Denzel Washington earned his first Oscar® – as Best Supporting Actor – in the sweeping Civil War epic GLORYfor his intense, passionate performance as Private Silas Trip, a formerly-enslaved man who volunteers to be part of the 54th Massachusetts, one of the first Union regiments fully comprised of black soldiers.
The film also stars Morgan Freeman, as Sergeant Major John Rawlins, Andre Braugher, Jihmi Kennedy and Matthew Broderick as Col. Robert Gould Shaw, who assumes command of the regiment – which by law could only be led by a white man.
Edward Zwick directed and Kevin Jarre wrote the screenplay based on the 1965 novel One Gallant Rush by Peter Burchard and the 1973 book Lay This Laurel by Lincoln Kirstein and Richard Benson.
For the first time since its initial release in 1989, GLORY is coming back to movie theaters nationwide for two days this month to mark the film’s 30th anniversary.
Fathom Events and the TCM Big Screen Classics series are presenting GLORYin more than 600 movie theaters on July 21 and July 24 only — 156 years after the Second Battle of Fort Wagner, the Union push on a Confederate stronghold that forms the film’s climax (and which began on July 18, 1863).
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If you enter our giveaway contest, but are not among the five winners, do not despair – you can still see the movie! Tickets are on sale now at the Fathom Events website and at participating theater box offices.
Fathom Events, Turner Classic Movies and Sony Pictures
Sunday, July 21, 2019 – 1:00 p.m. and 4:00 p.m. (local time)
Wednesday, July 24, 2019 – 4:00 p.m. and 7:00 p.m. (local time)
Tickets for Glory can be purchased at www.FathomEvents.com or participating theater box offices. Fans throughout the U.S. will be able to enjoy the event in more than 600 movie theaters through Fathom’s Digital Broadcast Network (DBN). For a complete list of theater locations visit the Fathom Events website (theaters and participants are subject to change).
Glory debuts on 4K Ultra HD disc and in 4K with HDR via participating digital platforms on July 30, 2019.
Told primarily in his own words, True Justice shares Stevenson’s experience with a criminal justice system that, he asserts, “treats you better if you’re rich and guilty than if you’re poor and innocent.” The burden of facing this system is explored in candid interviews with associates, close family members and clients.
The documentary chronicles Stevenson’s struggle to create greater fairness in the system and shows how racial injustice emerged, evolved and continues to threaten the country, challenging viewers to confront it.
According to hbo.com, the film covers Stevenson’s work in Alabama, birthplace of the civil rights movement and home to the Equal Justice Initiative, as well as the early influences that drove him to become an advocate for the poor and the incarcerated. As a young lawyer in the 1980s, he witnessed firsthand how courts unfairly applied the death penalty based on race and how the Supreme Court ultimately declared that racial bias in the administration of the death penalty was “inevitable.”
Tracing the trajectory of the Court since the 1857 Dred Scott decision, which ruled that African Americans are not citizens of the U.S., True Justice shows how the Court has long sanctioned inequality, oppression and violence. Illuminating the power of memory in cultural change, the film instills hope of a brighter American future through the insights of this pioneer.
The film also documents the monumental opening one year ago, on April 26, 2018, of the Equal Justice Initiative’s Legacy Museum and its National Memorial for Peace and Justice, the country’s only lynching memorial, which is dedicated to the more than 4,400 African American victims of lynching.
These sites are part of the EJI’s nationwide effort to engage in a truth and reconciliation process around this country’s legacy of Native American genocide, slavery, lynching and racial segregation. As part of the campaign, Stevenson and the EJI are also working with communities to recognize lynching victims by collecting soil from lynching sites and erecting historical markers.
True Justice: Bryan Stevenson’s Fight for Equality is a co-production of HBO and Kunhardt Films; produced and directed by Peter Kunhardt, George Kunhardt and Teddy Kunhardt; executive produced by Trey Ellis and Peter Kunhardt; edited and produced by Maya Mumma, ACE. For HBO: executive produced by Jacqueline Glover, Nancy Abraham and Lisa Heller.
According to deadline.com, Universal Pictures plans to celebrate the 30th anniversary of Spike Lee’s groundbreaking and still-topical filmDo the Right Thing with a re-mastered 4K restoration that will hit theaters June 28.
In partnership with Universal Pictures Home Entertainment and the Criterion Collection, the re-release will include one-week engagements as well as single-day showtimes June 30 at select AMC, Regal Cinemas, Cinemark, and Alamo Drafthouse theaters. There also will be 35mm screenings at select theaters in New York, Los Angeles, Chicago, Austin and Brookline, MA.
“When Spike Lee’s revolutionary Do the Right Thing was released by Universal Pictures 30 years ago this June, it ignited a national conversation on race and race relations in America that challenged our assumptions about ourselves and our country and heralded the arrival of a generation-defining filmmaker,” said Jim Orr, Universal’s President of Domestic Theatrical Distribution.
Set during one sweltering summer day on a block of Brooklyn’s Bedford-Stuyvesant neighborhood, the film follows the interactions among neighborhood characters Mookie (Lee), Sal (Danny Aiello), Da Mayor (Ossie Davis), Mother Sister (Ruby Dee), Mister Señor Love Daddy (Samuel L. Jackson), Tina (Rosie Perez), Buggin Out (Giancarlo Esposito), Jade (Joie Lee), Pino (John Turturro) and Radio Raheem (Bill Nunn). Tensions rise as demands for a black person’s photo be added to the Italians-only Wall of Fame at Sal’s Pizzeria create heated confrontations that ultimately explode into police-instigated violence.
Public Enemy recorded the film’s anthem “Fight The Power,” which remains an influential hip-hop classic to this day (see video below). Lee earned an Original Screenplay Oscar nomination for the film, and Aiello earned a Supporting Actor nod. On July 23, the Criterion Collection also will celebrate the 30th anniversary with a Blu-ray/DVD release of a director-approved definitive edition featuring the new 4K restoration.
Marion Stokes privately recorded television twenty-four hours a day for over thirty years.
Stokes is the subject ofRecorder: The Marion Stokes Project, a new documentary that highlights her work as an archivist, but paints a complex picture of a woman who was brushed off as an eccentric for most of her life. For thirty-plus years, multiple tapes (sometimes as many as eight) would record concurrently across multiple televisions as Stokes personally watched two monitors at once.
Former librarian Stokes, who became independently wealthy through technology and real estate investments, began casually recording television in 1977 and taped a variety of programs, but thought news was especially important.
In 1979 during the Iranian Hostage Crisis, which coincided with the dawn of the 24-hour news cycle, Stokes began recording MSNBC, Fox, CNN, CNBC, and CSPAN around the clock by running as many as eight television recorders at a time. Marion single-handedly built an archive of network, local, and cable news from her Philadelphia home, one tape at a time, recording every major (and trivial) news event until the day she died.
The taping ended on December 14, 2012 while the Sandy Hook massacre played on television as Stokes passed away from lung disease at the age of 83. In between, she recorded on 70,000 VHS tapes, capturing revolutions, lies, wars, triumphs, catastrophes, bloopers, talk shows, and commercials that tell us who we were, and show how television shaped the world of today.
“She was interested in access to information, documenting media, making sure people had the information they needed to make good decisions,” says the film’s director, Matt Wolf.
Stokes was no stranger to television and its role in molding public opinion. An activist archivist, she had been a librarian with the Free Library of Philadelphia for nearly 20 years before being fired in the early 1960s, likely for her work as a Communist party organizer.
From 1968 to 1971, she had co-produced Input, (which itself was recently recovered and digitized) a Sunday-morning talk show airing on the local Philadelphia CBS affiliate, with John S. Stokes Jr., who would later become her husband.
Input brought together academics, community and religious leaders, activists, scientists, and artists to openly discuss social justice issues and other topics of the day. Marion also was engaged in civil rights issues, helping organize buses to the 1963 civil rights march on Washington, among other efforts.
“Our vision is really aligned with Marion’s,” says Roger Macdonald, director of the television archives at the Internet Archive. “It’s really bold and ambitious: universal access to all knowledge.” Marion’s son had contacted the Internet Archive when he was trying to find a home for her tapes in 2013.
Viola Davis has teamed up with pharmaceutical company Merck on A Touch of Sugar, a documentary film which addresses the health epidemic surrounding Type 2 diabetes, particularly among African-Americans.
According to PR Newswire, the film will debuted at the Tribeca Film Festival today. Davis narrates the project, which is personal to her, as several members of her family have been diagnosed with the disease.
“Type 2 diabetes has taken a toll on my family. My great-aunt suffered from complications of the disease, two of my sisters are currently living with it, and a few years ago, I was diagnosed with prediabetes,” Davis said. “I’m one of the 84 million American adults living with prediabetes and I’m sharing my story for the first time in an effort to inspire others to take action against the type 2 diabetes epidemic.”
“It’s not something I talk about because it’s a disease a lot of us simply accept – growing up my family just called it ‘sugar.’ But, this must change. I want people to know that type 2 diabetes can have consequences. It’s not something to be taken lightly – we need to take it seriously if we’re going to get it under control.”
“A Touch of Sugar is an honest depiction of life with type 2 diabetes that puts a much-needed spotlight on the real people affected by it firsthand,” said Conrod Kelly, Executive Director, Diabetes Franchise at Merck. “Although the disease is a result of a combination of genetics, lifestyle, and environment, there are steps we can take together to help reduce its impact on individuals and their families. With this documentary, Merck is dedicated to increasing awareness and inspiring action to ultimately confront America’s type 2 diabetes epidemic head on – one community and one patient at a time.”
People can learn more about A Touch of Sugar and how to make a difference in their communities by visiting ATouchOfSugarFilm.com. On the website, they can watch the trailer, start the conversation by downloading a discussion guide, and find educational resources to help improve diabetes management.
According to New York Amsterdam News, on Saturday the northeast corner of 123rd Street and Saint Nicholas Avenue in Harlem was renamed in honor of famed acting and civil rights couple Ossie Davis and Ruby Dee (Purlie Victorious, Countdown At Kusini, Do The Right Thing, Jungle Fever).
The Dwyer Cultural Center hosted the ceremonial unveiling of ‘Ruby Dee Place’ and ‘Ossie Davis Way’. Dee and Davis’ children, Nora Day HasnaMuhammad and Guy Davis, attended the event, as did the Rev. Al Sharpton, former New York City mayor David Dinkins, Assemblywoman Inez Dickens and State Sen. Brian Benjamin.
The Dwyer opened its gallery to the public to view an exhibit dedicated to Dee and Davis with numerous storyboards displayed related to the work of the couple and Cliff Frazier. The public also participated in a community mosaic mural.
According to Tambay Obenson‘s article on indiewire.com, filmmaker Ava DuVernay‘s distribution company ARRAY is building a state-of-the-art, 50-set movie theater, which will be able to screen independent movies as well as be available for rental. To quote the article:
“Located west of downtown Los Angeles — a part of the city that doesn’t house many media moguls — it’s also the area’s only independent theater. And it comes at a time when exhibitors are apoplectic over the impact of Netflix and other major streaming companies.
ARRAY VP Tilane Jones said that’s one reason they chose to open it. “It’s really a labor of love, which is all driven by a desire to be in service of people,” Jones said. “Our filmmakers and our audience.”
The ARRAY library is an eclectic selection of independent films, many of which were directed by women and/or people of color, united by singular visions and themes of social justice — a template that mainstream distributors often dismiss out of hand. For DuVernay, who worked as a movie marketer and publicist for more than 14 years, this represented an opportunity.”
ARRAY is also working to create opportunities for filmmakers of color. Last year, ARRAY teamed up with Los Angeles Mayor Eric Garcetti and producer Dan Lin to launch the Evolve Entertainment Fund, which provides promotion, grants, and gap financing for communities historically excluded from the entertainment industry.
ARRAY Alliance, which is the company’s non-profit division, plans to create grants for African American, Latino and Asian American film festivals, societies and clubs, as well as support the screenings, curriculum, and teacher training that will help young audiences learn the value of art, independent film, and social justice.
June 2019 marks the fourth anniversary of the Charleston, South Carolina tragedy at Emanuel A.M.E. Church. The feature-length documentary “EMANUEL,” opens in movie theaters nationwide as a limited release event with Fathom Events on June 17 and 19 only.
The new trailer, released today, gives a glimpse into the emotional documentary that recalls the events of June 17, 2015 and examines how faith, hope and forgiveness healed a devastated community after the heinous church shooting, carried out by white supremacist Dylann Roof.
The film is executive produced by Stephen Curry for Unanimous Media, Viola Davis and Julius Tennon for JuVee Productions, Arbella Studios and Mariska Hargitay, and is directed by Brian Ivie (The Drop Box) and presented by SDG and Fiction Pictures.
For more information on EMANUEL, visit www.emanuelmovie.com. You can also follow the film on social media:
Facebook and Instagram – @emanuelmovie and #emanuelmovie.
Filmmaker Jordan Peele is two for two with his horror-film offerings: “Us,” starring Lupita Nyong’o, Winston Duke and Elisabeth Moss, generated $70 million from 3,741 North American locations to top the box office charts in its debut weekend.
According to Variety.com, that haul is enough to give “Us” the second-best opening weekend of the year behind Disney’s “Captain Marvel” ($153 million). The psychological thriller about a family confronted by a band of doppelgangers now has the largest weekend for an original horror movie, surpassing “A Quiet Place,” as well as the biggest launch for an original R-rated film behind “Ted.” “Us” has also surpassed the benchmark set by Peele’s first horror film “Get Out,” which opened with $33.3 million in 2017 and went on to earn over $255 million worldwide.
Universal and Peele’s Monkeypaw Productions spent $20 million to make “Us,” not including marking and distribution fees, which means the movie has almost quadrupled its production cost in less than a week.
2019 is arguably the year of #OscarsSoBlack. According to the Los Angeles Times, this year set the record for the most individual Black winners of Academy Awards, with seven victors in six categories.
Regina King kicked it all off by winning first award of the evening for Best Supporting Actress for her work in “If Beale Street Could Talk.” Already a recipient of a Golden Globe for the same role, King gave an emotional, touching acceptance speech.
“To be standing here, representing one of the greatest artists of our time, James Baldwin, is a little surreal,” King said. “James Baldwin birthed this baby, and Barry [Jenkins, the director], you nurtured her, you surrounded her with so much love and support. So it’s appropriate for me to be standing here because I am an example of what happens when support and love is poured into someone.”
“Black Panther” collaborators Ruth E. Carter and Hannah Beachler made history with their wins, becoming the first African Americans to take home Oscars for Best Costume Design and Best Production Design, respectively.
“Marvel may have created the first black superhero, but through costume design, we made him an African king,” Carter said. Among those she thanked was director Ryan Coogler, whom she called “a guiding force.”
Beachler also acknowledged Coogler in her acceptance speech. “I stand here with agency and self-worth because of [director] Ryan Coogler, who not only made me a better designer, a better storyteller, a better person. When you think things are impossible, remember ‘I did my best, and my best is good enough.’”
Spike Lee, along with writers Charlie Wachtel, David Rabinowitz and Kevin Willmott (who is black), won the Oscar for Best Adapted Screenplay for “Black KkKlansman.”
After full-body hugging presenter (and “Jungle Fever” alum) Samuel L. Jackson, in his acceptance speech Lee paid tribute to his grandmother, whose mother was a slave, who lived to be 100 years old and put him through Morehouse College and New York University film school.
Lee also made the first direct political comments of the night: “The 2020 presidential election is around the corner. Let’s all mobilize, let’s all be on the right side of history. Make the moral choice between love versus hate,” he said.
“Let’s do the right thing!” Lee added. “You know I had to get that in there.”
Additionally, Peter Ramsey, co-director of “Spider-Man: Into the Spider-Verse” won for Best Animated Feature.
Mahershala Ali won the Best Supporting Actor award for the second time in his career for his portrayal of pianist Don Shirley in “Green Book.” That movie also went on later in the evening to win the Best Original Screenplay and Best Picture categories.
Below is the full list of winners:
“The Favourite” “Green Book” (WINNER)
“A Star Is Born”
Spike Lee, “BlacKkKlansman”
Pawel Pawlikowski, “Cold War”
Yorgos Lanthimos, “The Favourite” Alfonso Cuarón, “Roma” (WINNER)
Adam McKay, “Vice”
Yalitza Aparicio, “Roma”
Glenn Close, “The Wife” Olivia Colman, “The Favourite” (WINNER)
Lady Gaga, “A Star Is Born”
Melissa McCarthy, “Can You Ever Forgive Me?”
Christian Bale, “Vice”
Bradley Cooper, “A Star Is Born”
Willem Dafoe, “At Eternity’s Gate” Rami Malek, “Bohemian Rhapsody” (WINNER)
Viggo Mortensen, “Green Book”
“All The Stars” from “Black Panther” by Kendrick Lamar, SZA
“I’ll Fight” from “RBG” by Diane Warren, Jennifer Hudson
“The Place Where Lost Things Go” from “Mary Poppins Returns” by Marc Shaiman, Scott Wittman “Shallow” from “A Star Is Born” by Lady Gaga, Mark Ronson, Anthony Rossomando, Andrew Wyatt and Benjamin Rice (WINNER)
“When A Cowboy Trades His Spurs For Wings” from “The Ballad of Buster Scruggs” by David Rawlings and Gillian Welch
“BlacKkKlansman,” Terence Blanchard “Black Panther,” Ludwig Goransson (WINNER)
“If Beale Street Could Talk,” Nicholas Britell
“Isle of Dogs,” Alexandre Desplat
“Mary Poppins Returns,” Marc Shaiman, Scott Wittman