• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar
  • Skip to footer
  • Film
  • DVD
  • Editorial
  • About ScreenFish

ScreenFish

where faith and film are intertwined

  • Facebook
  • Instagram
  • Twitter
  • Home
  • Reviews
  • Interviews
  • News
  • OtherFish
  • Podcast
  • Give

Nate Parker

3.2 Fighting for the BIRTH OF A NATION

October 11, 2016 by Steve Norton Leave a Comment

birth-of-a-nation_0

 

http://screenfish.net/wp-content/uploads/2016/10/3.2-Birth-of-a-Nation.mp3

This week, Chris Utley and ScreenFish newbie Peter Adourian join Steve to tackle Nate Parker’s controversial BIRTH OF A NATION.  In this episode, they tackle issues of race and gender politics, owning the truth and even whether we can separate art from the artists.

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

3-2-birth-of-the-nation

A special thanks to Chris Utley and Peter Adourian for joining us this week!

the-birht-of-a-nation-movie-nate-parker1

Filed Under: Film, Podcast, Reviews, TIFF Tagged With: Armie Hammer, Birth of the Nation, Black Lives Matter, controversy, Gabrielle Union, Nat Turner, Nate Parker, Oscars, race, Rebellion, TIFF

tiff16: THE BIRTH OF A NATION

September 16, 2016 by Steve Norton Leave a Comment

birth-of-a-nation_0

Released at Sundance earlier this year, the film sparked a bidding war the likes of which the festival had never seen before (and eventually settled at Fox Searchlight for an amazing $17.5M, the highest in the festival’s history.  With a timely subject matter (especially in the heat of the #OscarsSoWhite controversy) and buzz-worthy visuals, Nate Parker’s film was already being viewed as a lock for an inevitable Best Picture win at the 2017 Oscars ceremony.

Of course, a lot has changed in since then.

With the reveal of Nate Parker’s acquittal from rape allegations in 1999 (and the victim’s subsequent suicide in 2012), THE BIRTH OF A NATION has seen the shine taken off predicted Oscar trophy.  Still trying to salvage an awards campaign for a film that has garnered buzz, Parker’s personal life keeps taking centre stage and overshadowing his work.  (In fact, the entire situation has sparked conversation about whether or not a film should be judged on it’s own merit or whether or not the lives of those associated with it are inextricably tied to its success or failure.)

Which begs the question:  Is the film good?

No.

It’s very good.

the-birht-of-a-nation-movie-nate-parker1

BIRTH OF A NATION tells the true story of Nat Turner, an enslaved Baptist preacher who lives on a Virginia plantation owned by Samuel Turner. With rumors of insurrection in the air, a cleric convinces Samuel that Nate should sermonize to other slaves, thereby quelling any notions of an uprising. As Nate witnesses the horrific treatment of his fellow man, he realizes that he can no longer just stand by and preach. On Aug. 21, 1831, Turner’s quest for justice and freedom leads to a violent and historic rebellion in Southampton County.

Bound to be divisive, NATION is a visceral experience which knows it’s objectives from the beginning of the film and drives there unapologetically.  Nate Parker shows considerable creativity visually for his first outing as director, balancing slave drama with almost dream-like metaphors.  His use of colour bleaches the southern landscapes in heat, revealing a hopeless landscape yet fire burns off the screen in its brightness.  Bound to be compared with 2013’s Best Picture Winner, 12 YEARS A SLAVE, NATION has a higher level of energy that builds its intensity.

maxresdefault1

While I also think it would be fair to say that most of the other characters lack the development of Turner himself, the film really is about one man’s journey from servant to leader.  The choice to emphasize the journey as opposed to the ensuing bloodbath (which is shorter than you’d expect) keeps NATION from viewing Turner as Braveheart or even Spartacus.  Throughout the film, Turner remains a committed man of peace and of faith until the revolution begins but, even then, there is indication that this is a struggle for him.  Yes, he is leading a violent uprising… but he hasn’t simply become a monster.  He simply sees no other option.

Interestingly enough, the film also has a fascinating conversation about the use of Scripture by both the oppressed and oppressors as well.  While he reads the passages on freedom and hope for himself, he is pressured to preach on the value of slavery while the people suffer in silence.  Parker clearly wants this to lead to a conversation about who really owns the truth  and, thankfully, he contains himself from directly monologuing on the subject.  (It is clear in the film’s construct who the villains are and such conversation isn’t necessary.)

It’s my hope that, as the Fall unfolds, this film finds it’s audience and, potentially, awards recognition.  With the conversation surrounding Parker having tainted what otherwise may have been a clear path to Oscar, I do feel like it would be a wasted opportunity for some real conversations that a film like this presents.

maxresdefault2

Filed Under: Film, Reviews, TIFF Tagged With: Armie Hammer, Best Picture, Birth of a Nation, controversy, Fox Searchlight, Nat Turner, Nate Parker, Oscars, Samuel Turner

Most Intriguing Films of Fall 2016

September 5, 2016 by Jacob Sahms 4 Comments

magnificentseven
Here’s my annual preview of my most anticipated films for the fall. The beauty of a list like this is that that everyone will agree – especially my cohorts here at ScreenFish! So check out my list, and consider what I’ve missed – and let us know.

deepwaterhorizon
In the disaster film category, there are two major options for your consideration: Sully (out Sep. 9) and Deepwater Horizon (out Sep. 30). The first stars the incomparable Tom Hanks as Chelsea Sullenberger, the airline pilot who safely landed his commercial plane in the Hudson River in 2009, and the second stars Mark Wahlberg as Mike Williams, a worker on the oil rig that caught fire in 2010. Of the two, Sully looks more intriguing based on the grand inquisition Sullenberger experienced after safely landing the plane.

storks

The first of two animated films that I have my eye on, Storks (Sep. 23) is a funny, family-oriented lark that captures more amusement than the trailer and asks us to consider how families work. [Editor’s note: I’m cheating a bit, because I’ve already seen that one.

sing

The other animated flick is Sing (Dec. 21) features a vocal ensemble aimed at small town’s American Idol-like competition. But it’s an animal town a la Zootopia, with the likes of Matthew McConaughey, Reese Witherspoon, Seth MacFarlane, Scarlett Johansson, John C. Reilly, Tori Kelly, Taron Egerton and Nick Kroll providing the voices. It’s all about finding your gift and following your call…

queenofkatwe

Speaking of finding your gift, The Queen of Katwe (Sep. 23) stars one of my favorite actors, David Oyelowo, as a missionary with the Sports Outreach Institute, alongside Lupita Nyong’o. Give me a sports story (yes, it’s about chess) and a strong cast any day.

birthofanation

There’s controversy surrounding Nate Parker, but his film, The Birth of a Nation (Oct. 7) is bound to make waves. I know that The Girl on the Train stars Emily Blunt and is the “buzz” movie of October, but I’ll take a film about Nat Turner named after a KKK promotional piece. That takes guts.

monster

On October 21, we’ll have our mandatory Liam Neeson sighting in A Monster Calls. Well, we’ll hear his voice as the monster, the visual realization of twelve-year-old Conor’s emotional state. There’s something spiritual about the imagination personified, and the film is shooting up my list of ‘must see’ films this fall. The rest of October, hello, Jack Reacher: Never Go Back and Inferno, are entertaining, but not blowing my mind.

hacksaw ridge

For all of his problems, Mel Gibson makes good films. Hacksaw Ridge (November 4) is the real life story of a conscientious objector, Desmond Doss, who refused to take up a weapon but won the Medal of Honor for his efforts during World War II. The second Spiderman, Andy Garfield, stars as Doss, but Vince Vaughn, Sam Worthington, and Hugo Weaving guest star. This one smells like an award winner – and is the one I’m most excited about this fall. Yes, I said it.

doctorstrange

But I might have to pull a double feature that day because Scott Derrickson’s Doctor Strange arrives the same day. Benedict Cumberbatch plays another curmudgeon, only this time it’s one of Marvel’s heroes who is a surgeon-turned-magician with a big ego and damaged hands. Tilda Swinton guest stars, which of course, has caused a whole set of controversy because the Ancient One is supposed to be an old Asian dude.

fantasticbeasts

Can Harry Potter, er, J.K. Rowling’s, world make it in America? Oscar winner Eddie Redmayne will try and discover the answer in Fantastic Beasts and Where to Find Them (Nov. 11). It’ll be eye-popping, and probably well scripted.

thefounder

On December 16… The Founder comes out. You were expecting something else? Michael Keaton stars as the guy who gets credit for McDonald’s. There’s something going on there though – and it’s not just about how they make the fries so addictive.

rogueone

I’m actually more excited about this one, Rogue One, than I was about The Force Awakens. In some ways, that one made me a believer. Now, with an eclectic, diversely ethnic cast, behind a female lead, I think the Star Wars universe is going where no man has gone before. See what I did there? While The Space Between Us and Passengers may explore AI questions and bigger pictures, my money will most likely get spent in George Lucas’ universe.

spacebetweenus

Have I convinced you? I doubt it. So tell me what I got wrong!

Filed Under: Editorial, Featured, Film Tagged With: Benedict Cumberbatch, Birth of a Nation, David Oyelowo, Doctor Strange, Hacksaw Ridge, Katwe, Liam Neeson, Mark Wahlberg, Nate Parker, Rogue One

Oscars, Diversity & All That Jazz Part II

February 4, 2016 by Chris Utley Leave a Comment

birthofanationThe last time I offered my $0.02 regarding Oscars 2016 was to defend the Academy and their choices.  Now, it is time to look at the other side of the argument.  But I still don’t think that the Academy in and of itself is the problem.

A fellow film analyst (BTW…that’s my official title.  I’m an analyst – NOT A CRITIC!) posted an article bemoaning the number of “slave” movies getting released.  Another article showed up in The Hollywood Reporter asking why the heck Black films have to be about MLK while White ones can be about mop inventors in order to get Oscar cred?  And lastly, several current Academy members have expressed their opposition to the controversial rules and membership changes designed to reflect more diversity. Here are my thoughts on that:

If Spike and Jada want to complain about anything, it SHOULD BE  the lack of greenlight power by studios for Black dramatic projects. Notice I said BLACK DRAMATIC PROJECTS. They have no issue greenlighting comedies. Heck, there are so many Black comedies pumping out each year that I’ve grown disillusioned with them all.  

Point of reference, see the invasion of Kevin Hart and Tyler Perry upon our movie screens. We get it, Mr. Studio Head!  We shuck.  We jive.  We make y’all laugh with our Ebonics and blah-blah-blah.  But, to quote the motto of my first writing gig “3 Black Chicks” – WE ARE NOT A MONOLITH!  

Best Man HolidayBlack audiences are as diverse as any other.  But you’ll never find that out unless you’re willing to give our diversity a chance.  Yeah, we can make you laugh.  Yeah, our hip-hop flow is cool. Yeah, we look to our icons of the past to remind us of the hope that the dark past has brought us.  You’ll even let us make a rom-com or a few dramedies (i.e. The Best Man Holiday). But where’s the project about Black lawyers?  Where’s the Black cop patrolling the streets trying to stop the next serial killer?  

Heck, we’ve only just got our first crop of Black suspense dramas in the last two years (Addicted, No Good Deed, The Perfect Guy – those last two on the list opened at #1, BTW).  The answer…

In the race for supremacy at the worldwide box office, the mindset is that Black films don’t make money overseas.  Comedies may pick up some loose change.  But dramas don’t stand a chance.  Can Hence the Hart/Madeathon at the multiplex. I’ve been saying this one for twenty years now. Why won’t Denzel and Sam or Sam and Will or Denzel, Will & Don Cheadle collaborate on a drama project? Brad Pitt and Johnny Depp will collab with any star out there. If Denzel did it, it would most certainly put butts in seats! Same goes w/Spike and Tyler. Instead of taking shots at each other in the news, collaborate! Spielberg & Lucas used to do it. Why can’t they?  

Which leads to ANOTHER issue: which one of the major (and minor) studios would be willing to fund such a “super project” featuring a legion of Black superstars?  And should they fund said project, will Oscar voters even give it a chance?  According to the THR articles, several dissenting voices who have the power of the ballot feel that Black films (Straight Outta Compton, Selma) simply aren’t good enough to win Oscar.  By who’s standard?

Selma 3The ruling class of pretentious and older LA/NYC folks who are entitled to judge what films are good or not?  The “inferior” SELMA brought its audience to tears and a tremendous ovation – complete with the gist of the crowd sitting through the entire closing credits – at the theatre I saw it at…which is THE BIGGEST movie theatre in all of Los Angeles.  Same thing happened at the same theatre during SOC.

Meanwhile, a few miles up the road in Burbank, I witnessed two Best Picture nominees – Terrance Malick’s The Tree of Life and The Coen Bros.’ A Serious Man – receive RESOUNDING boos as their credits rolled.  Audiences pondered out loud how those two films even were deemed worthy of Best Picture qualification.

So does the majority get to define the standard of what is good?  Is the anger of those Academy voices and their supporters their way of saying that Black folk have no idea on how to define a quality film?  It’s interesting to note that over the past few years of Sundance, Black cinema has made its presence known at the festival.  This year is no exception with Nate Parker’s The Birth Of A Nation sweeping the top two awards and scoring a $17.5 million dollar buy from Fox Searchlight.  And, yet, the trolls on the interweb took that info and have already deemed next year’s Oscars “The Affirmative Action Awards.”

birthofanation2Which makes me wonder: even if Black directors make films so awesome that their greatness and awards cred can’t be denied, will it even matter?  After all these cries for DIVERSITY, does the ruling class even give a care?  Do they want their cinema representing all facets of the world at large – with a rainbow of colors, layers, textures and diverse experiences on screen?  Or are they perfectly content in their vanity and arrogance?  I posed this same question once in another Christian-based film circle.  My pressing of that question ultimately led to my excommunication with the organization itself.

We will see where all this ends up.  Maybe Spike and Jada are right.  Maybe those persnickety Oscar voters will allow a rainbow coalition of seats at the nominees and winners circle.  Only God knows.

But I’m still watching the show…and will BOO my head off if Mad Max Death Race 2015 wins the whole thing!

Filed Under: Current Events, Editorial, Featured, Film, Oscar Spotlight Tagged With: Academy Awards, Birth of a Nation, Diversity, Jada Pinkett Smith, Kevin Hart, Martin Luther King Jr., Nate Parker, Oscars, Selma, Spike Lee, Tree of Life

Primary Sidebar

THE SF NEWS

Get a special look, just for you.

sf podcast

Hot Off the Press

  • New Trailer for THIRTEEN LIVES gets Underground
  • GIVEAWAY! Advance Screening of PAWS OF FURY!
  • Rise: Another Disney Slam Dunk
  • The Long Rider: The Long Journey Inward
  • The Black Phone: Answering the Call to Fight Back
Find tickets and showtimes on Fandango.

where faith and film are intertwined

film and television carry stories which remind us of the stories God has woven since the beginning of time. come with us on a journey to see where faith and film are intertwined.

Footer

ScreenFish Articles

New Trailer for THIRTEEN LIVES gets Underground

GIVEAWAY! Advance Screening of PAWS OF FURY!

  • About ScreenFish
  • Privacy Policy

© 2022 · ScreenFish.net · Built by Aaron Lee

Posting....
 

Loading Comments...