It's everyone's favourite time of year, the Christmas holidays when families come together every year to celebrate the birth of Christ, what could possibly go wrong? In the case of the family in Almost Christmas, everything! This new Christmas comedy film directed by David.E Talbert follows the story of how a beloved patriarch asks his family for a Christmas all together stress free, where they all get along.
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Thomas Carter is a life coach who receives widespread literary fame after releasing his book 'Don't Look Back' following a nearly fatal car accident. At a book signing, he meets a troubled man named Angel Sanchez who has taken on Carter's advice so heavily that he is determined to have private therapy sessions with him. Carter discovers that Sanchez is finding it impossible to find peace in his mind as he frequently has frightening hallucinations of his dead mother who was killed and found in the river near his home. Meanwhile, Carter has his own problems which come to rise at the arrival of his brother who knows that he's not the perfect life-coach he comes across as to his readers. Sanchez is also seeing cracks in his life and, in a bid to 'heal' him, brutally holds him hostage - along with his wife and brother - and places them under threat of torture after becoming obsessed with Carter's karma-centric teachings.
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Soul singer India Arie, 'American Pie' actress Natasha Lyonne and 'Boogie Nights' star Nicole Ari Parker were all among arrivals at the GEMS Benefit gala in New York City. The stars we snapped outside the side entrance to the venue pre-red carpet glamour. Natasha seemed a little shocked at all the photographers as she had only stepped out of the building for a smoke. She is asked if she would pose for a picture but seems a little reluctant. 'What is this? One minute! I just want to have a cigarette!' She said.
Boris Kodjoe and Nicole Ari Parker - Boris Kodjoe and Nicole Ari Parker Tuesday 21st February 2012 4th Annual Celebrity Oscar Gifting Suite & Party to benefit Hats Off For Cancer charity for children held at Lexington Social House
Evan (Murphy) is a high-flying financial executive who's not as attentive to his perky daughter Olivia (Shahidi) as he should be. Sharing custody with his ex (Parker), he only barely hears what Olivia says, and is shocked to discover that her imaginary friends are giving sound investment advice. So he starts using their tips at work, which both improves his job prospects and his relationship with Olivia. But this comes undone when his boss (Cox) offers a prime promotion to either him or his smarmy office rival (Church).
Continue reading: Imagine That Review
The film's setup is simple. Dre (Taye Diggs) and Sidney (Sanaa Lathan) have been very close friends since childhood, when hip-hop was just coming into its own. Dre is a well-known hip-hop record producer who is unhappy with his job and is about to get married. Sidney is a magazine editor who is working on a book about the origins of hip-hop and cannot find the right man to fit her groove. She is of course secretly in love with Dre because he is the only man who can connect with her and her music, and Dre is secretly in love with Sidney because she is the only woman who will support his dreams. Both Dre and Sidney have problems with the other's initial choice of spouse (Nicole Ari Parker and Boris Kodjoe).
Continue reading: Brown Sugar Review
Case in point Martin Lawrence, whose new movie Blue Streak seems like a carbon copy of his last one, Nothing to Lose. The jokes work off of the same punch line, the scenes seems stolen from one another. Everything is placed towards a completely predictable ending.
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Both a winning, friends-or-more romance with intelligent, down-to-earth characters and a melodious love-letter to the heart and soul of hip-hop, "Brown Sugar" signals director Rick Famuyiwa's emergence as an articulate, grown-up voice in African-American (and cross-over) cinema.
Far more mature and perceptive than recent stereotype-hocking, battle-of-the-sexes "comedies" like "The Brothers" and "Two Can Play That Game," this movie may not have a terribly original plot -- in the midst of plans to marry other people, two life-long best friends (Taye Diggs and Sanaa Lathan) finally realize they're meant for each other -- but the story is built around smart, appealing, multi-dimensional characters whose romantic (and other) problems are not simplistic or easily resolved.
The supernaturally handsome and magnetic Diggs plays Dre, an executive at a record label that has sold its soul for commercial success. Torn between making a good living and sticking to his principles (defined by his true love of unadulterated, old-school hip-hop), he finally walks out when his boss tells him "You wanna keep it real, you go to (another label). You wanna keep it profitable, that's what we do." (A running gag features the label's talentless new black-and-white novelty rap duo who call themselves "the dalmatians of hip-hop" and plan to remake "The Girl Is Mine" as "The Ho is Mine.")
Continue reading: Brown Sugar Review
Written by a man (Kwyn Bader) who has convinced himself he knows what women want, "Loving Jezebel" is a film about a sensitive-guy lady-killer with a bad habit of coveting women who are spoken for.
After a prologue in which our hero is freeze-framed while jumping out a window to escape an angry and armed jealous husband, Theodorus (Hill Harper) laments in voice-over about how it all started in kindergarten with a girl named Nicky Noodleman.
In a two-reel run through high school and college (rife with amped-up '80s and first-sex clichés), Theo comes off like a whiney puppy dog type, actually begging for dates and -- here's where the picture's credibility goes straight out the window -- getting girls to say "yes" this way. See, they all have insensitive boyfriends and he's so tender, blah, blah, blah.
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There seems to be an unwritten rule that movies starring ex-stand-up comedians must come to a grinding halt at some point for the star to have a vanity improv scene.
Every Robin Williams has such moments -- even his syrupy, sentimental pictures. Every Martin Lawrence movie does too. In "Blue Streak," the improv moment comes when Lawrence dons a nappy pigtails wig, gnarly false teeth, body padding and a velour jogging suit to pose as a hyperactive pizza delivery boy.
For that one scene, any common sense regarding the story is put on pause and Lawrence cuts loose with an epileptic booty bump dance and a lot of babbling smack, all of which is designed to produce seat-bouncing laughs (it doesn't), but has little to do with the movie.
Continue reading: Blue Streak Review
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