immediately following the lasershow, there will be a spectacular fireworks display. Vehicle entry to the park is $10 for a one day permit or $35 for an annual permit. No free park re-entry is allowed. The lasershow begins at 9:30 p.m. For more information about Stone Mountain Park, click here.

Six Flags over Georgia

Enjoy the thrills of the park’s roller coaster rides as well as an all-you-can-eat buffet style Fourth of July picnic on Saturday, July 3 and Sunday, July 4 from 11 a.m. – 2 p.m. Prices are available on the Six Flags website. Park hours on July 4 are 10:30 a.m. – 10 p.m. Click here for more information.

Lake Lanier Islands Resort

The resort offers water attractions such as the exciting FunDunker, Wild Waves and numerous waterslides. The lake also has a half mile white sandy beach, the best spot to watch North Georgia’s largest fireworks display, which will be presented at dark. After 3 p.m. fireworks pricing for Beach and WaterPark admission is $14.99 per person. After 7 p.m. fireworks pricing for Beach and WaterPark admission is $10 per person, while the Lake Lanier Islands and Resort gate price is $10 per vehicle. Click here for more information.

“Toy Story 3″ is Pixar Perfect Playtime

A friend mentioned as we walked out of the theater for “Toy Story 3,” “If you look at all three movies, [they paint] a perfect history of computer animation.” Yet, more so than just visuals, Pixar’s latest in the toy-tastic trilogy is a lesson in the history of the company’s films. The movie is a love letter to those of us who grew up with the “Toy Story” franchise, starting with the original in 1995, and the company’s public efforts since then.

The latest “Toy Story” may not look groundbreaking from stills, retaining the visual style of the other movies to a tee, but throughout the film’s 105 minute runtime, Pixar throws tricks into the computer-generated magic you see on-screen. Beginning with an opening fantasy sequence that incorporates a nuclear cloud of Monkeys in a Barrel, the animation wizards behind the scenes show off just how far the tools of the trade have come. While many of the characters maintain their simplicity, the advancement of the environments they live in and the amount of detail packed into some key scenes is a treat. The cinematic treatment is equally well done, with angles and shots that make you smile from their integration and inventiveness.

Leave it to Pixar to overcome visual pizazz with a moving, engrossing story in the third movie of a trilogy. Far from a half-hearted attempt to cash in from the franchise’s success, the development of the story and the sheer quality of the writing rivals some of their best works. As previously mentioned, “Toy Story 3” is, at its core, the original film aged 15 years to perfectly adapt to its original audience. Pixar usually makes films that kids and grown-ups equally adore, but this one, even more so than “Wall-E” or “Up,” is directed at the 18–24 year old group.

The plot of the film, which portrays what happens to Woody, Buzz and the gang after their owner, Andy, packs for his impending college move, may start out lighthearted, but takes a welcome dark turn at the halfway point. The daycare to which the toys are mistakenly donated, ironically named Sunnyside Daycare, is far from sunshine and rainbows. To avoid spoilers, let’s just say that not everything is as it seems, and what follows involves surprising twists and struggles with what growing up and moving on from childhood is all about. The ensuing escape plan hatched by Woody pulls from the best prison escape films while managing to stay hilarious and heartfelt like the best animated movies.

The number of vintage toys and Easter eggs Pixar crammed into the flick is also sure to provide gleeful nostalgia and excitement at the fact that none are wasted. They didn’t just throw in a cymbal-crashing monkey or hilarious Ken doll for kicks. Like the toddlers in the daycare, I feel that little kids watching the movie may be in for the visceral fun, watching animated toys spring into action, but they won’t understand the more realized deeper joy. A double whammy of sadness and joy in the final act will leave you surprised, elated and, then, bawling your eyes out — all in the span of 15 minutes.

The geniuses behind the scenes not only find the perfect way to wrap up the movie, but also close the curtain on an era of Pixar that seems to be passing the directorial and commercial torches. A couple of years ago, when Pixar announced their production schedule for 2009–2012, many groaned at the appearance of three sequels: this movie, “Cars 2” and “Monsters Inc. 2.”

Far tighter in terms of how all the pieces of the cinematic puzzle fit together than previous “Toy Stories,” “Toy Story 3” is one of Pixar’s best films — maybe even better than the first, if less historic. If you have yet to see this movie, please do so — though judging by its box office dominance, you probably have. Whether you’re seeing the film for the first, second or even third time, “Toy Story 3” proves playtime isn’t just for kids.

Historical thriller in “Glorious 39”

Writer and director Stephen Poliakoff’s latest film, “Glorious 39,” centers on family conspiracy in pre-World War II Britain. The thriller stars Romola Garai, Bill Nighy, Julie Christie, Jeremy Northam and a host of other celebrated British actors. Garai plays the main character, Anne Keyes, an up-and-coming actress and adopted daughter of a politically active aristocratic family in 1939. On the cusp of war with Germany, tensions between political parties rise — as well as tensions in the Keyes family.

Things begin to go wrong for Anne when she comes across some records at her family’s country home, which turn out to be audio recordings of secret political meetings rather than the latest jitterbug. As she further investigates the records, she uncovers a pro-appeasement movement to placate Hitler and avoid Britain going to war. Anne’s discoveries do not go unnoticed, however, and some of her friends and loved ones are murdered in the process. Anne fears for her own life, but is determined to expose the pro-appeasement group and their underhanded dealings by reaching Winston Churchill, who has not yet been named Prime Minister. In a surprise ending, all is revealed as to who the members and murderers are and how Anne tries to survive.

Garai’s performance is the highlight of the movie; she conveys her emotions with all of her body and draws the audience into her mindset and actions. Nighy’s presence in the film was a bit lackluster, perhaps due to his limited role. While the beginning and middle of the film were quite thrilling to watch, the plot began to unravel toward the end. Halfway through the movie, Britain declares war on Germany, so what is the point of continuing the pro-appeasement movement? Also, while the twist ending is a surprise, the final scene falls flat with a resounding “thud.” Yet, overall, this historical psychological thriller is a must-see for Brit flick fans.

Originally released in the UK in November 2009, “Glorious 39” did not reach American audiences until January 2010 at the Palm Springs International Film Festival. The film is currently available on Netflix and YouTube. To learn more about “Glorious 39″, click here.

Comedy ensues at “Funeral”

The film “Death at a Funeral” originally was released in 2007 as a British comedy, starring Matthew Macfadyen and a host of other celebrated British actors. Recently adapted for the American screen, the movie now has a cast featuring Chris Rock, Martin Lawrence, Tracey Morgan, Danny Glover and many other American comedic actors.

If you like a good chuckle, this film may fit in your comedic repertoire, falling among the ranks of “Dumb and Dumber,” “Dance Flick” and “Big Mama’s House.”  During the preparations for the funeral of the family patriarch, the oldest brother of the family, played by Chris Rock, tries to pull everything together while unusual and funny circumstances begin to unwind.

Although E! Entertainment News hyped up the film and its original British version, which proved to be a hit overseas, I have found a few cons. The film moves at a slow pace for the first half with too many distractions. Also, some of the actors give great performances, such as Martin Lawrence and Chris Rock, while others appear lackluster. Lawrence and Rock seem to hold back their personalities and skills to balance out with the other actors. Some scenes are more dramatic than necessary, and the comedy wasn’t back-to-back laughter. Despite these observations, the movie does provide great comedic entertainment.

“Death at a Funeral” is now playing in theatres. The film is rated R.

Next Page »