Lonette Mckee

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Luv Trailer

Woody Watson is an 11-year-old boy with a broken family and an unpredictable future. His father is absent and his mother is in rehab leaving him to be cared for by his grandmother and recently out of prison uncle Vincent in their Baltimore home. His aspirations are questionable, admiring Vincent for his life of crime. One day, while Vincent is supposed to be taking Woody to school, he instead takes him out to the bank where he expected to be granted a loan for his food business. However, he is flatly refused based on his criminal past and he is forced to engage in one more drug dealing job for his ruthless boss Mr. Fish with young Woody looking on. When he witnesses his uncle falling into his violent past, he must choose what sort of life he wants to lead for what was meant to be a lesson in how to be man, has turned into a lesson in how to screw up your life like the rest of your family. Will Woody pick the right path?

'Luv' is the gritty drama based on how a broken family can force a child to admire the wrong sort of people and end up making them make life changing decisions at a very young age. It has been directed by Sheldon Candis ('Young Cesar') who also co-wrote the screenplay with Justin Wilson in his full length feature debut and is set to be released on November 9th 2012.

Directed by Sheldon Candis

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Lonette McKee

Lonette McKee Saturday 9th April 2011 Opening night of the Broadway production of 'Catch Me If You Can' at the Neil Simon Theatre - Arrivals. New York City, USA

Lonette McKee
Lonette McKee

'Round Midnight Review

In 1986, director Bertrand Tavernier turned his attention to... the growth of jazz in 1950s France, courtesy of black American expatriates? An odd choice for the director of Coup de torchon -- and featuring Martin Scorsese in a supporting role no less -- but Tavernier could write his own ticket at the time, and write it he did.

The story is as threadbare as something that might have been conceived over bottomless goblets of wine at 3am in a smoke-filled Montmartre jazz club. Francis Borler (François Cluzet) is absolutely obsessed with sax player Dale Turner (real-lilfe musician Dexter Gordon), to the point where he leaves his pre-teen daughter at home and spends his nights sitting outside clubs in the rain while Dale plays his sax inside.

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Lift Review

This Sundance-played look at the life of a shoplifter is above par when it's focusing on Niecy's (Kerry Washington) life of crime, but her family drama (pregnant out of wedlock, abrasive mother, etc.) is run of the mill at best. Unfortunately, the engaging moments are far outweighed by urban cliches, though Washington is a charismatic lead.

Brewster's Millions Review

A guilty pleasure from my childhood, Brewster's Millions is based on an ancient novel. In fact, it's at least the fifth adaptation of the old novel by the same name -- only the spending money is more and more each time.

What money is that? Oh, just $30 million, left to Montgomery Brewster (Richard Pryor) by his sole relative. The catch? The real inheritance is $300 million -- and if Monty wants it, he has to spend the $30 million in 30 days, and at the end of that time he can't have any assets to show for it. Oh, and he can't tell anyone what's going on, either.

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The Cotton Club Review

Gangsters, tap dancers, and jazz musicians collide, in Francis Coppola's rather maligned tale of the famed Harlem jazz club during the Prohibition era.

Starring Richard Gere as a cornet player-cum-movie star (Gere even plays his own solos in the film) and Diane Lane as a kind of singer/hooker/kept woman, the film gets off to a wild start, throwing us into Coppola's archetypal world of violence and betrayal. Gere and Lane have an uneasy romance, the problem being they are low on the totem and the gangsters who control them wouldn't care for any such hanky-panky.

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Fast Food, Fast Women Review

My brother describes Anna Levine as "Skeletor," and damn if that isn't pretty near the truth. And Levine's not just scary to look at, she's a poor actress and a bad dancer. The fact that Amos Kollek's script is stilted and his direction is iffy makes matters worse, but unfortunately Fast Food, Fast Women is just a vain attempt at making a movie about the perils of romance in the modern age. It of course succeeds at exposing none of them.

Which Way Is Up? Review

Decades before Eddie Murphy made his career comeback by playing a handful of different characters in The Nutty Professor, Richard Pryor showed how it was done in Which Way Is Up? And this isn't some kid-friendly piece of fluff like Murphy's recent productions. This is typical Pryor -- full of foul-mouthed trash talk that definitely had people cringing back in 1977 and still has them doing the same thing 25 years later.

Unfortunately, a pioneering performance idea and raunchy dialogue doesn't actually make the movie any good. The story follows a migrant farm worker named Leroy Jones (Pryor), who accidentally becomes selected for a management job and along his ride to the top he makes enemies of his former co-workers and friends, and finds his formerly sex-starved life filled with options. And wouldn't you know it, the only one which satisfies him is the local reverend's wife.

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Fast Food, Fast Women Review


"Fast Food, Fast Women" is a considerably imperfect movie, the intangible charm of which has to grow on you.

Most everything wrong with it can be summed up by the fact that it absolutely screams "my first low-budget indie," yet writer-director Amos Kollek has been making movies for 15 years (all small independent films, straight-to-videos or quickie sequels).

It's uneven and under-rehearsed. It's clear that Kollek had only one or two takes to choose from in editing some scenes. It has all the trappings of a Woody Allen wannabe, including Allenesque opening credits, Allenesque handheld camerawork, an Allenesque ensemble ranging in age and recognition, Allenesque quirky characters (how about a stuttering hooker?) and nervously insecure Allenesque leads. The picture even co-stars Louise Lasser ("Mary Hartman, Mary Hartman"), Woody Allen's ex-wife and frequent collaborator.

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Honey Review


Somehow the people at Universal Pictures got it into their heads that easy-on-the-eyes, thin-on-talent Jessica Alba (star of Fox's short-lived "Dark Angel") should be a movie star.

So apparently a room full of monkeys was recruited to write "Honey," a laughable follow-your-dreams disaster in which the actress plays a sprightly, adorably indomitable, J.Lo-inspired babe from the Bronx who becomes a music-video dance choreographer, turns down a director's demand for sex, gets black-listed, then realizes what's really important in life is opening a neighborhood dance studio for street kids.

Trite and graceless, it's supposed to be the story of the girl's struggle to make it in showbiz, but no sooner does she point at a TV and say, "Check it. That's what I'm talkin' about. I should be dancing in videos like this!" than a video director (David Moscow) sees her shaking her stuff in a club and offers her a job.

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What could Spike Lee have been thinking?

Right on the heels of an unalloyed masterpiece, "25th Hour," the great American filmmaker delivers "She Hate Me," a bizarre, head-scratching hodgepodge of poorly executed bad ideas.

Many film buffs consider Lee a hit-and-miss director, but even his biggest failures ("Jungle Fever," "Summer of Sam," "Bamboozled") have had some kind of coherence, some alignment of angry, passionate ideas, painted with Lee's singular vision and voice.

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