The post ‘If Beale Street Could Talk’ Review: Another Cinematic Wonder from Barry Jenkins appeared first on /Film.
Continue reading ‘If Beale Street Could Talk’s’ Barry Jenkins On The ‘Amazing’ Regina King And Honoring James Baldwin’s Legacy [Interview] at The Playlist.
[Read the whole post on screenanarchy.com...]
Spider-Man: Into the Spider-Verse and Mortal Engines will both hit theaters this weekend. They join Clint Eastwood's latest film, The Mule, which features the 88-year-old actor playing a drug courier.
Limited releases include Barry Jenkins' follow-up to Moonlight, If Beale Street Could Talk, as well as Lebanese drama Capharnaum.
Read on to see what critics for The Hollywood Reporter had to say about this weekend's offerings.
“Beale Street,” which opens Friday in New York and Los Angeles and goes wide the weekend before Oscar nominations are announced, has long been expected to be an awards contender — and awards buzz usually translates to better box office results. Based on James Baldwin’s classic book and made by Jenkins with much of the team that helped him make his Best Picture-winning “Moonlight,” the film earned critical acclaim after its Toronto premiere, made the National Board of Review and AFI top 10 lists and earned three Golden Globe nominations last week.
If Beale Street Could Talk starts with Fonny (Stephan James) asking his girlfriend Tish (Kiki Layne) “Are you ready for this?” I have been ready for a James Baldwin film adaptation for many years. Since I read "Giovanni’s Room" as a young teen and my mind was opened to queer stories. Since I was given "The Fire Next Time" to read as I made the decision to immigrate to the United States, so that I know what I was getting myself into. "Another Country" remains my favorite novel of all time. I am biased for Baldwin, for his writing, for his ideas, for his power, so I was excited for this film. I was also afraid. Will Barry Jenkins be able to interpret Baldwin’s howls of anger and despair as loud as I heard them reading Baldwin’s prose? I needn’t have worried.
Set in early-1970s Harlem,
Several movies started off strong with the bold opening, including the mopping of water in the credit scene in “Roma,” the perilous X-15 flight in “First Man,” and the juxtaposition of Viola Davis in bed with Liam Neeson with the botched heist in “Widows.”
“Roma,” Alfonso Cuarón’s black-and-white childhood remembrance of things past, establishes a rhythm as well as a cleansing metaphor about life and memory with the flow of water in the opening. Cuarón, who served as editor with co-editor Adam Gough, created a dance with his pacing, making the viewer a voyeur in a family drama filled with daily adventures that ebb and flow in intensity.
The director meticulously
If Beale Street Could Talk
Director-writer: Barry Jenkins
Cast: KiKi Layne, Stephan James, Colman Domingo, Teyonah Parris, Michael Beach, Aunjanue Ellis, Dave Franco, Diego Luna,
“Moonlight” originated in a story from the gifted playwright Tarell Alvin McCraney, and Jenkins was able to make the narrative of that sensitive film his own by applying a poetic kind of stealth to the subjective visuals. But Baldwin’s “If Beale Street Could Talk” makes for a much more demanding and intimidating authorial basis for a movie.
Tish Rivers (KiKi Layne) and Fonny Hunt have known each other since they were children. Jenkins’ film, like Baldwin’s novel, is told from Tish’s point of view and moves backward and forward in time in a way that suggests puzzle pieces scattered out on a table.
James got that role after starring as 1936 Olympic gold medalist sprinter Jesse James in Race, and his past turns include Selma, the TV series Shots Fired, and first gaining notice for the teen series Degrassi: The Next Generation. He is next booked to star in the Stx action-thriller 17 Bridges.
I met James recently at Deadline’s New York Contenders event, and it was easy to walk away saying,
The post Stephen James Discusses Deep Love Behind ‘If Beale Street Could Talk’ appeared first on Hollywood Outbreak.
From a lush opening shot designed to astound to costume choices that aim for awe, Barry Jenkins’ If Beale Street Could Talk, his much-anticipated follow-up to game-changing best picture winner Moonlight, shows a world suffused with glamour.
At its best, the director’s adaptation of James Baldwin’s 70s-set Harlem romance recalls the work of Wong Kar Wai (a film-maker Jenkins has often referenced) with its unbroken shots of hands touching and gazing lovers set to crackly soul records. It’s an inarguably impressive piece of film-making but technique and style only go so far and unlike in his previous, superior work, he’s never quite able to dip beneath the glassy surface.
Barry Jenkins wrote and directed one of the most beautiful films of 2016 in “Moonlight,” which won him the Academy Award for Best Picture and Best Adapted Screenplay, and won breakout star Mahershala Ali an Oscar as well.
Two years later, with another virtually unknown actor ready for her star turn, he is back with “If Beale Street Could Talk,” an adaptation of James Baldwin’s critically acclaimed novel of the same name. He wrote the screenplay before he even had the rights to the film, and cast Chicago theater veteran KiKi Layne as a young woman whose soulmate and fiancé Fonny is arrested for a crime he didn’t commit.
Why this project, and why now?
Barry Jenkins: The now part of it
Luke Davies, in town for a Writers Guild of America East panel, joined me at the Park Lane Hotel on Central Park South for a follow-up conversation on Beautiful Boy that took us to a dinner he attended in Berlin for Bennett Miller's Capote with Philip Seymour Hoffman and Neil Armfield's Candy star Heath Ledger, and onto Anton Corbijn's A Most Wanted Man and Life.
Felix van Groeningen's Beautiful Boy, co-written with Luke Davies is based on the memoirs by David Sheff (Beautiful Boy: A Father's Journey Through His Son's Addiction) and by his son Nic Sheff (Tweak). The film stars Timothée Chalamet, Steve Carell, Maura Tierney, and Amy Ryan, and is produced by two-time Oscar-winners Dede Gardner and
It is a lesson the director of Medicine for Melancholy and Moonlight—both films about love’s survival in spite of challenging circumstances—has finally learned. “You’ve made me sound like a f*cking romantic,” he told me two years ago, when we discussed Moonlight. “And I’m a craftsman. I am a craftsman, I am a craftsman.” he declared.
“That’s out the window with this film,” he reluctantly admits now, of his new project If Beale Street Could Talk. “Oh man, is that out the window.”
It’s easy to understand why he might have fooled himself out of a romantic response to his own work. Melancholy dealt with a rare connection between two people in a city in which minorities are firmly in the minority. Moonlight dealt with a young boy tortured
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.