Tag Archives: Teyonah Parris

Movie Review ~ Dashing Through the Snow

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The Facts:

Synopsis: An Atlanta social worker takes an unexpected Christmas Eve journey with his estranged daughter to help him remember the joy and magic of the holidays.
Stars: Chris “Ludacris” Bridges, Teyonah Parris, Madison Skye Validum, Lil Rel Howery, Oscar Nuñez, Mary Lynn Rajskub, Ravi V. Patel, Gina Brillon, Kevin Connolly, Zulay Henao
Director: Tim Story
Rated: PG
Running Length: 90 minutes
TMMM Score: (6.5/10)
Review:  ‘Tis the season for every cable/streaming service to release a Christmas film. Some, like the Hallmark Channel, don’t know when to hit the stop button, so the movies keep churning out with little quality control, while others, like AppleTV’s scant offerings, make you yearn for more festive fare like they had with 2022’s Spirited. Then you get to one still finding its feet in original feature-length programming like Disney+, and it gets trickier. While Disney+ has achieved inroads to Christmas cheer with original scripted serialized programming like the continuation of The Santa Clause movies with Tim Allen, actual movies are as rare as a reindeer’s red nose.

Director Tim Story (The Blackening) and producer Will Packer hope to change that with Dashing Through the Snow, premiering with a prime release date directly before Thanksgiving.   A bauble of a Santa story from screenwriter Scott Rosenberg (Con Air, Venom, and the Jumanji films from 2017 and 2019), the script is rudimentary paint-by-the-numbers stuff. It feels like it’s been around for a few decades but fits right into the programming Disney+ could use now. Moreover, it’s deceptively entertaining and splendidly plays into the talents of its two appealing leads, Chris “Ludacris” Bridges and Lil Rel Howery. 

Ever since he was disillusioned with Christmas as a child, Eddie Garrick (Bridges, Fast X) has tried to avoid celebrating the holiday at all costs. Now a social worker who has a knack for spotting the good in people, Eddie has a rare day off on Christmas Eve and is asked by his estranged wife (Teyonah Parris, The Marvels) to watch their 9-year-old daughter Charlotte (Madison Skye Validum). An innocent trip to the neighbor’s next door puts Eddie face to face with Nick (Howery, The Mill), a jolly man with a taste for cookies that sweats glitter, passes cinnamon-infused gas, and is having trouble finding his transportation. 

Nick is also pursued by three dopes working on behalf of a crooked politician (Oscar Nuñez, Disenchanted). At first, they think he’s made off with essential information that could implicate their boss in a crime. However, eventually, when it’s clear that Nick is the Santa Claus he claims to be and has confused their naughty list with his nice list, they spend most of the movie attempting to regain it while Eddie and Charlotte almost unknowingly keep Nick out of harm’s way. There’s more trouble to worry about: the longer that Eddie doesn’t believe in Nick or his powers, the harder it is for Nick to find a way to continue making his important deliveries worldwide.

We’ve seen this type of film countless times. Person claims they are someone that others struggle to believe, and most of the run time is spent on said person trying to convince the doubters who must be touched on a personal level to have their eyes and hearts opened. So, it’s not precisely a spoiler to say that Rosenberg is plowing no new terrain with Dashing Through the Snow. What sets this one above the cookie-cutter others is the energy Bridges and Howery bring to the screen, playing off one another while creating memorable moments for themselves within their own lanes. After countless Fast & Furious films, Bridges is used to playing with a team, and Howery’s a seasoned pro at spinning the most mundane phrase into a golden laugh line.

If there’s something to complain about here, it’s that Story doesn’t do much creatively aside from getting Bridges and Howery together on screen. There’s a laziness to the filmmaking that feels like resting on laurels when we know that everyone behind the camera can push themselves to do more. The effects are often sloppy, and aside from Validum’s sweet turn as Bridges’ inquisitive daughter and an underused but still welcome Parris, the supporting cast fades quickly. Even Nuñez misses the mark on several easy laughs. I would rather see head goon Mary Lynn Rajskub (The Tomorrow War) switch roles with Nuñez because the dry Rajskub has better instincts regarding snarky comic asides.

Audiences are coming to Dashing Through the Snow for holiday happiness, though, and I think they’ll get a healthy dose of it courtesy of Bridges and Howery, who make an excellent team. This could quickly spawn a sequel (or two) and be a good gig for all involved. Harmless entertainment can co-exist with serious blockbusters, and while this sincere family comedy would never have worked as a theatrical release for a Disney+ exclusive, it would make a funny and appropriately joyful addition to your watchlist.

Movie Review ~ The Marvels

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The Facts:

Synopsis: Carol Danvers gets her powers entangled with those of Kamala Khan and Monica Rambeau, forcing them to work together to save the universe.
Stars: Brie Larson, Teyonah Parris, Iman Vellani, Zawe Ashton, Gary Lewis, Seo-Jun Park, Zenobia Shroff, Mohan Kapur, Saagar Shaikh, Samuel L. Jackson
Director: Nia DaCosta
Rated: PG-13
Running Length: 105 minutes
TMMM Score: (4/10)
Review: This is it. We all knew it was coming, and it’s unfortunate that it had to be The Marvels, but the time has come when Marvel Studios has tipped the scales too far out of whack. The level of content being thrown at audiences has maxed out. With multiple movies and television series released too close together, requiring viewers to cross-watch to make sense of the next installment, it’s almost becoming a part-time job keeping up with the various threads the studio has dangling. The worst thing? Even putting all that work into it isn’t yielding positive results from a studio that also seems exceptionally fatigued.

I recently expressed my thoughts that it’s time for Marvel to stop, take a breather, and let its actors do other work that gives them artistic freedom and fills their cups, giving us a chance to miss these characters and worlds and, most importantly, allow us all time to catch up on what is already out there. There is life outside of Marvel, and we don’t drop everything to watch the newest season of Loki the moment it comes out. I’m so far behind the television shows that I hadn’t even seen Ms. Marvel when the screening for the newest feature film arrived. While it didn’t exclusively preclude me from following the action, I wasn’t able to walk into The Marvels and pick up where the filmmakers wanted me to. (There are characters from other Disney+ series that show up that viewers won’t recognize if they haven’t watched.)

Though Brie Larson was introduced in 2019’s successful Captain Marvel, her character Carol Danvers has primarily been relegated to a utility player in Avengers offshoots in the years following. Part of that has to do with Larson resisting her iconography in the role, and part of it has been the studio attempting to figure out how to continue the story and chock as much IP of their other heroes in as well. Once Iman Vellani was introduced as Kamala Khan/Ms. Marvel in the Disney+ series of the same name and Teyonah Parris proved to be an imposing breakthrough star in WandaVision as Monica Rambeau (the daughter of Carole Danvers best friend), it made gathering the trio for this joint effort a bit easier. Director Nia DaCosta (Candyman) was onboard for a largely female-centered film, the first of its kind in Marvel’s history on the big screen. 

A troubled production history has followed The Marvels since the beginning, with the release date being shifted and news of an early test screening not giving producers much confidence in how well the film would perform. Massive reshoots have been all but confirmed, and with a run time of 105 minutes, by far the shortest Marvel film in ages, one has to assume DaCosta’s film looks a lot different than it did a year ago when it was mostly complete. What’s being released is so far afield of what fans have seen before that it’s almost admirable the studio chose to stick with a theatrical platform and not send this to Disney+, where it likely belongs.

The Marvels wastes no time introducing us to a new villain, Kree leader Dar-Benn (Zawe Ashton, Greta), who finds a Quantum Band on a dead planet. With the ability to harness exceptional power, the Quantum band gives Dar-Benn free rein to jump through space, finding worlds rich in the natural resources her dying ecosystem desperately needs. Dar-Benn’s activation of the Quantum Band sets several other pieces into motion, warping the powers of the Earth-based Kamala Khan (Vellani), astronaut Monica Rambeau (Teyonah Parris, Chi-Raq), and Carol Danvers (Larson, Fast X), who has been on a personal mission to right a wrong that will have its full circle comeuppance shortly.

As the three women understand how their powers have been united, allowing them to switch places anytime their might is unleashed, they will eventually see how this triumvirate is the only one that stands a chance to defeat Dar-Benn.  Kamala possesses the other Quantum Band needed to give Dar-Benn full strength to create massive damage, a wrinkle that the screenplay only hastily tries to smooth out. Aided (somewhat) by Nick Fury (Samuel L. Jackson, Django Unchained), who operates out of a space station eventually overrun by kittens with special powers, the trio travel across space tracking their enemy, hoping to stop her before she manages to destroy more than just her intended target.

This film should have come out years ago before the original Avengers team had run its course and completed their initial record-breaking run. If it had, more time would have been spent on shoring up an unruly script filled with so many plot holes and gaffes that you could drive a space shuttle through it. In The Marvels, a character wields a weapon of great power that is often knocked out of their hands, yet with three people fighting that character, does anyone think to pick it up while the other two are holding the owner back? No one fights with any drive or determination; it’s all a slap-happy goof-fest that creates no real stakes. While the special effects aren’t as shoddy as Thor: Love and Thunder, the make-up work is mega-iffy. Several of the prosthetics on actors actually bounce around while they walk and look like the rubber masks they are.

With Candyman, DaCosta demonstrated her confidence as a fearless female filmmaker, and you know that Larson and Parris are no slouches in this department either. I’m all for grrrl power and whatnot, but I was perplexed why the three women were often dressed in clothes more appropriate for a sleepover than universe-saving. I swear, at one point, Larson is wearing a baggy crop top, basketball shorts, and tube socks, while Vellani is lounging with wet hair in an oversized T-shirt and sweatpants, munching on popcorn. Let’s not talk too long about some of the costumes when they are in superhero mode. Parris is dealt an unflattering blow with hers, but the worst offense is during the post-credit sequence when a new character is revealed wearing a costume so ugly/bulky you might think it’s a cardboard cutout they are standing behind.

It’s not a shock to hear rumblings that Larson wants out of playing Captain Marvel in the future; her heart doesn’t seem to be in it, and she often appears like she’s dreaming about being in another movie. Not having seen Ms. Marvel, I tried not to listen to the critics that dinged Vellani’s over earnestness, but she’s an increasingly grating presence in the film, especially when she begins to take center stage over Larson and the infinitely more interesting Parris. You start to wish this was a standalone movie for Parris anytime she gets a moment to shine – here’s hoping someone at Marvel gets wise. Ashton is a regrettably toothless villain, ironically saddled with silver-ringed teeth and a choppy backstory that suggests she’s playing a character far older than she looks. Only Zenobia Shroff (Soul), as Kamala Khan’s overprotective mother, is given any time to shine amongst the poorly written (and broadly performed) supporting characters.

I almost can’t imagine being in a theater with a packed audience when The Marvels delves into its two most bizarre sequences. One of these concerns the women visiting a planet that communicates only in song. Yes, in song. If you ever wanted to know what Larson sounds like singing her lines of exposition, I hope you have a ticket for the Friday night showing lined up. The second passage, sure to leave viewers scratching their heads, is a bizarre montage set to Barbra Streisand’s version of Memory and involves cats (naturally), tentacles, and regurgitation.

I wish that this reckoning for Marvel had come with an equal opportunity chance to disappoint, like on a Guardians of the Galaxy fart of fancy (we all know Vol. 3 was terrible, right?). Still, The Marvels is destined to shoulder the burden of failure. However, this is the movie the studio chose to send into the world, so judge it we must. Despite a humdinger of a post-credit sequence (it’s a jaw-dropper, to be sure), The Marvels is too campy to be cool, too goofy to be taken seriously, and too hastily glued together to be considered alongside the type of blockbuster output fans are expecting. Come to think of it; the output has been going south so much lately that The Marvels may not be that much of a letdown at all.

Movie Review ~ Candyman (2021)

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The Facts:

Synopsis: For as long as the residents can remember, the housing projects of Chicago’s Cabrini Green neighborhood were terrorized by the word-of-mouth ghost story about a supernatural killer known as Candyman, easily summoned by those daring to repeat his name five times into a mirror. A decade after the last of the Cabrini towers were torn down, a visual artist’s chance encounter with a Cabrini Green old-timer exposes him to the tragically horrific nature of the true story behind the Candyman, unleashing a terrifyingly viral wave of violence that puts him on a collision course with his destiny

Stars: Yahya Abdul-Mateen II, Teyonah Parris, Tony Todd, Nathan Stewart-Jarrett, Colman Domingo, Vanessa Williams, Rebecca Spence, Kyle Kaminsky, Christiana Clark

Director: Nia DaCosta

Rated: R

Running Length: 91 minutes

Trailer Review: Here

TMMM Score: (9/10)

Review:  Even as the Delta Variant rages through the U.S. and hints of another shutdown begin to loom large, films that were delayed from a year ago are sliding into theaters and making their rescheduled dates and for that I’m grateful.  Of all the movies that were bumped around the calendar due to the original pandemic lockdown in 2020, I was most disappointed that producer Jordan Peele’s ‘spiritual sequel’ to 1992’s Candyman was affected because as a huge fan of the original I was looking forward to what Peele and director Nia DaCosta could do with this property.  More than that, I was intrigued to see what it was going to be in the first place.  We knew it wasn’t a remake, but was it a direct sequel, a stand-alone film, a re-imagining of Clive Barker’s short story “The Forbidden” that inspired the first movie?  We had to wait a whole year to find out but Peele (Us) and DaCosta kept us engaged along the way with creative trailers and morsels of hints that showed more of the movie yet still didn’t reveal all of their cards.

As it turns out, this is one of those films that was well worth the wait.  A rare delight that pays service to fans of the original while addressing a new generation of devotees that have come onboard over the years (and maybe during this last year alone), DaCosta’s Candyman picks at the fabric lining the jewel box the 1991 movie was placed in and uses it to craft a horrific new garment all its own.  There’s a distinct voice present throughout that isn’t just Peele’s with its direct or indirect societal symbolism but a generational one that lives, works, fears, and loves in the environment DaCosta and her crew probe to terrific results.  That it manages to cover a lot of ground in such a short time frame without ever feeling rushed is a testament to efficiency on all levels.

The original Cabrini Green towers have long since been torn down but their dark history remains nightmare material only spoken about in hushed whispers or, better yet, not at all.  Now, new housing has been built on the same site and after a brief prologue set in the late ‘70s we meet two new tenants of the gentrified Cabrini.  Brianna Cartwright (Teyonah Parris, Chi-Raq) and her artist boyfriend Anthony (Yahya Abdul-Mateen II, Aquaman) are settling into their new digs when Brianna’s brother (Nathan Stewart-Jarrett, The Kid Who Would Be King) tells them the story of Helen Lyle, a grad student that went crazy after visiting Cabrini looking for an urban legend known as Candyman.  With a hook for a hand, the killer was said to haunt the projects and called Cabrini his home, but Helen took the investigation too far, becoming obsessed with her own research, killing numerous people, and abducting a small child that almost died at her hands before she was finally burnt alive.  Scary stuff that Brianna doesn’t want to know about. (But viewers of the original know the story isn’t quite accurate…)

Once stunted artistically, the terrifying tale inspires Anthony in surprising ways.  Researching Candyman by visiting the old part of the neighborhood and meeting a long-time resident (Colman Domingo, Without Remorse), he comes away with a new zeal for expression, just in time for an art show at the gallery Brianna works at.  The piece he creates is a mirror and he provides instructions on how to ‘call forth’ the Candyman by saying his name five times to your reflection.  One unfortunate soul does it, then another, and before you know it, bloody death is everyone around Anthony…but is he to blame for all the carnage or is he simply fulfilling a destiny that started long ago and was never truly finished?  Perhaps a visit to his mother Anne-Marie McCoy (Vanessa Williams) will explain it all…

Originally written as a short story set in London’s tenement neighborhoods, the director of the 1992 film wisely moved the action to Chicago’s projects and it gave the film some credibility as a statement on how communities create their own legends.  Sometimes it is to protect themselves from the evil that lurks within but often it can be to keep the more wicked outsiders from entering.  Peele, DaCosta, and co-screenwriter Win Rosenfeld latch onto that notion and run with it, exploring how the tale of Candyman has evolved overtime and why it’s possible that a society might need a Candyman just as much as he needs them to believe in him.  It’s surprisingly not as tangled or heady as it could have been and the script isn’t interested in making more out of it than that. 

I also appreciated that while this new Candyman is brutal in its violence, much of it is restrained and either shown at a distance or just offscreen.  After the last year, many of us have seen death firsthand and so anything we see portrayed on film could never been as disgusting or horrific as what we’ve witnessed real people, not actors, doing to each other.  When it’s appropriate, DaCosta lets the audience have it but there’s ample build up to get to those moments of bloodshed.  Accompanied by stellar production design from Cara Brower (Our Friend), unique cinematography by John Guleserian (Love, Simon), and a nerve-jangling score courtesy of Robert Aiki Aubrey Lowe, all of the elements are there to keep you on the edge of your seat, breathless, waiting for the next shock to arrive.

There was a time when remakes of these old titles felt like betrayals of trust but when they’re handled with such intelligence and care like Candyman has been, I find that I can relax a little bit when the next one is announced and hope that future filmmakers learn a thing or two from it.  This is how you take a fan-favorite property and do something of your own with it, while at the same time allowing that previous film to live on (and thrive) because your film is equally as terrifying and well-crafted.  Sweets to the sweet is a famous bit of graffiti seen on the walls of Cabrini Green in the original film and that goes double for DaCosta and her crew.

The Silver Bullet ~ Candyman (2020)

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Synopsis: Candyman, a murderous soul with a hook for a hand, is accidentally summoned to reality by a skeptic grad student researching the monster’s myth.

Release Date:  June 12, 2020

Thoughts: As I recalled in my 31 Days to Scare review, 1992’s Candyman remains one of the rare movies that still manages to frighten me to this day.  It scared me terribly when I first saw it and I get a little rush of sweat in my brow when I know I’m going to be seeing it again.  It’s just that well-crafted of a horror film.  So I was more than a little curious when a remake was announced, thinking it was just another in the long-line of ill-conceived reboots that no one asked for.  It’s when Oscar-winning screenwriter and surging director Jordan Peele (Us) came on board to co-write the script and director Nia DaCosta signed on to direct that I really got interested and if this first trailer is any indication, this 2020 Candyman is going to pack that same scary sting as the original.  With an enviable cast including Yahya Abdul-Mateen II (Aquaman), Teyonah Parris (Chi-Raq), Colman Domingo (If Beale Street Could Talk) and even original cast member Vanessa Williams (no, not that one) returning as what looks to be the same character this one is something to look forward to.  Looking over the cast on IMDb reveals Peele is either making a sequel ala the recent Halloween or remaking the original with a twist…either way I’m in for some sweet screams.

Movie Review ~ If Beale Street Could Talk

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The Facts:

Synopsis: A woman in Harlem desperately scrambles to prove her fiancé innocent of a crime while carrying their first child.

Stars: KiKi Layne, Stephan James, Regina King, Teyonah Parris, Colman Domingo, Diego Luna, Ed Skrein, Brian Tyree Henry, Finn Wittrock, Michael Beach, Aunjanue Ellis

Director: Barry Jenkins

Rated: R

Running Length: 119 minutes

TMMM Score: (9/10)

Review:  In 2016, writer/director Barry Jenkins won an Oscar for his adaptation of Tarell Alvin McCraney’s story Moonlight, telling a unique story about a heretofore underrepresented population of the black community onscreen.  It was a bold, beautiful movie that challenged viewers and our own prejudices not only to skin color but to our perceptions of love and acceptance.  While Jenkins missed out on winning Best Director, Moonlight famously went on to win Best Picture is an Oscar snafu that first saw La La Land announced as the victor only to have Academy officials quickly rush the stage to say presenters Faye Dunaway and Warren Beatty read the wrong winner and the small indie Moonlight actually took the prize.

Two years later, we were all waiting with baited breath wondering would the next Jenkins film, If Beale Street Could Talk, capitalize on his momentum and solidify that Moonlight wasn’t just a flash in the pan moment of greatness.  Based on James Baldwin’s 1974 novel of the same name, Jenkins has again adapted a work of great beauty that juggles multiple timelines and emotions and creates an utterly transporting experience.  While it couldn’t be more different from Moonlight in subject matter, it captures a similar spirit and builds on that earlier work, bringing audiences deep into the lives of two young lovers and their families dealing with a terrible situation.

Tish (KiKi Layne, Captive State) and Fonny (Stephan James, Selma) have grown up together in Harlem, their childhood friendship blossoming into teenage affection and then into adult love.  When the film opens, Fonny is in prison awaiting trial for a raping a woman and Tish has to tell him that she’s going to have his baby.  Through flashbacks intercut with present day scenes of Tish and her family seeking assistance in clearing Fonny’s name, we see how these two young people got to this place and time and mourn the likely loss of the shared life they’ll never get to begin.  Is the woman accusing Fonny doing so because he’s black?  Or was she instructed to pick him out of a line-up by a cop (Ed Skrein, Deadpool) that had a previous run-in with him?  What about the darkest question of all?  Could Fonny have actually done it?

Even though this is only the second film I’ve seen from Jenkins, I can already see a calling card style to his work. Like director Jonathan Demme (The Silence of the Lambs), Jenkins favors having his actors staring directly into the camera, which functions as a way of drawing audiences into the action and makes you feel like they are delivering their lines directly to you.  You suddenly become the character being addressed and the effect is unsettling, yet thrilling all the same.  Much of If Beale Street Could Talk are just conversations between ordinary people and the film isn’t afraid to keep things quiet and reflective, like in a scene with Brian Tyree Henry (Spider-Man: Into the Spider-Verse) recounting to his old friend Fonny what a black man’s psyche feels like after being in prison.

At the center of the film are the two impressive performances of Layne and James, navigating countless emotions throughout from the nervous excitement of a first coupling to elation in the face of fear at the news of their upcoming child to the desperation and eventual resolute acceptance of a broken legal system.  The work here, especially Layne as the film progresses, is outstanding.  The young actors are strongly supported by Regina King (Jerry Maguire) as Tish’s mother who is mighty and moving in several key scenes without ever resorting to the kind of showboating acting the role could have leaned toward.  For me, it’s not quite the Oscar-winning performance people are claiming it is but King is always such a solid presence I get why she’s at the top of the conversations this year.  I also enjoyed Teyonah Parris (Chi-Raq) as Tish’s no-nonsense sister, and Michael Beach (Aquaman) and Aunjanue Ellis (Get on Up) as Fonny’s parents who come calling for but one scene early on in the film and leave a sizable impression in their wake.  Familiar faces Diego Luna (Contraband), Dave Franco (The Disaster Artist), and Finn Wittrock (Unbroken) show up in smaller supporting roles that thankfully don’t get in the way of our leads.

Nicholas Britell’s (The Big Short) brass heavy score is fantastic as is James Laxton’s (Tusk) golden-hued and period specific cinematography, all playing their role in picking you up and placing you exactly where Jenkins wants you to be.  Jenkins has a way with casting even the smallest of roles pitch-perfectly, with no one betraying this is a movie set in 1974 made in 2018.  While Moonlight was more of a film that led to further discussion, If Beale Street Could Talk doesn’t quite have that same “Let’s talk about it” feel to it when the picture ends.  That’s not to say it isn’t highly effective or incredibly moving – it’s a movie made with emotion that you can’t help but be swept away with and that’s largely due to the performances and the way Jenkins brings many elements together to create a true movie-going experience.  One of the best of the year.

 

Movie Review ~ Chi-Raq

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The Facts:

Synopsis: A modern day adaptation of the ancient Greek play Lysistrata by Aristophanes, set against the backdrop of gang violence in Chicago.

Stars: Teyonah Parris, Nick Cannon, Wesley Snipes, Jennifer Hudson, D.B. Sweeney, Harry Lennix, Steve Harris, Angela Bassett, John Cusack, Samuel L. Jackson

Director: Spike Lee

Rated: R

Running Length: 127 minutes

TMMM Score: (7/10)

Review: I can’t remember the last Spike Lee movie I saw…I’m ashamed to admit that I kind of gave up on the director about a decade ago after a series of heavy-handed offerings that got bogged down in their own messages.  And I hadn’t even heard about Chi-Raq until a screening popped up on my list so I stayed away from any previews, put away my pre-conceived notions of the director’s past work, and knowing only that it was Lee’s update to Lysistrata by Aristophanes, I let the film speak for itself.

And speak it does…with a strong, loud, clear voice.  It’s Lee’s voice and it’s familiar in its tone and delivery, but wrapped in a timely package about guns, violence, diversity, and peace.  Lee has brought forth his most focused film in quite some time and while it has its interminable sections, there are moments of sheer brilliance that’s as good as anything else I saw in 2015.

In Chicago, violence is at an all-time high. People are gunned down on the streets, in their homes…the innocent and the guilty are indistinguishable. Into this mix we meet Lysistrata (Teyonah Parris, giving a star-making performance), the girlfriend of rapper Chi-Raq (Nick Cannon) who has had it with the violence always right outside of her doorstep.  Moving in with a neighbor hardened by violence in her past (Angela Bassett), her eyes are opened to the power she holds to help effect change in her neighborhood.

After a child is gunned down in broad daylight, Lysistrata and her girlfriends band together to attempt to force their males to put down the weapons and make peace.  How do they do it?  Well, those familiar with Lysistrata will know but for newcomers, I’ll let that be something you discover on your own.  It proves to be a method that brings international attention to the war on street violence, a happening that moves Lysistrata to the front lines of the battlefield.

Lee expertly brings Lysistrata forward to the new millennium and has created a movie arriving when gun violence is at an all-time high and questions about police action and neighborhood activism is front page news.  Using Samuel L. Jackson (The Hateful Eight) as a hilarious Greek chorus, Lee gets his message across in a more commercial way but its nonetheless powerful in how it’s received.

There are some parts of Chi-Raq that bristle with firepower and moments that seem to stretch on forever, thankfully in the end there’s more that crackles than strains and the end result is a movie that’s important to see with a message imperative to heed.