In addition, The Help was nominated in the Best Picture category, and Jessica Chastain also received a nomination for her role in the film.

See the complete list of nominees for 2012 Oscars here. Congratulations to all!

“The Help” Wins Big at Critics Choice Movie Awards

Actress in a Leading Role
Glenn Close in “Albert Nobbs”
Viola Davis in “The Help”
Rooney Mara in “The Girl with the Dragon Tattoo”
Meryl Streep in “The Iron Lady”
Michelle Williams in “My Week with Marilyn”

Octavia Spencer Of “The Help” Wins Golden Globe! [PHOTOS]

Actress in a Supporting Role
Bérénice Bejo in “The Artist”
Jessica Chastain in “The Help”
Melissa McCarthy in “Bridesmaids”
Janet McTeer in “Albert Nobbs”
Octavia Spencer in “The Help”

5 Reasons Why Black Women Should See “The Help” [ORIGINAL]

Best Picture
“The Artist” Thomas Langmann, Producer
“The Descendants” Jim Burke, Alexander Payne and Jim Taylor, Producers
“Extremely Loud & Incredibly Close” Scott Rudin, Producer
“The Help” Brunson Green, Chris Columbus and Michael Barnathan, Producers
“Hugo” Graham King and Martin Scorsese, Producers
“Midnight in Paris” Letty Aronson and Stephen Tenenbaum, Producers
“Moneyball” Michael De Luca, Rachael Horovitz and Brad Pitt, Producers
“The Tree of Life” Nominees to be determined
“War Horse” Steven Spielberg and Kathleen Kennedy, Producers

Here’s a look at all of the competitors in their respective categories…

Tune in to an all new episode of “Cinema In Noir” for the latest in film and casting news, hosted by Candice Frederick, Kimberly Renee, and ReBecca Theodore-Vachon.  Our topics include:

(1:50 minute mark) FILM Reviews: KINYARWANDA, SHAME and THE MUPPETS

(16:30 minute mark) Casting News: TLC biopic on VH1, Forest Whitaker and Common

(22:35 minute mark) Featured Topic (with “Eberts Presents” film correspondent Omar Moore):

• We discuss some of our favorite performances of the year
• Which minority-centered films/performances would we like to see recognized?
• Has this year been a better year in film than last year in terms of diversity?

LISTEN HERE

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Nicole Beharie Has No “SHAME” In Baring It All For Her Art

Five Reasons Black Women Should See “THE HELP”

Idris Elba: “The Oscars Aren’t Designed For Us”

When Steve Harvey published his relationship book “Act Like A Lady, Think Like A Man” men everywhere gave him the collective side-eye. After becoming a best-seller the book has now been turned into a movie starring Kevin Hart, Michael Ely, Tariji P. Henson, Meagan Good, Gabrielle Union, Terrence J and many more.

Watch the trailer and tell us if you’ll be checking this out in theaters next spring.

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The Jamaican born artist put his hometown of Mt. Vernon on the map musically but tinsel town loved him just the same. One of his first small screen appearances was on an episode of “A Different World” as himself and as Fatz Turner  on the TV series “Booker.” His most recent role on the big screen was in the Eddie Murphy and Ben Stiller comedy Tower Heist.

Take a look back on the acting career of Dwight “Heavy D” Myers. Rest In Peace.

1990–”Booker” as Fatz Turner

1993–”Roc”  as Calvin Frazier

1995- New Jersey Drive as Bo-Kane

1994-1996  “Living Single,” as Darryl

1999 Life as Jake

1999  The Cider House Rules as Peaches

2000 “For Your Love”  as Dexter

2002  Big Trouble as FBI Agent Pat Greer

2000-2003 “Boston Public” as Big  Boy/Mr. Lick

2003-2004 “The Tracy Morgan Show”  as Bernard

2005  “Yes, Dear” as Charlie

2005 “Bones” as Sid Shapiro

2006, Step Up as Omar

2011, “Are We There Yet?” as Craig

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Heavy D Dead At 44

Heavy D’s Last Tweets Before He Died

Tony Todd, the star of Final Destination 5, is on his way to visit his hometown of Washington D.C. on a sunny August morning, and hasn’t a care in the world.  While audiences know Todd for his role in the 1992 cult classic Candyman, he is a classically trained thespian whose roots started in theater.  Born into poverty to a single mother in 1954, Todd first fell into acting as a teenager since–as he puts it– “I wasn’t any good at basketball.”

After 22 years in the game, and over 150 acting credits under his belt, Todd has carved out an impressive and enviable career—not bad for a geeky 6’5 teenager from Chocolate City.

The Urban Daily chatted with Todd about his return as William Bludworth in the newest Final Destination movie,  his iconic role in Candyman, and the current state of the horror film genre.

TUD: Tell us about the plot of Final Destination 5.

Tony Todd: We have a new cast of young people with tragic demises and I have more than one scene. I like doing more than one scene, I like continuity (laughs).

There are a few theories going around as to who your character, Bludworth really is—one theory is that he’s death incarnate. What do you say to that?

I think that’s too much of an easy choice, I mean how can you be death incarnate when you’re only in the movie for five minutes? Actually someone came up to me and said maybe Bludworth had cheated death himself.  I’ve never personally accepted he was the angel of death, or the emissary of death. Just a very unpopular guy.

Why do you think the Final Destination franchise has remained so popular?

Because it’s the perfect date movie.  Everybody loves a horror story because it’s a roller coaster ride –you wait for  the slow ride to the top then speed down with all the bumps, twists and turns.  If you’re a smart person, you bring your date and for every bump that goes on, you squeeze a little closer.  I think Final Destination is singularly responsible for more births in America in the last 10 years than any other movie.

You might be on to something there.

I know I’ve done the research.  I interview people when they leave the theatre, and when they see me they’re like “Oh my God!” That really freaks them out!

Final Destination movies are known for their graphic death scenes.  Which ones are the most memorable to you?

Well I’m a big fan of the first movie, because that was the template.  Jeffrey Reddick, the creator of  this franchise, is a genius.  In Final Destination 5, the bridge collapse sequence is unlike anything you’ve ever seen.

Audiences still remember you from the Candyman movies. Do people still stop you in the street about that role?

Candyman is almost 20 years old and not a single day goes by when someone doesn’t stop me in the street.  It was a great role and one of the greatest experiences in my life.

Have your kids seen Candyman?

They didn’t watch it until they were well into their teens.  True story—When Candyman first came out, my daughter and I were Christmas shopping, and people

were harassing us.  Finally my daughter puts down her shopping bag and said “That’s not Candyman! That’s my dad!” I will never forget that, because that’s when we really bonded.

Let’s talk a little about your background.  When you were growing up, which actors or actresses did you look up to or admire?

When I was a kid I really loved Humphrey Bogart.  But when I was in theater school, Robert DeNiro was my go-to guy.  I like good actors like Marlon Brando and Gene Hackman.  I grew up a poor kid to a single mom, so as an African-American actor I have a responsibility to hold the mirror up and reflect our stories.  I’m living the dream and also escaped the inevitable.

Your first lead role in a movie was in the remake of  Night of The Living Dead. Your character in that movie has historical significance, as the original was the first horror movie to cast an African-American (Duane Jones) in the lead role.  What are you memories about being cast in that project?

I actually saw the original while I was studying to be an actor, and watching Duane Jones I thought “Good, there’s hope.”  When I heard they were casting for the remake I ran to the casting office and told them they had to let me audition.  I think they already had someone in mind, but the casting director took a chance on me and gave me the job. It was my first leading role and my son was born around that same time. It was a chance to play a hero, so I was very appreciative.

We shot the movie in Washington, Pennsylvania, singularly the most racist place in America.  The beautiful thing is all these people were lining up to play zombies, and if I wasn’t an actor, they wouldn’t have anything to do with me.

You also do a lot of voice-over work as well. How did you fall into that?

When I was younger, I wanted to do Disney movies but I could never get a role.  When I finally got a part in Transformers 2 I called my daughter and told her “Honey, I’m gonna be a Transformer!”  and she said “Grow up Dad!” But it paid her tuition, so there you go!

What are your thoughts on the current state of the horror genre, and should actors of color be more open-minded to doing these types of movies?

Television is dying because of the influx of reality shows, so I think smart horror movies like “Final Destination”  area great thing because it makes people think.  I’m not a fan of torture for torture’s sake.  That’s why you’ll never see me in Saw.  I think young African-American filmmakers and actors need to hold their heads up and know if a project is meant for them, they’ll get it.

From our partners:

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“I didn’t see myself represented on screen, in television or film,” says Issa Rae. “I love these shows like ’30 Rock’ and ‘Parks And Recreation’ because they have this awkward humor. So I thought it would be funny to have a series based around this African-American girl who goes through these everyday awkward situations.”

Watch the clip below:

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The Evolution of Will Smith

WILL SMITH THE FRESH PRINCE

Willard Smith began his career as a senior in high school when he first got his record deal. Less than a year later he won the first Grammy in the Rap category. Being a young man with instant popularity and riches, the money was spent very loosely. When he was near bankruptcy, NBC approached him with a way out: a show called The Fresh Prince of Bel Air. This sitcom started the career of one this generation’s classic movie star.

As the “Prince of Bel Air,” Will Smith’s acting was a little shaky. In the first batch of episodes, he was known to mouth the other actors’ lines as they recited them. The popularity of the show made NBC pick it up for a full season and in no time Will Smith was in everyone’s living room. Even though the show was a comedy, Will Smith did flex his dramatic acting muscle when necessary. (Click the picture below to view one of Will Smith’s best moments of the Fresh Prince of Bel Air)

WILL SMITH THE ACTOR

In 1992-93, Will Smith co-starred in three films, Where the Day Takes You, Made In America (alongside Whoppi Goldberg and Ted Danson), and Six Degrees of Seperation. The latter of the three solidified Smith as a young actor that should be taken seriously. In Six Degrees, Will Smith was brave enough to play a gay character. This move was important in his career as well as a no-no for his rap fans. The role still gave him the respect that opened even more doors for him.

Smith was still starring in his own sitcom for a couple more years before Michael Bay cast him for a cop comedy called Bad Boys with Martin Lawrence. The film made over $60 million in the box offices and more than $100 million worldwide. The film not only made Smith a Hollywood star but also a sex symbol. The film also showed how much improvisational skills he had as an actor. Some of the best lines in the films were made up on the spot by Smith and Lawrence.

In 1997, after the $300 million success of Independence Day, Smith introduced “Agent J” in his first sci-fi movie Men In Black. Not as successful as his previous film, but it still gave an impressive $250 million rake in at the box office. Having a box office smash wasn’t enough though, a Billboard hit would make the success even sweeter.

WILL SMITH THE PRODUCER

In 1999, Will Smith saw the success of his music and his films and decided to capitalize on it by creating a production company called Overbrook Entertainment, named after his high school in West Philadelphia. This production company went to oversee most of Smith’s films from 2001 onward. Overbrook Entertainment also covers soundtracks and distribution of various media.

The first Overbrook-produced film was Ali.

In 2001, Will Smith filmed his first biopic as Muhammad Ali in Ali. Mixed reviews and low box office numbers did not take away from the respect he received by playing the role. Smith did impressive research to play Ali. He spent a year “becoming a boxer” studying Ali and his mannerisms, spending hours in the gym training, and taking actual hits in the films boxing sequences. He received his first nomination from the Academy for Best Actor.

2002’s Men in Black II was Smith’s first sequel and the beginning of his eight-film run of $100 million dollar movies, a record that has still yet to be broken by any actor:

2002 Men in Black II $190 Million

2003 Bad Boys II $138 Million

2004 I, Robot $144 Million

2004 Shark Tale $161 Million

2005 Hitch $177 MIllion

2006 The Pursuit of Happyness $162 Million

2007 I Am Legend $256 Million

2008 Hancock $227 Million

WILL SMITH THE IDEA

After founding his production company Will Smith wanted to set a new standard of consciousness. Making the Forbes richest lists and receiving $20 million dollar fees for films wasn’t enough. Smith set on a path to be a student of all religions, studying the ideas behind each faith. Smith says he is a Christian but respects all of the ideologies of Scientology, Muslim and Jewish faiths. In 2007, Smith donated $1.3 million to different churches of all religions to show his respect for people of all paths.

“I want to be an idea,” he said in an interview with Tavis Smiley. ” I want to represent possibilities.”

In the winter of  2004-05 Will Smith dipped his star power in two new genres, Animation and Romantic-Comedy. Even with mixed reviews, Shark Tale and Hitch both took in over $160 million each. After the success of Hitch, Smith starred in his second Academy Award-nominated performance.

Pursuit of Happyness was released in the winter of  2006. It was a smash at the box office and it also received great reviews from the critics. That year Smith was nominated for the Best Actor award from the Academy. With this film, Smith showed that his dramatic performances can still get movie fans to rush the theaters.

“I’ve never really viewed myself as particularly talented,” Smith told Time magazine. “I view myself slightly above talent. Where I excel is ridiculous, sickening work ethic. While the other guy is sleeping, I’m working.  While the other guy is sleeping, I’m working. While the other guy is making love, well, I’m making love too but I’m working really hard at it.”

After Will Smith gave his Midas touch to several genres, he came back with genre mixing action, sci-fi-dramas I Am Legend and Hancock. The first, making over $256 million, the latter $227 million. Hancock was one of Smith’s favorite scripts to work with. The idea of a drunken super hero was idea he was sitting on for over six years.

Even with all his success, Will Smith generally receives negative to mixed reviews by film critics. Smith finds that his success lies in what the fans actually want and not what a reviewer has to say. His production company holds much research to cater to audiences worldwide to optimize the movie experience as well as the profit.

“I’ve never had a movie that was reviewed well…Historically, my films have been review proof. I take [the movies] to the fans. I base it on how the people respond.”

Rumble, young man. Rumble…

Even though Will Smith hasn’t been on the silver screen since 2008’s Seven Pounds, he has had his hands in many productions and music ventures. Overbrook Entertainment has produced Lakeview Terrace, The Secret Life of Bees, and The Karate Kid (featuring Jaden Smith). Currently Smith is working on Men in Black III, due out in 2012.

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Now 40 years old, Shavar operates his own film and television production company, Tri-Seven Entertainment, under which he not only continues to produce, write and direct his own material, independent of the mainstream studio system, but also serves as a home for a growing family of entertainment websites he created (ShavarRoss.com, ActorGuru.com, GoodLawd.com, and BlackThespian.com), as he transitions from content creation to covering already created content.

Shavar resides in Los Angeles, and has been married since 1992, now with two children.

I had the pleasure of chatting with Shavar about his 30 years in the business, looking back to his early starts, the present at current interests, and ahead to what’s on the horizon. The lengthy revealing interview follows below:

TUD: You’ve been working in the entertainment industry for about 30 years now mostly in TV, as well as a few films – how did you get your start?

SR: Well my parents separated when I was about six. My father eventually headed out to Los Angeles to pursue his acting career, so I’d like to say that he was the “real” actor, lol, and he was quite good. When I was seven years old I got to fly out to California to visit my dad during my school’s Christmas vacation. During my time in L.A., my dad and his friend Lawrence Hilton Jacobs took me to see this play that Kim Fields was starring in and after the play a top children’s talent agent came up to my father and told him that she wanted to represent me. I booked my first commercial shortly after that and ended up staying with my father and working a lot as a child actor.

TUD: And you now appear to be transitioning out of the uncertainty of the media production space (acting, writing, directing, producing) and into the just as uncertain world of media coverage. What prompted you to move into the online blog site space?

SR: I started blogging back in 2004 to document my experience making my first feature film, Lord Help Us, which hit the national retail market back in 2007. My goal was to transition into directing but it took me nearly three years to get my first film off the ground and I wasn’t too thrilled about that. If you’re a director for the studio system it’s a lot easier but as an independent filmmaker, it’s much tougher. I had a distribution deal before I had a script so that was good, but there was a lot of red tape involved with dealing with agents, unions, actors, producers, people’s egos, etc., [laughs] and I can do without all that. I started blogging in my personal blog around that time as well–August of 2005, actually. I started off on Blogger.com and I found that blogging about my life was a therapeutic and creative experience for me. Eventually I started blogging about some of my celebrity friends because their lives were seemingly more exciting than mine, but more importantly, I really enjoyed writing about others. For me, blogging is like creating “mini movies” and blogs and blog posts are a lot quicker to produce. I get to write, edit, work with video footage and distribute it all in 20 minutes [laughs] Love it.

TUD: Are you maybe pursuing the Nick Denton model with his family of Gawker sites? And can you talk the content of your different sites, your plans for them, whether you plan to add more sites, and how the whole operation is run, given the amount of work that’s involved in running sites like these (speaking from my own experience)?

SR: Yes, I started the idea of creating a blog network last year to see if the concept would be financially viable. I’m a big fan of a lot of the urban blogs out there and started blogging around the same time as popular sites such as Natasha Eubanks of’ theybf.com and Angel Laws of ConcreteLoop.com. However, I was doing it “for fun” and they were treating their blogs as a business. It wasn’t until I read Natasha’s story in Black Enterprise last year that made me become business minded about blogging. I was blogging every day for 5 years and didn’t know that you could make any real money from blogging. So far, I’ve created six blogs and I’m overseeing 4 right now. My blog ShavarRoss.com is an urban and pop culture blog and I blog about my personal life there as well. I started ActorGuru.com in 2008, that’s a site about actors. GoodLawd.com launched last year and we post about “anything that makes you say GoodLawd!” LOL. My latest blog is called BlackThespian.com, it’s two months old and it’s a blog solely about African-American actors in the entertainment business. I write in all the blogs but have recently started outsourcing other bloggers and so far I have a team of about five. Blogging is a lot of work and takes up a lot of time but I have a passion for writing so that’s what keeps me going…and not-to-mention my curiosity of the business model.

TUD: Are you continuing to pursue creative projects, whether originating with your production company, or film and/or TV roles you actively seek, or that are being offered to you?

SR: Well I recently got an agent but things seem a lot slower now that I’m older so I’m not sure what is going on as far as my acting career. I worked a lot up until the time I was 25 and ended up going to Bible school which took me four years to graduate. From there, in 1996, I ended up pastoring a small non-denominational church for actors and those in the entertainment industry for four years. I was somewhat naive getting into it and when I saw a lot of the politics and hypocrisy (not that I’m perfect) in “the church,” I took a lonnng break from the ministry. So trying to get back into acting after all these years has been tough. I just leave it in God’s hands. Also, there doesn’t seem to be a lot of roles available for black actors like it used to and that’s why I like creating new and exciting ventures. It has always been hard for me to wait around to get the call for an audition. As far as independent filmmaking, I’m cautious about that as well. I love filmmaking but we as African-Americans in the entertainment business need our own distribution outlets. In many ways, I’d rather sell my own movies on the street corner than let some corporate distributor take most of my profits. If my films only make two cents, at least it’ll be my two cents, lol. But I’m always open to anything if the deal is a win-win.

TUD: Can you talk about any projects you have currently in the works? Also, with the proliferation of web-based content (web series especially) are you attracted to that space?

SR: I’m very interested in using the internet as a way to distribute new narratives, webisodes and feature films, etc. Everything is still in its early stages and its a very new concept that many are still not grasping because it’s so new. There are urban films that cost 2 to 5 million to make and still don’t have distribution. There are even certain urban films that garnered theatrical distribution and still tanked at the box office. That’s a waste of money. I think we need to focus more on the concept of marketing and distributing our own films..and for less money. You can do this via the Internet.

TUD: You appeared in some of really popular shows in their time, from Diff’rent Strokes to MacGyver, to Magnum, P.I., Amen, Growing Pains, The Fresh Prince of Bel-Air, and Family Matters, and you worked alongside some really popular stars during each shows heyday, from Gary Coleman to Kirk Cameron to Will Smith (who’s grown to become maybe the biggest star in Hollywood right now). Any really memorable experiences working on any of those shows, or with cast members?

SR: I’m just thankful that I had the opportunity to work with all of those talented people and I’ve learned a lot indirectly from all of them. I try to keep up with some people who are working actors but everyone is so busy. I remember before actor Derek Luke got started, really cool guy. He used to have to take the bus to work when he was a security guard at Sony Pictures. He’s the kind of guy who doesn’t wear religion on his sleeve but I remember giving him a ride home one time–in the car we shouted and spitted out some Bible scriptures and prayed for God to bless his career in a BIG way. And look at him now. That’s inspirational to me. No one can tell me that that man ain’t blessed, and that’s why you never hear no one say anything bad about the guy.

But I have many wonderful memories and experiences and try to blog about it whenever I’m inspired to. I love to document everything I’ve experienced from my acting career and have no regrets about it. And I don’t get upset when people call me by one of my characters’ name from those shows either, [laughs]. If I can somehow remain in the business in front or behind-the-scenes, I would be grateful. I’ve tried many other things but the entertainment business is all I know.

TUD: When you got into the entertainment business, was there a specific plan for you in terms of what kind of career to pursue, or was it just a matter of taking things a project at a time, with no real long-term approach to it?

SR: Well I never really planned to be an actor so there was never really a long-term plan for it. Actually, I’ve always wanted to be an OB/GYN, [laughs]. Y’all stop laugin’. But I think I was in the business too deep for that so it was hard to pursue it. I’m still a sophomore in college after all these years [laughs].

TUD: Was there much support along the way from other folks in the industry of your career? Or more specifically, anyone who really had an impact on your growth as a performer?

SR: I didn’t have a lot of support as an actor in the entertainment business. I became an emancipated minor at age 15 so I’ve been on my own since then. I’ve been married since I was was 21 so my wife has been my best friend and my biggest supporter. She is definitely a Godsend.

TUD: The place where you are currently, is this where you thought you’d be maybe 5 to 10 years ago, and are you content there? If not, what would be the most ideal situation for you right now?

SR: Oh no, I’m definitely not anywhere near where I thought I’d be! However, I am proud that I accomplish the things I set out to do, no matter what it may be, and that is a form of success to me. I did step away from the business for a good while and sacrificed my career to step into the ministry for many years and sometimes I wonder what my acting career would have been like if I continued with it but helping the homeless, praying for the sick, seeing folks’ lives changed for the better means more to me than the success of an acting career. (gulp) Right now, taking care of my wife and kids by any means necessary (without breaking the law, [laughs]) is my main priority. I think every man desires that for their family.

TUD: Projections? In another 5, 10, 20 years, where do you see yourself?

SR: 5 to 10 years from now? I don’t think God is through with me yet. I still believe he has something up his sleeve, I’m just not sure what it is yet. I know he wants the best for all of us even in the midst of our struggles.

TUD: Your own predictions: A snapshot of what you think the entertainment (specifically film, TV) industry might look like in another 10 to 20 years.

SR: Film and TV in 10 to 20 years? Three words: Internet, streaming, virtual. Bonus: cell phones.

TUD: What is your take on the state of African Americans in film and TV. I’m sure you’re privy to all the discussion over the years about how limited our portrayals are both in TV and film, and the lack of African American representation at the premiere awards shows like the Oscars, all the articles that are written annually about the lack of diversity in Hollywood, both in front and behind the camera, etc, etc, etc. As someone who’s been in the business for 30 years, have you noticed any particular shifts where any of those issues is concerned? Would you say opportunities have improved, or still about the same, since we’re still making similar arguments? And lastly, potential solutions to get us to that point in which these discussions no longer exist, or will they always?

SR: You ask some really good questions! (I’m taking notes) I think we have no choice but to learn about new media as filmmakers and people in the entertainment industry. Unless you’re already “in” as a black actor (and even being “in” is nothing concrete nowadays) you must learn new and creative ways to remain in the business. Now is the time to diversify your gifts or learn new crafts. Don’t just stick with one thing. No one is impressed anymore if you wrote a script. Better learn how to make the movie yourself too, or surround yourself around people who do know how. Nowadays you have to gain your respect if you are to be successful. Cameras are cheaper, editing software if available to you. No one is gonna help you until you start helping yourself.

The industry has changed a great deal when it comes to African-American actors. In my opinion, things were better for us back then than now. We have only a handful of our shows on the air and we can thank BET, TV One and a few cable networks for this. Also, black folks need to stick together more in the industry to form strategic alliances. Why is it so hard for us to help each other? There’s nothing wrong with letting the pride go and saying your business or production company needs help. Also, it would be nice to see some of our big stars do more in the urban filmmaking community. I would love to see “Smith” Studios or “Murphy” Studios. There is a difference between a studio and a production company. You have to give credit to people like Tim Reid and Tyler Perry for creating studios. I’m also speaking more in terms of physical places where AA productions can take place. We may not agree with all of Tyler’s productions but black folks (especially in the industry) shouldn’t complain or put our own people down. If you’re not happy with how Tyler runs his studio, then that’s your cue to start working on building your own ‘cause Tyler can’t be the only one, can he? Nope. And that’s the reason why we have The Weinstein Company AND Dreamworks, and others. I would love to speak on this more but I know everyone’s eyes are red, lol. The industry will change when we unite and change our attitudes and approach to the business as a people.

TUD: You’re a family man with 2 kids, which I’m sure influences the choices you make, since you’re not just living for yourself now. Is that accurate to say? And are your kids at all interested in getting into the entertainment business, despite how young they still both are – though one is a teenager already? Is that something you would embrace, or would you steer them away from that life, and into other areas?

SR: I’m not sure I’d want my children in the entertainment business without first getting a good education. From my experience, the acting business is very unpredictable and I wouldn’t wish the lifestyle on anyone unless they have a strong spiritual foundation. Just because you’re on a TV series means nothing. No, you’re on a hot show RIGHT NOW, and in this business you’re only as good as your last job. At least get an education even if it’s to learn how to manage your own money. Either way, I’d be there to guide my kids if it ever happened but I’m not actively trying to get my kids in the entertainment business.

TUD: And lastly, any general thoughts, concerns, comments you’d like to share, whether about yourself, your company, the industry, etc.

SR: Thanks for the opportunity and all the great questions.

And thanks to Shavar for taking the time to answer every single question I asked him, and doing so thoughtfully and openly. As noted in his response, you can find Shavar and all his offerings at ShavarRoss.com, ActorGuru.com, GoodLawd.com, and BlackThespian.com.

Tambay Obenson is Editor of Shadow And Act on the indieWIRE Network at blogs.indiewire.com/shadowandact

READ MORE EXCLUSIVE INTERVIEWS ON THEURBANDAILY.COM!

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What Crazy, Stupid, Things Have Stars Done For Love?

Don Cheadle Has Fun Playing A Cop In “The Guard”

After three weeks in theaters The Help has raked in $96 Million and is still playing on more screens than any of the newcomers. Zoe Saldana’s first starring role brought in modest returns with Colombiana earning $10. 3 Million to open at #2.

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As one of the country’s most prominent black film festivals, Urbanworld will open with Nelson George’s paean to his hometown, Brooklyn, NY. The film is titled Brooklyn Boheme. Diane Paragas co-directs the film bolstered by appearances from Spike Lee,Chris Rock, Branford Marsalis, Rosie Perez, and Saul Williams.

Recently, I spoke to Nelson about the film. From his description, Brooklyn Boheme sounded like an intriguing nostalgia trip. I’m definitely interested in attending a screening because I’ve lived in Brooklyn for about 6 years. I’ve loved every minute of it and I’m not planning on going anywhere anytime soon.

The closing night film will be Kinyarwanda, directed by Alrick Brown; an ensemble work that examines the Rwandan genocide from 6 different perspectives. This will be its New York premiere, after debuting at the Sundance Film Festival, where it won a World Cinema award. It will also be the second film released by AFFRM.

Filling in the slots between opening and closing night are films that include Victoria Mahoney’s Yelling To The Sky and Andrew Dosumnu’s Restless City. Make A Movie Like Spike, directed by Jamil Walker Smith and You, Me & The Circus by Ty Hodges will also be shown!

The complete festival lineup, as well as ticket information, can be found on the festival’s website here: Urbanworld.com.

Tambay Obenson is editor of Shadow And Act on the indieWIRE Network at blogs.indiewire.com/shadowandact

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The premise isn’t a particularly novel one, with the main attraction being Saldana assuming a role that’s normally restricted to white men. Your appreciation for the movie will depend on whether you believe her as this character because she is the entire movie.

I saw it earlier this week. For the most part, I bought her performance.However, it’s the other aspects of the movie that left me cold. The script is thin, predictable, full of cheesy lines, and all the subtlety of a hammer to the head. But it’ll probably sell well to its target audience — young men. Heavy on action and sexuality, as Saldana is paraded in revealing attire, playing up her physical appeal.  She tackles bad guys utilizing all manners of weaponry, as well as her fists. Like I said, it’s light on the logic and novelty.

It will likely be dismissed as a brainless, PG-13 action summer movie. The good thing is that the film doesn’t try to be anything more than what it is. It’s certainly not a boring movie. But those looking for something more adult and substantive, will be sorely disappointed and should probably wait to catch this as a rental instead.

Kudos to Zoe in what may be a film that we look back to in a few years as a career marker of some sort. This should certainly help improve her international presence and appeal, which should (hopefully) lead to a wide variety of work. There was talk of a sequel to Colombiana. I certainly hope not. Though my opinion means nothing, especially if the film is a financial success. A Transporter-like franchise for Zoe might be brewing here, who knows.

But don’t take my word for it; see it for yourselves when it opens in theaters this weekend.

Tambay Obenson is editor of Shadow And Act on the indieWIRE Network at blogs.indiewire.com/shadowandact

Two of her more revealing recent interviews, one each to Flaunt and Latina magazines, as reported by the Dailymail.co.uk, have been creating just the type of buzz needed to keep Colombiana in the front of the minds of potential ticket-buyers. In addition to seeing her grace both covers, readers learn, directly from the beautiful star herself, the exact price of fame and A-list status in Hollywood.

Saldana explained to Latina magazine that following the success she experienced in 2009, the year she starred in both Star Trek and Avatar, she suffered a mental breakdown. She told the mag that the stress of work caused her to lose it in a hotel room while getting ready for her next project. That movie was Colombiana.

Saldana told Latina, “I was in Paris training for Colombiana, sitting in my hotel room, and I couldn’t stop crying. I couldn’t stay awake. I must have slept for an entire month.”

In her interview with Flaunt magazine, Saldana revealed, “I work in a business where our sole purpose is to entertain. You’re elevated into a position that you become fantasized about. It still blows my mind the whole concept of celebrity, you know? How people just go bananas when they see an actor, just walking down the street or whatever.”

But Saldana is not taking her successes for granted. She went on to say, “I just want the best filmmakers in the world to tell me, ‘You’re good, kid, you’re legit.’ The recognition will never get old, and I’ll never get accustomed to it. I don’t ever want to, because that will mean I’m taking it for granted. That’s why I work, not for the luxuries or the awards.”

Check out the rest of the Daily Mail’s stories on Zoe Sladana HERE and HERE.

Tambay Obenson is Editor of Shadow And Act on the indieWIRE Network at blogs.indiewire.com/shadowandact

The 6-foot-7 Smith was drafted by the then Baltimore Colts in 1967 and spent five seasons with that team. Smith also spent two seasons each with Oakland and Houston, but won the 1971 Super Bowl with the Colts.

Smith is known by many movie fans as the gentle giant “Moses Hightower” in the Police Academy series of movies.

Don Cheadle Has Fun Playing A Cop In “The Guard”

Don Cheadle

It’s a straight-forward action/thriller that starts off running and doesn’t really let up the rest of the way. It’s violent, bloody, comical, cheesy… a B-movie essentially, but still entertaining. Call it a guilty pleasure, despite the fact that it was mostly trashed by critics.

However, in watching it again it got me thinking – was Danny Glover’s an opportunity lost when considering black male actors who had the potential to be action hero movie stars? Glover’s resume is full of mostly dramas and he may not even have wanted to pursue a career as an action movie star, but, indulge me anyway.

He’s practically a maniac in Predator 2. Rough, tough, fearless, determined, relentless as police Lieutenant Mike Harrigan, in an early nod to colorblind casting. He’s a black man, but the film doesn’t care, and it really didn’t need to given the kind of film it is. And he wins in the end. Though there’s no “girl” to get, as is often the case in movies of its ilk.

It wasn’t exactly common to see a black actor leading in a film like this at the time. These were the years when Eddie Murphy was still da man with two Beverly Hills Cop movies and 48 Hours on his resume. Wesley Snipes wouldn’t make his action hero mark for another 2 years, with Passenger 57.

This sequel really isn’t much better nor worse than the first Predator flick, which starred Arnold Schwarzenegger, who wasn’t quite the major Hollywood player he would eventually become some years later.

In it, there’s even a scene in which he’s referred to by one of the other characters as John Wayne – a name that’s become an adjective implying toughness and a no-nonsense approach to whatever task is at hand.

Maybe Danny Glover never really fit Hollywood’s definition of what good looks are, but tough guys like the aforementioned John Wayne, as well as Charles Bronson, Sylvester Stallone, Clint Eastwood, Arnold Schwarzenegger, Bruce Willis, and others, weren’t exactly Hollywood pretty boys either. They were all tough guys who did what we expected tough guys to do in movies. Be tough!

Plus, Glover had the size. The man stands at about 6ft 3inches tall, and back in the day, he wasn’t exactly skinny. He was 44 years old at the time by the way. And I’d say he was a more versatile actor than a lot of those other guys I mentioned above.

I imagine he could have done a few more of these genre action/thriller-type flicks after Predator 2. It was actually nice to see him get out of Mel Gibson’s shadow after two Lethal Weapon movies.

So what do you think? Danny Glover, action movie star 20 years ago?

Trailer below:

Tambay Obenson is editor of Shadow And Act on the indieWIRE Network at blogs.indiewire.com/shadowandact

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If you were already aware of that fact, did you know that She’s Gotta Have It was initially given, not an R, but an X-rating by the MPAA?

Why? The exact quote, according to Spike, was that the MPAA said it was “saturated with sex.”

You can’t help but laugh at the ridiculousness and hypocrisy of that given reason. Talk about a double-standard!

Thus, Spike had to re-edit the film three times and it was still considered too risque. So when he first screened it in New York, he had to do so with an unrated version. However, Lee was contractually obligated to deliver an R-rated movie (if he wanted to get paid) and eventually did.

What was Spike’s response to the whole thing 25 years ago?

“I don’t think it’s out-and-out racist, but the film portrays blacks outside stereotypical roles, and they don’t know what to do with blacks in films. They never have any love interests. Nick Nolte is the one who has a relationship in 48 Hours. And when it comes to black sexuality, they especially don’t know how to deal with it. They feel uncomfortable. There are films with more gratuitous sex and violence. 9 1/2 weeks got an “R.” And look at Body Double.”

In reading that statement, you’d realize just how little has changed in 25 years! There’s still very much an obvious suppression of black sexuality on movie theater screens, at the studio level specifically, so much that some of our stars (especially our male stars) seem to have even given up, or given in to these tacit “agreements,” if we can call them that.

I’d say that since the Blaxploitation period ended, black sexual expression has been noticeably absent from mainstream cinema.

A year after Spike’s debut was distributed, Robert Townsend’s Hollywood Shuffle was released in 1987. In that classic film, Townsend’s character was involved in a romance with Anne Marie Johnson’s, and he was quoted as saying, “This year, I’ll be the only black man that kissed a black woman on screen. That’s deep.”

As Arsenio Hall used to say, “things that make you go hmm…”

Tambay Obenson is editor of Shadow And Act on the indieWIRE Network at blogs.indiewire.com/shadowandact

Why? Well, because there just aren’t many noteworthy performances on the horizon by blacks in film, both in front of and behind the camera this year.

The Usual Suspects

The usual suspects (or past winners) are mostly absent from the big screen this year, just like last year, or aren’t working on any Oscar-worthy projects. For example, Denzel Washington will appear in one film – an action/thriller called Safe House, co-starring Ryan Reynolds (it seems as if Hollywood is starting to use him as a groomer of sorts for next-gen white male stars – or up-and-coming stars, like Chris Pine in Unstoppable, and now Ryan Reynolds in Safe House); Halle Berry will star in the shark thriller, Dark Tide; Forest Whitaker will be co-starring in a crime drama with Bruce Willis called Catch .44, though it doesn’t look like his part will be all that significant; Jamie Foxx hasn’t exactly done a lot since Ray, and his highest profile role in 2011 will be a peripheral role in a comedy titled Horrible Bosses. His characters name will be M*thaf*cker Jones, so that should tell you something about the part; Jennifer Hudson’s Winnie might be out this year, but, based on the poorly-received trailer we all saw a few months back, I’m not expecting much from the film; Will Smith won’t be starring in any films this year (he’s busy shepherding his childrens’ careers – and Justin Beiber’s as well apparently; he’s next scheduled to appear in Men In Black 3, which won’t be in theaters until 2012); Morgan Freeman, who’s usually good for two or three roles per year, will also be mostly absent from theater screens this year. The Rob Reiner dramedy, The Third Act, that he’s been attached to star in alongside Annette Bening, is scheduled to shoot this year, but I don’t know if it’ll be out in 2011; Spike Lee also won’t have any joints in theaters this year; unless one of the several he’s attached to suddenly gets the funding it needs; the same goes for Lee Daniels, who has been stacking up projects since Precious’ big Oscar wins last year.

I could go on, but I’ll switch gears and instead highlight some performances/projects that could be in Oscar’s sights next year – emphasis on “could be.”

The Contenders

I think our strongest contender for Oscar 2012 is probably Viola Davis in The Help. Yes, she plays a maid in Civil Rights era America. It’s a starring role; a plump role (I’ve read the book), and, unless the film is an unexpected disaster, I expect she’ll be in the mix during awards season.

Octavia Spencer as well, who also co-stars in the film. I’m not privy to her previous work, but again, the role she plays in the film is one of those that I can see attracting acclaim, if played well. Viola Davis’ nod will come in the Best Actress category, even though she’s technically not the star of the film, but based on the book, gets lots of screen time, right along with the star character, played by Emma Stone; and Octavia Spencer in the Best Supporting Actress category. Or both of them in the Best Supporting Actress category. But, at the very least, I expect Viola Davis to be sitting in the front row at the Kodak Theater next year.I really don’t know what to expect from Taraji P. Henson’s upcoming sports drama, From The Rough. It could be a made-for-TV ABC Sunday night movie, or an inspiring, gritty work the likes of The Fighter, or even other award-winning sports-related dramas like Million Dollar Baby and The Blindside. It’s based on a real-life story, which Oscar seems to like, and runs on that Academy favorite overcoming-obstacles-to-achieve-greatness theme. And Taraji is no stranger to Oscar, being nominated for her role in Benjamin Button a few years back. But we’ll see…

Those 3 names (Davis, Spencer and Henson), are the few whom I think have the best chance at getting award looks; But really, just the first two.

The Potential Contenders

Now, there are a number of potential contender films that may or may not be released in 2011, depending on mostly the availability of funding for a lot of them.

They are: as I already said above, if any of the myriad of projects that Lee Daniels or Spike Lee are attached to direct come together soon, either of them could be in the mix; Julien Temple’s Marvin Gaye project, which was set to go into production this year, but has faced some hurdles. But I’d say the film, and whomever plays Marvin Gaye, could be contenders for Oscar 2012; Paul Greengrass’ MLK assassination pic, which was fast-tracked, and was scheduled to start shooting this month, but also faced some hurdles. But there should be good roles there for black actors in this, from whomever plays MLK, to the supporting members of the Southern Christian Leadership Conference (SCLC); Don Cheadle’s Mile Davis project, if it gets made this year, and soon; as well as Steve McQueen’s Fela biopic starring Chiwetel Ejiofor; again, if it gets made this year; Geoffrey Fletcher’s directorial debut, Violet & Daisy, which stars Saoirse Ronan and Alexis Bedel. Little has been heard about this one since its initial announcement last year, but it’s currently in post-production, and should be released sometime this year. I have no idea what to expect, since Fletcher’s talents as a director are still relatively unknown. Most know him as the award-winning screenwriter of Precious… this time he’s directing as well. This might be a Thelma & Louise type of ride.

The Long-Shots

These are films that are scheduled to be released this year, but their chances are up in the air, mostly because they are all unproven talents, so I have no idea what to expect from them; I’m referring specifically to Fantasia Barino in Euzhan Palcy’s Mahalia Jackson biopic; Curtis “50 Cent” Jackson (yes that guy) in Things Fall Apart, in which he stars alongside Lynn Whitfield and Ray Liotta. And before you laugh, he and others involved in the project have said that 50′s performance will surprise us. He lost some 50 pounds for the role, so maybe that should demonstrate his dedication to the craft and this particular film. However, his last several movies have been straight-to-dvd releases, and this one just might end up there too.

Lastly, Antoine Fuqua’s Tupac project, for which he says he’s planning on casting unknowns in all the major roles. This could very well be another Notorious. But I’m hopeful it’s not.

The Indie Underdogs

Now, I’d be remiss if I didn’t mention those independent films. Some are still on the festival circuit, others have already been released;and the rest were acquired for distribution and should see theaters later this year. Dee Rees’ Pariah, Rashaad Ernesto Green’s Gun Hill Road, Ava DuVernay’s I Will Follow, Qasim Basir’s Mooz-lum and Victoria Mahoney’s Yelling To The Sky each have some potential for Oscar consideration. I’m just not sure if any of these will have enough of a marketing push behind them to show up on Oscar’s radar, whether or not they deserve to be considered.

In the past we have seen small indie films ride critical acclaim to Academy Awards attention – most recently Winter’s Bone, which was nominated in 4 of the major categories this year; of course, last year, Precious did very well for Lee Daniels and company, receiving nominations in 4 major categories as well, winning 2; and in 2009, Frozen River made a small splash, receiving nominations in the Best Actress and Best Original Screenplay categories. The film’s estimated budget was a minuscule $1 million (relative to industry averages and the other films it was nominated with).

So really, any of these films could be that film, when awards season comes around later this year.

In the so-called non-major categories, we rarely give cinematographers attention! I’d love to see Bradford Young get some looks this year; he shot 2 films that screened at the Sundance Film Festival this year – Pariah and the lush Restless City. Each film benefits immensely from his eye – particularly the latter film, Restless City, which is a thing of beauty! I’d almost go as far as to say that his technical work is the film, and he deserves to be recognized – at least on the indie awards circuit.

Alright, I’ll end it all here. Not necessarily a prettier picture, but, there are more opportunities compared to last year.

I should add that there certainly could be some films in the works currently that I just don’t know about, that might shake things up later in the year.

Tambay Obenson is editor of Shadow And Act on the indieWIRE Network at blogs.indiewire.com/shadowandact.

The film will be released by Sony Pictures Classics on July 29th.

I saw it when it debuted at this year’s Sundance Film Festival and I enjoyed it. It’s well acted and produced with enough laughs, twists and thrills (including murder, blackmail, drug trafficking, police corruption, and more) to keep the audience entertained.

Watch the trailer below:

Tambay Obenson is editor of Shadow And Act on the indieWIRE Network at blogs.indiewire.com/shadowandact

The story is set in the future at a time and place in which malevolent creatures threaten the earth, and the world has to band together to rid the planet of these menaces, using highly advanced technological weapons.

Elba will play a lead character named “Sensi,” starring alongside Son of Anarchy’s Charlie Hunnam.

Not much else is known about the character breakdowns and the film’s plotline at the moment; but it’s clear that Mr Elba’s stock is rising rapidly, and rightfully so (compared to some of his British actor counterparts, like Chiwetel Ejiofor). He has a hit TV show in “Luther” (for which he was nominated for a Golden Globe award this year), and few big-budgeted Hollywood films he’s starring in, on the horizon.

He’s co-starring in Ridley Scott’s heavily-secretive sci-fi epic, Prometheus, which is currently shooting in the UK, and has a role in the upcoming Ghost Rider sequel.

Lastly, a multi-picture deal with Marvel Studios may see him cast in a movie based on one of a few black superheros, like Luke Cage, or Black Panther.

The next two to three years should be eventful and rewarding for Mr Elba, who now seems to have come a long way from films like Daddy’s Little Girls and Obsessed. We’ll all be watching closely.

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Tambay Obenson is editor of Shadow And Act on the indieWIRE Network at blogs.indiewire.com/shadowandact

The film premiered at the 2011 Sundance Film Festival where it was picked up for distribution by Focus Features to be released in theaters later this year.

Pariah stars Adepero Oduye, Pernell Walker, Kim Wayans in a rare dramatic role, Charles Parnell, and Aasha Davis.

Despite the subject matter and themes, I think Pariah is a widely accessible film and will appeal to a much broader audience than most will expect. I saw it earlier this year while it was still on the film festival circuit and thought it was a strong feature film directorial debut for Dee Rees, her cast and crew.

An official trailer and poster were released by Focus Features last week.

Watch below:

Tambay Obenson is editor of Shadow And Act on the indieWIRE Network at blogs.indiewire.com/shadowandact.

Tomorrow will see the nationwide release of one of this summer’s most anticipated movies – J.J. Abrams’ alleged homage to Steven Spielberg of old, Super 8. The film centers on a group of white kids in a small Ohio town in the 1970s whose adventures into film-making with their Super 8mm camera are interrupted by a train crash carrying an alien life form. Naturally, chaos reigns in the aftermath.

But there’s another “alien attacks” movie also centered on a group of kids coming soon to a theater near you (hopefully) that you may not yet be aware of, but really should be. And this one is of special importance because its story features that rare onscreen occurrence in which the alien, or aliens in this case, invade a predominantly urban (read: black) neighborhood.

The film’s tag line, which you can read on the poster above, says it all: “INNER CITY VS OUTER SPACE.” Or, as I like to refer to it: the “Aliens attack da hood” project. For once, right? They almost never do! And the often vilified, bureaucratically-victimized young black boys and girls who live in “da hood” actually save the day for a change! It all sounds quite revolutionary, doesn’t it?

Sarcasm aside, the film I’m talking about is a British-produced horror movie titled Attack The Block, brought to you by the producers of the hilarious zombie spoof Shaun Of The Dead, and the not-so hilarious graphic novel adaption of Scott Pilgrim Vs The World.

The movie, in brief, pits a group of mostly black kids against an invasion of alien monsters, turning a an inner city London tower block into a fortress under siege, and a ragtag group of armed teenagers into heroes.

Since its North American debut at the South by Southwest Film Festival this past March in Austin, Texas the critical and commercial buzz around the movie has been near-deafening. It was released in the UK last month and although it has a North American distributor, an official release date for those of us on this side of the Atlantic has yet to be announced. Given all that I’ve heard and read about the movie (from film critics and general audiences) it sounds like perfect summer fare – an exceptional combination of spectacle and story. You’ll get the thrills and chills, but also plenty of heart.

Here’s a small sample:

From Variety:

“… enormously appealing debut feature, “Attack the Block”… Pitched as “inner city vs. outer space,” pic sees a quintet of teen street hoodlums defend their tower-block home in the projects from an invasion of shaggy-haired aliens with Day-Glo teeth. Set over one wild night in South London, this zero-to-hero tale will play gangbusters in its native Blighty before a rich ancillary career.”

From Cinemablend:

“Attack The Block Could Be The Best Action Movie Of The Year… finds a balance in scope to keep the action moving while showcasing the brilliant, hilarious and realistic teen actors. There’s a surprising amount of smaller-scale, alien attack action in Attack the Block and Cornish’s crack team of make-up and visual effects artists pull out all the stops. The film is quickly paced and never lets up… The result: an alien invasion where you actually give a damn about the folks being invaded.”

And from IndieWire:

“The violence is frenetic and visceral, but Cornish shoots these sequences with clarity and intensity, suggesting he’s an action director ready to bloom. And if you live by the adage that 90% of directing is casting, then Cornish’s job was fairly easy, as a group of total unknowns completely carry this picture. Credit must be given to the young John Boyega, a possible future star, who plays Moses, the de-facto leader of the pack. Boyega has a face that reveals both anger and strength in regular doses, the type of attitude that just cannot be taught in acting classes. As such, our designated hero, Boyega, with an expressive upper brow that reflects the character’s intelligence beyond these circumstances, is believable as both a defiant tough guy and as a teen who theorizes that the aliens are a government program meant to eliminate lower-class citizens. He’s compellingly watchable.”

As the last snippet notes, the cast of Attack The Block comprises of mostly unknown actors who bring a realism to the film, ensuring that, despite its fantastical tale, remains fairly grounded.

And the last line about the aliens being government inventions meant to wipe out the working class, indicates some political and allegorical subtext, speaking to a universal and warranted paranoia amongst black people that’s rooted in a mistrust of government, and people in positions of power in general. History is littered with incidents that instruct those fears.

Taking all of the above into consideration, Attack The Block is a film we should all be watching for down the road. There has even been excited talk of an American studio purchasing the film’s remake rights and producing a Hollywood version of it!

Let’s hope Sony Pictures does release the original first, and soon, rather than shelve it in favor of an Americanized version of the movie.

So, after you’re done devouring popcorn and smoothies at the theater this weekend, watching a group of white kids take on a nasty extraterrestrial in Super 8, get ready to “Attack The Block” sometime later this year… we hope.

The film’s trailer follows below for those who’ve yet to see it:

Tambay Obenson is editor of Shadow And Act on the indieWIRE Network, which can be found at http://blogs.indiewire.com/shadowandact.

In my last 2011 summer movie preview entry, I highlighted mainstream, studio blockbuster releases — from titles like Transformers: Dark of the Moon, to Captain America: The First Avenger.

This time around, I will focus chiefly on alternate summer movie fare; “alternate” as in those relatively smaller films, mostly independently-financed and -produced, and/or foreign titles that a lot of you likely won’t have the opportunity to see in theaters, because they will all be distributed in a limited number of cities, as is often the case with films of their ilk.

Limited theatrical distribution usually means release in New York and/or Los Angeles first, with any later expansion into other cities determined by how well the film does in those initial markets. But, at the very least you’ll know about them so that when they eventually become available on DVD or Blu-ray, the titles won’t be unfamiliar and you might consider adding them to your Netflix queue.

Viva Riva!

I’ll begin with a film that’s opening this weekend in New York and Los Angeles – a Congolese crime thriller titled Viva Riva! set in Kinshasa, in the Democratic Republic of the Congo (DRC), in central Africa.

Viva Riva! is directed by Djo Tunda Wa Munga, who has said that he wants to put a new face on African cinema, portraying aspects of life in his hometown that are rarely seen on screen. Having seen the film earlier this year at the New York African Film Festival, I can say that he accomplishes just that and more, with a film that’s audacious in its depictions of violence and sexuality, in ways African films in general avoid, and isn’t at all for the PG-13 crowd.

Viva Riva! centers on Riva, a small time hustler who, after several years away, has just returned to his hometown of Kinshasa, Congo, with a major score: a fortune in hijacked gasoline, in a country where it’s scarce, in high demand, and thus more of a luxury. Wads of cash in hand and out for a good time, Riva is soon entranced by the beautiful, mystifying Nora while at a night club, only to find out that she’s the kept woman of a local gangster. But that doesn’t stop Viva from pursuing her, though not without repercussions. Throw into the already volatile mix a sadistic Angolan crime lord relentlessly seeking Riva for the return of his stolen shipment of gasoline, as well as other greedy, manipulative hands with Viva’s booty in their crosshairs, and what you’ll uncover is a pulsating look at a post-war city.

The film excelled at the 2011 African Movie Academy Awards, winning both the Best Film and Best Director trophies.

If you live in New York City, or Los Angeles, you’re encouraged to check it out when it debuts this Friday, June 10^th.

Beats Rhymes & Life: The Travels of a Tribe Called Quest

Opening about a month later, on July 8^th, is actor Michael Rapaport’s documentary on the legendary hip-hop group A Tribe Called Quest (Q-tip, Phife Dawg, Ali Shaheed Muhammad and Jarobi), aptly titled, Beats Rhymes & Life: The Travels of a Tribe Called Quest.

Rapaport shot more than 2 years worth of footage of the group, including interviews with various hip-hop luminaries, music, and behind–the–scenes recordings of them on tour, and more.

The final version — a 2011 Sundance Film Festival selection (which is where I saw it, earlier this year) — is a 97-minute time capsule that those of you who frequently reminisce about the “good old days” of hip-hop, when groups like ATCQ, De La Soul, Jungle Brothers, Leaders Of The New School, and the rest of the self-labeled Native Tongues, reigned boom boxes, car speakers, house parties, and the like.

Those unfamiliar with the group should consider this a primer, and may even be inspired to buy a track or two after watching it.

Beats Rhymes & Life: The Travels of a Tribe Called Quest, like Viva Riva!, opens first in New York City and Los Angeles, although, according to the film’s web page, there are plans to expand it into several other cities around the country, through mid-August. So, it just might play at a theater near you.

Life, Above All

The following week, on July 15^th, is a drama called Life, Above All, South Africa’s official “for your consideration” entry into the Best Foreign Language Film category in this year’s Academy Awards.

The film, which screened out of competition in the 2010 Cannes Film Festival, and is based on the award-winning novel Chanda’s Secrets by Allan Stratton, centers on 12-year old Chanda, who, after the death of her newly-born baby sister, learns of a rumor about her family that spreads throughout the small village near Johannesburg, where she lives; a rumor that destroys her family and forces her mother to flee, causing Chanda to leave home and school in search of her mother and the truth.

Of the four films mentioned in this post, this is one that I have yet to see, but will, in a press preview next week. So my awareness of its contents is limited to what I’ve read about it thus far – mostly impressed reviews from other critics who have seen the film while it traveled the film festival circuit.

The trailer looks strong, and I’m looking forward to watching and experience the entire film.

When will you be able to see it? Sony Pictures Classics acquired all North American distribution rights to Life, Above All last year, and now plans to open it in New York and Los Angeles first, on July 15^th, with other cities possible, depending on how well it does during its early release.

Gun Hill Road

And on August 5th, once again, for those in New York and Los Angeles, you’ll have the opportunity to see NYU MFA graduate Rashaad Ernesto Green’s feature film debut, titled Gun Hill Road, when it opens in those 2 cities.

In Gun Hill Road, a Sundance 2011 selection, an ex-con (played by Esai Morales) returns home to the Bronx after three years in prison to discover his wife (Judy Reyes) estranged and his teenage son (Harmony Santana) exploring a sexual transformation that challenges the already fragile bonds of their family makeup.

Isiah Whitlock also features in the film, which I saw earlier this year and loved. It’s a contemplative, compelling drama, with all-around wonderful, naturalistic performances from the cast, notably newcomer Harmony Santana, who director Green found after an exhaustive search.

The film has been travelling the country (and the world) rather aggressively since its Sundance debut, garnering fans, acclaim and support along the way, leading up to its eventual August release; so, some of you may have already seen it. And between today, the date of this posting, and the film’s official commercial theatrical debut, it’ll screen at festivals in Salt Lake City, UT, San Francisco, CA, and Philadelphia, PA; so, if you live in any of those cities, you’ll have an opportunity to see the film.

Follow the film on Facebook and/or Twitter to be kept abreast of its release schedule.

And that’s about it! There might be a surprise release or two here and there worth mentioning, but if you are able to see all four of the films listed above, you’ll be in good shape, as far as indie/foreign cinema by and/or about people of African descent, released in the US this summer, is concerned.

There are some films that played at film festivals earlier in the year, with and without distribution, which might surface at film festivals or other screening series during the summer, so look out for them; they may be closer to you than you realize.

And, of course, I’d be remiss if I didn’t mention that there are a few upcoming black film festivals over the next three months, during which audiences will be introduced to new works by independent black filmmakers. Kicking things off will be the American Black Film Festival in South Florida, which runs in early July; and closing out the summer will be the Martha’s Vineyard Black Film Festival, in early/mid August. And there are certainly others. You’re encouraged to attend these festivals, especially if they are happening in your city, and check out films that you may never get to see elsewhere.

I hope that between my two summer preview entries, you’ll be able to find something(s) of interest. And if not, there’s always content available on television, the web, old movie rentals, and more.

Or you could always read a book… or two or three!

Tambay Obenson is editor of Shadow And Act on the indieWIRE Network, which can be found at http://blogs.indiewire.com/shadowandact.

Alfredas spoke with fans who stood in line for 36 hours to see the movie and got in a few questions with stars like Kyle Massey (“Fish Hooks”), Shay Mitchell and Ashley Benson (“Pretty Little Liars”) and American Idol’s Kimberly Locke. Watch the clip!

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The cast is a great mix of laughs and looks with Nicole Ari Parker, Tamala Jones, Kevin Hart, Keith Robinson, Meagan Good, Jill Marie Jones, Kym Whitley, Clifton Powell, Dondre Whitfield, Mike Epps, and Aaron D. Spears. 35 And Ticking opens in select AMC theaters around the country today. Please go to 35andticking.com to find more info and watch the trailer below!

[Spotted@ BlackFilm.com]

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