article by Brent Lang via Variety.com
“Moonlight” is a film without any big stars. It’s a drama about a shy, gay kid growing up in the inner city, made by a director (Barry Jenkins) whose last credit (“Medicine for Melancholy”)was so long ago many cinephiles feared he’d hung up the camera and retired. It’s the kind of challenging, deeply personal, fiercely urgent look at black life in America that would be lucky to score a video-on-demand berth, let alone a major theatrical release.
And yet, the no-budget film isn’t just a hit with critics, it is poised to be the breakout indie film of the year. This weekend, “Moonlight” scored the highest per-screen average of 2016, debuting to a sizzling $414,740 in just four New York and Los Angeles theaters. There were sellouts and standing ovations, just as there had been when the film announced itself as a serious awards contender at festivals in Toronto and Telluride.
“This puts it on the Oscar map, big time,” said Paul Dergarabedian, senior media analyst with comScore. “They’ve got something really special here.”
The film’s per-screen average of $103,685 is one of the strongest of the decade. “Moonlight” marks Jenkins’ return behind the camera after an eight-year absence. His previous effort, “Medicine for Melancholy,” earned Independent Spirit Award nominations and was a hit with reviewers when it came out in 2008, but in the ensuing years, Jenkins struggled to find the right vehicle for his talents. A film about Stevie Wonder failed to get off the ground, and Jenkins dabbled in advertising, carpentry, and had an artistically frustrating stint as a writer on HBO’s “The Leftovers.” His years in the Hollywood wilderness appeared to have come to an end.”
In “Moonlight,” an adaptation of Tarell Alvin McCraney’s play, “In Moonlight Black Boys Look Blue,” Jenkins appears to have found the perfect material for his humanistic approach to filmmaking. The picture unfolds in three acts, as it examines Chiron’s troubled childhood in a drug-addled section of Miami, and uses his coming-of-age to illuminate issues of addiction and urban violence. It’s a movie that is of the moment. Jenkins’ film hits theaters as the #BlackLivesMatter movement continues to gain momentum, fueled by a series of shootings of people of color by law enforcement officials.
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article by Wesley Morris via nytimes.com
LOS ANGELES — Regina King’s house has a cozy seat at the foot of a hill in a section of the Los Feliz neighborhood here. The house isn’t far from the street but fosters an aura of secluded serenity anyway: A grapefruit tree guards the property. Off the rear patio is a small room with a vintage Pac-Man console and a signed LP of Prince’s “Controversy” on the wall.
On a sunny January morning, Ms. King sat in the kitchen calmly as the finishing touches were being done on her hair and makeup. She was hours from a trip to the Critics’ Choice Awards. Getting dressed would happen later. In the meantime, she wore a black one-piece unitard that unzipped in the front.
It’s easy to imagine this scene playing out regularly in her kitchen. After 30 years in the business, starting as a teenage actor on the NBC sitcom “227” and continuing with a series of notable but supporting film roles, Ms. King has made her mix of hard candor and intense warmth an asset for dramatic television. In 2015, five years after she published a short but action-packed plaint in The Huffington Post criticizing the lack of inclusion at the 2010 Emmys, she won her first Emmy for her work as Aliyah Shadeed, the Muslim-American sister of a murder suspect on John’s Ridley’s ABC anthology series, “American Crime.”