I’m into the early hiphopsploitation for many reasons: they’re a time capsule of an era and culture I’m fascinated by, they’re sometimes humorously dated or clueless about the subject, and they were what introduced me to that world, accurately depicted or otherwise. The BREAKIN’ movies were the big ones, but at the time I liked BEAT STREET better – it felt more authentic, and didn’t center on an outsider. Years later I discovered WILD STYLE (definitely the most legit one) and STYLE WARS (the documentary that seems to have inspired some of BEAT STREET), but also started to be much more enamored by the cartoonish world of Special K, Turbo and Ozone in the BREAKIN’s.
WILD STYLE was first, released in 1983. But check out the release schedule for ’84:
May 4: BREAKIN’ June 8: BEAT STREET September 28: BODY ROCK December 21: BREAKIN’ 2: WE ALREADY MADE A SEQUEL TO BREAKIN’
BODY ROCK – the one from New World Pictures – is the one I never knew about back then. It’s also by far the dumbest one. Therefore I have no choice but to recommend it. It stars Lorenzo Lamas (in the midst of Falcon Crest, five years before SNAKE EATER) as Chilly D, a… graffiti artist? He keeps saying he is, but we only see him helping with one subway car during the opening credits. He’s the founder and namer of the Body Rock Crew, his friends who breakdance, and he seems to be some kind of club promoter who introduces them when they dance at a place called Rhythm Nation. Then he stands on the side awkwardly doing a few moves. (read the rest of this shit…)
NOTE: This movie’s win for Best Picture – Drama last night at the Golden Globes has been received with controversy, mostly involving the morality of rewarding a director who is awash in allegations of sexual assault. I barely mention that aspect in this review because I was able to separate the art from the artist and completely reject the movie on its own merits. It would be an embarrassing choice even if it was made by saints.
You know I’m a positive guy and I don’t do negative reviews that often, and also I tend to think even movies like ROBIN HOOD are okay. Lately though I’ve been watching last year’s awards-nominated type movies to prepare for the season and now I’m finally seeing movies I really don’t like.
I’m afraid I must report that BOHEMIAN RHAPSODY is the new gold standard for horse shit musician biopics. It feels simultaneously adapted from Wikipedia and fudging every single detail for pandering dramatic license.
Rami Malek (NEED FOR SPEED) thankfully abandons his one bug-eyed expression of intensity I decided I was done with after the first season of Mr. Robot. Instead he throws every actorly actor thing he’s got at playing Freddie Mercury, frontman of Queen, essayers of the HIGHLANDER theme (not pictured). Many have said he’s great in the role, and I don’t entirely disagree, but it is a fact that I spent the early scenes wondering why Malek believed Mercury should always look like he was sucking on a lemon.
Then they started talking about him having extra teeth and I remembered hearing something about Malek’s special dentures for the role. And pretty much for the entire rest of the movie I couldn’t stop thinking he was struggling to keep those things in. You see the mouthpiece poking out of his cheeks, his lips frequently moving over it, preventing it from popping out. I kept thinking how sore his face must’ve been.
A STAR IS BORN, from director Bradley Cooper, is a very good adaptation of the trailer that played before every single movie I saw in a theater for the last three months. I saw that trailer so many times I would try to act it out and could sing the two songs (one with correct lyrics, even). I would get just those song fragments stuck in my head for days. So it’s exciting to discover that they have second verses.
I don’t know if it’s as good as an adaptation of the 1937 film starring Janet Gaynor and Fredric March, or the 1954 one starring Judy Garland and James Mason, or the 1976 one starring Barbra Streisand and Kris Kristofferson, or the 1998 made-for-cable one starring Brandy and Casper Van Dien, because I haven’t seen any of them and made up the last one. I have to assume it’s closest to the ’76 because actor Bradley Cooper (THE MIDNIGHT MEAT TRAIN) definitely seems to be channeling Kristofferson’s rugged country poet vibe. I even contemplated whether or not he should be allowed to play Whistler if they ever do a new BLADE. Then I realized that really the voice he’s doing is Sam Elliott, so I was delighted when the actual Sam Elliott (ROAD HOUSE) showed up, playing his older brother/road manager. I wondered if that was awkward between the two actors, and then I found a Good Morning America interview where Elliott says Cooper (THE MIDNIGHT MEAT TRAIN) warned him “this is gonna be a little weird” before playing him a tape of the voice he was working on. “And it was a little weird.”
What if Elliott hadn’t been available? If they ended up casting, like, Don Johnson or Willem Dafoe or somebody, would they have to imitate Sam Elliott too? (read the rest of this shit…)
Had things gone differently, Michael Jackson would’ve turned 60 today. Every year on his birthday I like to write about one of his videos. This year I chose “Earth Song” because it seems like we need it – it sadly seems more and more relevant as time goes on – and because I think it’s one of his lesser known videos.
At least it was to me. It was the third single from the 1995 album HIStory: Past, Present and Future, Book I, which I didn’t actually buy when it first came out. I don’t know if it was wherever I was in life or the fact that it was half greatest hits, but I didn’t pay as much attention to that album as I had some of the other ones. I did really enjoy the weird promo they were showing on BET and MTV, where Michael leads a scary army and a giant statue of him is forged and unveiled to a crowd of screaming fans. And at the time I thought those were Rambo-style bullet straps on the statue. I still don’t know what the fuck he was trying to communicate with that short film, and also I still enjoy the audacity of it.
Do you guys know who Roxanne Shanté is? In the early days of hip hop, back when it was still pretty much just a New York thing, she was one of the greatest battle MCs. And she was also a 14-year old girl. Marley Marl, the producer behind Big Daddy Kane, Biz Markie, MC Shan, Kool G Rap, and others, was her neighbor in the Queensbridge housing projects. The way she tells it, one day when she was going to do her laundry he yelled down to her from his window to ask if it was true she could rap, and would she come up and record some rhymes for him. When he played her the beat that had been sampled in UTFO’s hit “Roxanne Roxanne,” she says she freestyled about being the Roxanne in the song. Ten minutes later she went back to the laundry and forgot all about it until her friend called and told her it was playing on the radio. And then it became a phenomenon.
I never knew much about her or heard that story until she was on Ice-T’s podcast three years ago. I actually wonder if that interview gave writer/director Michael Larnell the idea to make a movie about her. Either way, a bunch of the details she mentioned to Ice ended up in the biopic ROXANNE ROXANNE, which played Sundance in January and was released direct to Netflix on Friday.
I think Shanté’s story is more natural for a movie than your usual superstar music biopic it was more neighborhood legend than media event. I know her voice and style and “Roxanne’s Revenge” and some of the responses it inspired from rival female MCs, like when UTFO came back with someone calling herself “The Real Roxanne” added to the payroll. But she’s not like Johnny Cash or someone where they’re wedded to depicting the creation of all the most famous songs and their climbs up the charts and a bunch of iconic moments that people would be mad if they skipped. And there’s not a bunch of footage we’ve all seen a million times and can’t help but compare it to. (read the rest of this shit…)
I heard about this a couple years ago as “the Nigerian Nigerien remake of PURPLE RAIN.” And that’s a fairly accurate description, so obviously I had to see it eventually.
This is the first film made in a Tuareg language – Nigeriens mostly watch movies in Hausa – and apparently they don’t have a word for purple, hence the poetically clunky title. I’m sure they also have NOON THE COLOR OF BLUE WITH A LITTLE RED IN IT and THE COLOR THE COLOR OF BLUE WITH A LITTLE RED IN IT.
Guitarist Mdou Moctar stars as himself, a nomadic musician who arrives in the city of Agadez, Niger and starts up a rivalry with the local musicians. Like PURPLE RAIN, the movie aims to hype up an interesting musical scene, but the Sahara is pretty different from Minneapolis. There does seem to be some night life, but not really a club like the 1st Ave. Mostly these guys are competing for wedding gigs, and their songs become popular when people trade them on SIM cards for their cell phones. They keep handing each other phones to listen to songs on. A sort of in-person file-sharing system. (read the rest of this shit…)
Today is Michael Jackson’s birthday. On this day in 2009 I wrote about Martin Scorsese’s “Bad” video, and in 2016 I wrote about John Landis’s “Black or White.” I like the idea of making it a tradition, so this year I’m taking a look at “Remember the Time,” directed by John Singleton (SHAFT [2000]) and produced by Reid Shane (production manager, BIG BAD MAMA II) of Propaganda Films.
“Remember the Time” was filmed in January of 1992 and simultaneously debuted at 8:25 pm February 2nd on MTV, BET and Fox, another major television event for MJ. It was the second single from the album Dangerous, so it was the followup to “Black or White.” I suspect it’s intentional that the 9-minute short film and/or video links to the last one through the use of cats. Remember, when last we saw Michael he had morphed into a panther and exited the soundstage. This video begins and ends with a cat, though not one that appears to represent Michael. Just a feline associate, I presume. (read the rest of this shit…)
Do you ever wonder what happened to The Kid (Prince, UNDER THE CHERRY MOON) after PURPLE RAIN? (SPOILERS FOR PURPLE RAIN.) His dad had hit his mom and shot himself. Wendy and Lisa had been mad at him for being a dick, and Apollonia had left him for being abusive and a dick. Club owner Billy had thought his music was too self-indulgent and wasn’t bringing ’em in anymore. But then he came out and performed “Purple Rain” for the first time and… I mean, it was “Purple Rain.” It was beautiful and it was sort of an apology to everybody and they were all moved and blown away, even Morris Day. And The Kid seemed to make up with Apollonia and his dad was still alive in the hospital and did everything turn out okay for everybody, is what I’m asking?
Well, as far as what happened with Apollonia and The Revolution and some of the other stuff, you’re gonna have to go to the Expanded Universe novels I guess. But to see where The Kid was at in 1990 you gotta watch the last feature film Prince ever made (this time as writer/director/composer/star), GRAFFITI BRIDGE. (read the rest of this shit…)
Before Riverdale, before the Marvel Cinematic Universe, before Christopher Nolan Batman, before 9-11 even, there was a different type of comic book movie: JOSIE AND THE PUSSYCATS. Inspired by the Archie comic book and Hanna-Barbera cartoon, writer/directors Harry Elfont & Deborah Kaplan told a goofy version of the little-rock-‘n-roll-band-tested-by-overnight-superstardom story.
Actually maybe we should forget about comics and consider this timeline: it was a year before American Idol started. The Spice Girls had packed it up the year before. NSYNC and Backstreet Boys were still popular. The movie seems to offer the Pussycats as a refreshing alternative for teenage girls to obsess over instead of boy bands, but it should be noted that Destiny’s Child, Alicia Keys, Jennifer Lopez, Janet Jackson, Brandy, Madonna, Mary J. Blige, Pink, and Aaliyah (plus Britney Spears and Jessica Simpson) all had hits that year. But I guess the Pussycats do stand out by playing instruments. Their songs are kind of sassy pop punk, not good in my opinion but not as intolerable as some in-movie music. (read the rest of this shit…)
I got the distinct feeling you guys were bored to death when I did a mini-jazz series after LA LA LAND came out (reviewing MO’ BETTER BLUES and THELONIOUS MONK: STRAIGHT NO CHASER). You know, you follow your muse, and sometimes your muse is heading out north when the zeitgeist already got on a plane going south two days ago. But I’m glad I went on that kick if only because it inspired me to finally watch ‘ROUND MIDNIGHT (1986), French director Bertrand Tavernier’s beautiful tribute to the scene of American bebop players transplanted to Paris circa 1959. Real life saxophone legend Dexter Gordon plays fictional saxophone legend Dale Turner as he tries to recapture inspiration and meaning during a stretch of depression near the end of his life.
With his froggy voice, tired eyes and odd sense of humor, sixty-something-year-old Gordon’s is a non-actor performance so compelling he was nominated for the best actor Oscar. Of course he also plays live music all throughout, so Ryan Gosling wouldn’t have been as good in the role.
(The Oscar went to Paul Newman for THE COLOR OF MONEY. Herbie Hancock did win one for ‘ROUND MIDNIGHT’s score, taking out James Horner’s ALIENS and Ennio Morricone’s THE MISSION.) (read the rest of this shit…)
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Recent commentary and jibber-jabber
grimgrinningchris on The Voyeurs: “Also, I wonder if naming dude Sebastian (Seb) was a reference to Sebastian Valmont in Cruel Intentions/Dangerous Liasons etc… I…” Apr 22, 20:33
grimgrinningchris on The Voyeurs: “That’s rad, Vern! Yeah, I’ve got it put into at least 10 friends queues from my recommendations so far… we’ll…” Apr 22, 17:22
Glaive Robber on Five Fingers For Marseilles: “Cool find! Indeed, this looks visually gorgeous, and I could tell from “Love And Monsters” that this guy had chops.” Apr 22, 13:32
VERN on The Voyeurs: “If you don’t mind let’s agree to disagree with JoJo on the intimacy coordinator thing. I think we’ve argued that…” Apr 21, 18:23
Glaive Robber on Road House (2024): “https://lwlies.com/articles/road-house-remake-original/ Pretty enjoyable article comparing the original to the remake.” Apr 21, 17:31
grimgrinningchris on The Voyeurs: “The point, JoJo that as so many others, including Vern, have pointed out is that if there are stunt coordinators,…” Apr 21, 16:12
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Muh on Drive-Away Dolls: “Y’all here seem to generally like this one more than me…I thought this was TERRIBLE, the kind of awful movie…” Apr 20, 15:23
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caruso_stalker217 on Drive-Away Dolls: “I just watched this expecting it to be a bit of harmless fluff, which is exactly what it is. Is…” Apr 19, 23:18
hurtado on Rebel Moon Part One: A Child of Fire: “Just watched THE SCARGIVER myself and it’s one thing to be … inspired … by Kurosawa, but when the end…” Apr 19, 19:12
Snowden on Rebel Moon Part One: A Child of Fire: “I won’t go too far into my typical snide commentary on his Ayn Rand fanboyism that seems to inform almost…” Apr 19, 16:32
Felix Ng on Rebel Moon Part One: A Child of Fire: ““Sigh” Just saw THE SCARGIVER. This may be one of the worst films of 2024. Boring and cliche.” Apr 19, 15:02
VERN’S “I RECOMMEND THE SHIT OUT OF THIS PRODUCT” CORNER:
I’m into the early hiphopsploitation for many reasons: they’re a time capsule of an era and culture I’m fascinated by, they’re sometimes humorously dated or clueless about the subject, and they were what introduced me to that world, accurately depicted or otherwise. The BREAKIN’ movies were the big ones, but at the time I liked BEAT STREET better – it felt more authentic, and didn’t center on an outsider. Years later I discovered WILD STYLE (definitely the most legit one) and STYLE WARS (the documentary that seems to have inspired some of BEAT STREET), but also started to be much more enamored by the cartoonish world of Special K, Turbo and Ozone in the BREAKIN’s.
NOTE: This movie’s win for Best Picture – Drama last night at the Golden Globes has been received with controversy, mostly involving the morality of rewarding a director who is awash in allegations of sexual assault. I barely mention that aspect in this review because I was able to separate the art from the artist and completely reject the movie on its own merits. It would be an embarrassing choice even if it was made by saints. 
A STAR IS BORN, from director Bradley Cooper, is a very good adaptation of the trailer that played before every single movie I saw in a theater for the last three months. I saw that trailer so many times I would try to act it out and could sing the two songs (one with correct lyrics, even). I would get just those song fragments stuck in my head for days. So it’s exciting to discover that they have second verses.
Had things gone differently, Michael Jackson would’ve turned 60 today. Every year on his birthday I like to write about one of his videos. This year I chose “Earth Song” because it seems like we need it – it sadly seems more and more relevant as time goes on – and because I think it’s one of his lesser known videos.
Do you guys know who Roxanne Shanté is? In the early days of hip hop, back when it was still pretty much just a New York thing, she was one of the greatest battle MCs. And she was also a 14-year old girl. Marley Marl, the producer behind Big Daddy Kane, Biz Markie, MC Shan, Kool G Rap, and others, was her neighbor in the Queensbridge housing projects. The way she tells it, one day when she was going to do her laundry he yelled down to her from his window to ask if it was true she could rap, and would she come up and record some rhymes for him. When he played her the beat that had been sampled in UTFO’s hit “Roxanne Roxanne,” she says she freestyled about being the Roxanne in the song. Ten minutes later she went back to the laundry and forgot all about it until her friend called and told her it was playing on the radio. And then it became a phenomenon.
(Akounak tedalat taha tazoughai)
Today is Michael Jackson’s birthday. On this day in 2009 I wrote about 
short film and/or video links to the last one through the use of cats. Remember, when last we saw Michael he had morphed into a panther and exited the soundstage. This video begins and ends with a cat, though not one that appears to represent Michael. Just a feline associate, I presume. 
Do you ever wonder what happened to The Kid (Prince, 
Before 
I got the distinct feeling you guys were bored to death when I did a mini-jazz series after 
