derek luke Tagged Articles at Cinematical

Heaven help me, this Madea character is starting to grow on me. In Madea Goes to Jail, Tyler Perry's latest adaptation of one of his innumerable stage plays, his giant, pistol-packing alter ego finally runs afoul of the law one too many times and finds herself in the big house (not Big Momma's House, the big house). As a character, Madea felt randomly assembled in Diary of a Mad Black Woman and Madea's Family Reunion, but now Perry has grown her into a larger-than-life force of nature that is genuinely funny.

Madea Goes to Jail would be a lot better, in fact, if it were actually about Madea going to jail, or about Madea at all. But she's merely a supporting character in the film, which is really about a young lawyer and his shrewish fiancee dealing with elements from his past, with light Christian themes baked into the crust. In other words, it's more or less the same movie Perry has been making all along, with one-dimensional villains, catty women, and cringe-inducing melodrama. The addition of Rudy Huxtable as a crack whore certainly raises my interest level, though.

That'd be Keshia Knight Pulliam, who is 29 years old now, if you can believe that. She plays Candy, a girl from the wrong side of the tracks -- someone actually uses that figure of speech -- who's now hooked on the junk and turning tricks on the streets of Atlanta. Our dashing hero lawyer, Josh (Derek Luke), a prosecutor in the D.A.'s office, grew up in the same ghetto and is astonished to be reunited with her after she's arrested. But his purely platonic desire to help her is hampered by his wealthy fiancee, Linda (Ion Overman), who sees no reason to reach out to "those people" when it's Candy's own damn fault she's so messed up.

It seems kind of gruesome, but if you're a celebrity, the length of your life and how recently you lived can have a direct effect on your biopic. In the case of the great rap star The Notorious B.I.G. (a.k.a Biggie Smalls, a.k.a. Christopher Wallace) his all-too-brief 24 years of life on this earth do not require too much editing and compressing to fit into a two-hour movie. Unfortunately, since he died as recently as 1997, most of the people involved in his life are still around to offer -- or require -- input into the movie. Hence, the first half of Notorious is a vibrant tribute to its subject and the second half is a kind of housecleaning, making sure that Biggie is laid to rest, cinematically speaking, with a clean slate.

Newcomer Jamal Woolard plays Biggie as an adult, and it's as if he were born to the part. It's almost possible to forget you're watching an actor and to believe that this is the real man playing his own life, as Eminem and 50 Cent played theirs. Biggie lives in Brooklyn under the wing of his overprotective, Jamaican-born mom (Angela Bassett). He's smart but a bad student and eventually moves into the neighborhood drug trade (though he never partakes of his product). He impregnates his girlfriend, goes to jail and fills several notebooks with his unique brand of literate, jovial, fast-paced rhymes. He meets Puff Daddy (Derek Luke), an up-and-coming producer who has an idea for a record called "Juicy." Meanwhile, he discovers -- and sleeps with -- the sexy Lil Kim (Naturi Naughton) and meets and marries his true love, Faith (Antonique Smith).

So very often, we here at Cinematical field comments that are directed specifically to whoever a post was about -- as if Star X or Director Y were reporting about themselves, or as if we hoard e-mail information for any given celebrity and pass word on with great frequency. Having written just one review, though, of a Tyler Perry movie, none of my other posts have yet to have so many remarks addressed directly to the writer-director-producer-star-caterer than that one.

Still, so long as Tyler Perry and his filmed plays are around, we'll have posters and trailers that demonstrate just how ungainly his blend of broad slapstick and gospel-laced melodrama is over the course of a mere two minutes, let alone two hours. Case in point: next February's Madea Goes to Jail. On the one hand, we have the poster (click below to enlarge), with the risible imagery of a dove made out of smoke framing the face of Madea (Perry in drag), a character known primarily for being racuous, shrill, anything but saintly. On the other, we have this trailer by way of Yahoo! Movies, which runs the gamut from Madea bickering with Dr. Phil and sticking it to noxious honkies to straight-up preaching to prostitutes in prison.

For some people, it's everything that they hope for out of a Tyler Perry offering. For others, it's everything that they dread. Madea Goes to Jail on Feburary 20th, and I just wanted you to know, Mr. Perry, that I'll try to find my own "Get Out of Jail Free" card by then.

In Miracle at St. Anna, four African-American soldiers are trapped behind enemy lines in Italy near the end of World War II; caught between indifferent leadership and hostile troops, the four fight to survive -- and protect the Italian villagers they've come to know during their exile. Director Spike Lee spoke with Cinematical from New York about the challenges of film financing in modern Hollywood ("it's hard to get stuff made today that's not superhero, comic-book, TV show, sequel stuff. ..."), shooting in an 800-year-old Italian town (" ... all we had to do was take down the satellite dishes ...") and the challenges his new film faces (" ... historically, women do not run to see, or even walk to see, or even crawl to see World War II films ..."), The Wire ("'Omar's Coming!'"), sequel possibilities for Inside Man and more.

Lee even touched on politics and race in the here-and-now: "I'm optimistic. We're going to have a Black president. The 44th President of the United States is going to be a Black man ... I think this is a definite indication of how far America has moved in how it views race. ..."

Cinematical: I was very curious if you could talk a little bit about the genesis of what brought you specifically to Miracle at St. Anna as a film?

Spike Lee: I needed something to read; I went into my wife's office; looked up on her shelf upon shelf of books (laughs) and the spirit told me to go to this one book -- all the time my head is twisted to the side, trying to read the titles -- read this title, Miracle at St. Anna; that sounds interesting; take the book off the shelf, see the cover of a Black soldier with a young Italian kid, World War II, said "Let me read this. ..." After the first chapter, I said "I want to make this into a film, called up James McBride, we met ... and here we are. That's the abbreviated version. ...

(With Miracle at St. Anna opening this week, we at Cinematical are re-running our review from the 2008 Toronto International Film Festival.)

By James Rocchi

Spike Lee's films have always been fraught with the potential for greatness and disaster, shuddering with a nervy wire-walking energy that makes them superb when they stay on the narrow space between ambition and execution and gives you a long time to watch the fall when they don't. But that, of course, is what makes them worth watching; for but one example, the only thing more shocking than the realization that there was a musical number in Malcolm X was the realization of how superbly it worked; Lee's films are rarely undeniably perfect, but they are always undeniably his.

So it is with Miracle at St. Anna, a bold, sprawling, messy epic of war and faith set behind enemy lines in 1944, as a group of four African-American soldiers are trapped far from their fellow troops in German-occupied Italy. There are moments here where the film does not work, where you can feel the sharp needle of disbelief or dislocation puncture the film mercilessly, and there are other moments that are not only willing but indeed eager to look at big, challenging, relevant issues of race and power, war and justice, faith and failure. These moments -- and there are many of them -- not only speak to Lee's unwavering skill and commitment as a filmmaker, but also to the singular nature of his talent and will. When Miracle at St. Anna falters, it's in the moments that seem like they could have been crafted by any other film maker; when Miracle at St. Anna succeeds, it's in the moments that could only have been crafted by Lee.

Spike Lee's films have always been fraught with the potential for greatness and disaster, shuddering with a nervy wire-walking energy that makes them superb when they stay on the narrow space between ambition and execution and gives you a long time to watch the fall when they don't. But that, of course, is what makes them worth watching; for but one example, the only thing more shocking than the realization that there was a musical number in Malcolm X was the realization of how superbly it worked; Lee's films are rarely undeniably perfect, but they are always undeniably his.

So it is with Miracle at St. Anna, a bold, sprawling, messy epic of war and faith set behind enemy lines in 1944, as a group of four African-American soldiers are trapped far from their fellow troops in German-occupied Italy. There are moments here where the film does not work, where you can feel the sharp needle of disbelief or dislocation puncture the film mercilessly, and there are other moments that are not only willing but indeed eager to look at big, challenging, relevant issues of race and power, war and justice, faith and failure. These moments -- and there are many of them -- not only speak to Lee's unwavering skill and commitment as a filmmaker, but also to the singular nature of his talent and will. When Miracle at St. Anna falters, it's in the moments that seem like they could have been crafted by any other film maker; when Miracle at St. Anna succeeds, it's in the moments that could only have been crafted by Lee.

Just when you thought Marvel was trying to get a blue-eyed, blonde-haired muscle head to play Captain America in their upcoming live-action flick, MTV sneaks onto the scene with one whopper of a rumor. While speaking to Derek Luke about Miracle at St. Anna up in Toronto, the actor let slip that, as far as he knows, Will Smith was offered the part of Captain America. Bet you didn't see that one coming.

Now keep in mind this is just a rumor right now -- and Luke could either have the wrong info or he could be screwing around; we don't know. However, I wouldn't put it past Marvel to switch things up and throw Smith into the role. Not only did Smith do a fine job as a homeless, alcoholic superhero in need of rehabilitation in this summer's Hancock, but the dude would guarantee a gigantic opening box office. As MTV points out, Marvel has changed the color of characters before; most notably with Nick Fury (who used to be a middle-aged white man, and was recently played by Samuel L. Jackson in Iron Man).

Hey, I'm all for it. We're close to electing the first African American president in the United States, so why not bring on the first black Captain America*? Just makes the eventual Avengers flick that much more interesting, huh?

The First Avenger: Captain America is due in theaters in May, 2011.

*Actually, Smith would technically be the second black Captain America; Isaiah Bradley (name of character) was the first.

UPDATE: AICN tells us that Marvel has debunked this, saying they've never offered Will Smith the role.

Spike Lee and Disney might sound like a pretty odd combination, but I don't really see it that way. (Lest we forget that the excellent 25th Hour was a Disney production.) Love the guy or not, Spike Lee has turned into quite the eclectic filmmaker over the last few decades -- and so when I heard that the guy was helming a $50 million WWII drama for Disney, I was intrigued but not surprised. Based on the book by James McBride -- and adapted for the screen by same -- Miracle at St. Anna tells the tale of four black soldiers who find themselves stuck behind enemy lines in Italy.

Opening September 26, St. Anna stars Derek Luke, Michael Ealy, Laz Alonso, and Omar Benson Miller. Also on board are John Turturro, D.B. Sweeney, Kerry Washington, John Leguizamo, and Joseph Gordon-Levitt. Riding high after his last feature film (the solid and profitable Inside Man), Mr. Lee looks to be moving into "Oscar-friendly" territory again with St. Anna -- and I know I'm not the only movie fan who's curious to Lee's first big war movie.

TITLE: Miracle at St. Anna
DIRECTED BY: Spike Lee
STARS: Derek Luke, Laz Alonzo, Joseph Gordon-Levitt

WHAT IT'S ABOUT: In 1944, a group of black American soldiers were trapped behind enemy lines in occupied Italy ... and their ordeal is the key to unraveling a mysterious murder in the present day. With James McBride adapting his own novel for the big screen, Miracle at St Anna would already be intriguing ...

WHY WE'RE EXCITED ABOUT IT: ... But the fact Spike Lee's in the director's chair seals the deal to make this one of the must-see films this year at Toronto. All controversy aside (and that's saying a lot, considering how firmly Lee challenged Clint Eastwood's judgment about race and representation in Eastwood's World War II films), Lee's great with actors, tackles tough material head-on and has even turned into a great action and suspense director in recent years. If any filmmaker's been able to turn their complicated, complex, challenging love for America into fascinating moviemaking, it's Lee -- and we can't wait to see this film.

Back to the TIFF Preview page

Cinematical has received this exclusive poster for Miracle at St. Anna (click to enlarge), the highly-anticipated new film from director Spike Lee. Based on the novel by James McBride (who also penned the adaptation), Miracle at St. Anna follows four black American soldiers (and members of the US Army's all-black 92nd "Buffalo Soldier" Division) who, while stationed in Tuscany, Italy during World War II, find themselves trapped behind enemy lines and separated from their unit when one of them risks his life to save an Italian boy.

Starring Derek Luke, Michael Ealy, Laz Alonso, Omar Benson Miller, Matteo Sciabordi, John Leguizamo and Joseph Gordon-Levitt, Miracle at St. Anna marks Lee's first foray into war flicks, and it will certainly be interesting to see his trademark style applied to this type of movie. I thoroughly enjoyed both Inside Man and When the Levees Broke, and feel Lee is entering a new, exciting time in his career -- one I'm definitely down for being a part of. What about you?

Miracle at St. Anna arrives in theaters on September 26.