This review is part of our Sundance 2021 coverage. The Pitch: In 1969, the same summer as Woodstock, a different music festival played just 100 miles away in Harlem. It was the third annual Harlem Culture Festival, a weeks-long celebration of soul, Motown, blues, and gospel where nearly 300,000 people gathered and celebrated the sounds of Stevie Wonder, Mavis Staples, Nina Simone, and a host of other Black artists at the time. But the festival was more than, as it would be haphazardly marketed, the “Black Woodstock”. It was a nexus around which so many facets of Black life at the time would intersect, from Afrocentrism to the Black Panthers (who would provide security for the event) to the renewed reclaiming of the word “Black” to identify themselves in print and in person. The music ...
It’s November 5th, two days after Election Night 2020, and Steve McQueen and I look no worse for wear. Even through the Zoom screen, yet another way the COVID-19 pandemic has changed the way film journalists do business, we understand that other, urgently important things are going on. It’s the middle of a hellish week where the world would collectively gnaw on its fingernails hoping for someone, anyone, to declare the next president of the United States. (Besides the guy trying to steal it, of course.) But even amid the strain and trauma of that week, just one of 52 that would offer no small amount of pain to everyone this year, there was still cause for celebration. While theaters are closed and the fate of mainstream moviemaking lies in a precarious limbo, McQueen’s latest works — the f...
This review originally ran in September 2020 as part of our coverage of the 2020 New York Film Festival. The Pitch: In 1968, Notting Hill was a slowly-growing hub of Black culture in London, filled with West Indian immigrants of various stripes who congregated at Frank Crichlow’s (Shaun Parkes) Mangrove Restaurant… Please click the link below to read the full article. Steve McQueen’s Mangrove Is a Courtroom Masterpiece: Review Clint Worthington You Deserve to Make Money Even When you are looking for Dates Online. So we reimagined what a dating should be. It begins with giving you back power. Get to meet Beautiful people, chat and make money in the process. Earn rewards by chatting, sharing photos, blogging and help give users back their fair share of Internet revenue.
This review is part of our coverage of the 2020 New York Film Festival. The Pitch: Continuing his probing look at the lives of the West Indian immigrant communities of 1960s-1980s London, Steve McQueen concludes his Small Axe anthology with the real-life tale of Leroy Logan (John Boyega), who’d eventually become one of the Metropolitan Police’s most decorated superintendants. Before he got there, though, he was a young research scientist who decides to fulfill his lifelong dream of becoming a police officer — much to the chagrin of his father Kenneth (Steve Toussaint), a proud Jamaican who’s experienced the racism and brutality of the British bobbies firsthand. As a young recruit, Leroy excels; he’s top of his class, physically fit, and immensely principled. But the minute he str...
This review is part of our coverage of the 2020 New York Film Festival. The Pitch: In 1968, Notting Hill was a slowly-growing hub of Black culture in London, filled with West Indian immigrants of various stripes who congregated at Frank Crichlow’s (Shaun Parkes) Mangrove Restaurant for spicy food, pumping beats, and a sense of community. But when sustained police interference with the restaurant — constant raids, fines and charges for prostitution and drug possession — led to a protest that turned violent, Crichlow and eight other defendants were brought in front of the Old Bailey on charges of incitement to riot. But this trial wouldn’t be like Black Power trials of the past: the Mangrove Nine, including Crichlow, Black Panther activist Altheia Jones-LeCointe (Letitia Wright), Darcus...
The Pitch: In London’s West Indian community in 1980, a house party brews. The men haul furniture out to the backyard and bring in huge speakers to replace it, while the women crowd into the kitchen, cooking goat curry and plaintains while singing and laughing with each other. Men and women file in one at a time, paying the bouncer while the DJ pumps in the songs of Carl Douglas, Sister Sledge, Janet Kay — romantic reggae, “Lover’s Rock”. This is the setting for Steve McQueen‘s Lovers Rock, a glimpse into the Blues parties that served as an important space for Black Londoners of the ’60s, ’70s, and ’80s to find community, solidarity, and love, as a rotating ensemble of characters sing and scrub throughout the evening. And in the middle of it all, a young woman named Martha (Amarah-Jae...