Dr. Hess Green becomes cursed by a mysterious ancient African artifact and is overwhelmed with a newfound thirst for blood. He however is not a vampire. Soon after his transformation he ... See full summary »
A middle-class boy from Atlanta finds his worldview changed as he spends the summer with his deeply religious grandfather in the housing projects of Red Hook, Brooklyn.
Director:
Spike Lee
Stars:
Jules Brown,
Thomas Jefferson Byrd,
Toni Lysaith
Director Spike Lee's passionate adaptation of the thrilling Broadway musical about a young bohemian who experiences sex, drugs and rock and roll on his journey to selfhood.
The idea is simple: A married woman and a single man meet. They love, they argue, fists fly. A dog strays between town and country. The seasons pass. The man and woman meet again. The dog ... See full summary »
Director:
Jean-Luc Godard
Stars:
Héloïse Godet,
Kamel Abdeli,
Richard Chevallier
A documentary that follows jazz legend Clark Terry over four years to document the mentorship between Terry and 23-year-old blind piano prodigy Justin Kauflin as the young man prepares to compete in an elite, international competition.
Dr. Hess Green becomes cursed by a mysterious ancient African artifact and is overwhelmed with a newfound thirst for blood. He however is not a vampire. Soon after his transformation he enters into a dangerous romance with Ganja Hightower that questions the very nature of love, addiction, sex, and status. Written by
Production
In This Independent, Kick-Starter Film There is Much Blackness, Typical of Spike Lee. From the Opening Non-Sequitur of Free-Style "Dancing' in the the Streets" to All of the Black Heritage and Culture Hangings on Walls and "Revival Meeting" Church Wailings, there is Blackness Everywhere.
Even the Borderline Blasphemous (with context to the Film) Title is Black Speak. The Film, a Remake of a 1972 Blaxploitation Called "Ganja and Hess", is the Story of an Upper-Class Blood Licker. It's a Bloody, Beautifully Shot, Mess of a Story About, One Guesses, Addiction. But Who Knows? The Movie is So Everywhere the Message Gets Lost Somewhere Between the Soft-Porn and the Awful Acting.
The Film's Ambiguity Sparks Over Analysis. Truth be Told the Movie is Visually Arresting and Not Much Else. It's Different, Certainly Not for Everyone, and is Somewhat Engaging, but the Pace and the Script are So Slow and Uninteresting that there is Never Any Real Connection Between the Audience and the Screen. It's Voyeuristic to a Fault.
Overall, Recommended for Art-House Patrons, Spike Lee Competences, and Seekers of Off-Beat and Midnight Type Movies. There is an Artist at Work Here, and Like All Artists, Not Every Work is a Masterpiece.
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In This Independent, Kick-Starter Film There is Much Blackness, Typical of Spike Lee. From the Opening Non-Sequitur of Free-Style "Dancing' in the the Streets" to All of the Black Heritage and Culture Hangings on Walls and "Revival Meeting" Church Wailings, there is Blackness Everywhere.
Even the Borderline Blasphemous (with context to the Film) Title is Black Speak. The Film, a Remake of a 1972 Blaxploitation Called "Ganja and Hess", is the Story of an Upper-Class Blood Licker. It's a Bloody, Beautifully Shot, Mess of a Story About, One Guesses, Addiction. But Who Knows? The Movie is So Everywhere the Message Gets Lost Somewhere Between the Soft-Porn and the Awful Acting.
The Film's Ambiguity Sparks Over Analysis. Truth be Told the Movie is Visually Arresting and Not Much Else. It's Different, Certainly Not for Everyone, and is Somewhat Engaging, but the Pace and the Script are So Slow and Uninteresting that there is Never Any Real Connection Between the Audience and the Screen. It's Voyeuristic to a Fault.
Overall, Recommended for Art-House Patrons, Spike Lee Competences, and Seekers of Off-Beat and Midnight Type Movies. There is an Artist at Work Here, and Like All Artists, Not Every Work is a Masterpiece.