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Review: ‘Call Her King’

Naturi Naughton Is A Judge Having To Take Her Court Back In BET+’s ‘Die Hard’ Ripoff

Call Her King

Ever since everyone’s favorite debatable Christmas movie came out, there have been countless imitations. In fact, “Die Hard on a ….” has become a pitch for any action movie where your hero is backed up into an impossible situation and has to take on terrorists themselves. We’ve had “Die Hard on a bus” (Speed), “Die Hard on a boat” (Under Siege), “Die Hard on a plane” (Passenger 57), and the list goes on and on. Of course, it was only a matter of time until we got “Die Hard in a courthouse,” in BET Plus’ newest original film Call Her King, in which terrorists take over a courthouse, and the judge has to stop them.

Jaeda King (Naturi Naughton) is a judge who entered the judicial system to make a difference. She also has to deal with the good old boy network (in which she overhears other judges saying “Colored woman do not have the constitution to make the tough choices, they’re too emotional.” She tries to rule her court in a fair manner. Everything changes in Call Her King though when she is overseeing the sentencing case of Sean Samuels (Jason Mitchell) who was convicted of murder. Oh, Sean also happens to have a well-organized brother Gabriel (Lance Gross) who is also known as “Black Caesar,” and will stop at nothing to get his brother out of jail and “hold the system accountable.”

Gabriel’s men (and women) storm the and take over the courthouse, but in the confusion, Jaeda, Sean, her bodyguard (Johnny Messner), and Sean’s lawyer (Nicholas Tuturro) manage to get away. Now, it’s up to them to try and take the courthouse back. While Jaeda’s bodyguard is formidable, Jaeda also happens to be trained in all sorts of baddassery. She’s handy with a machine gun, skilled at knife throwing, and is great in all forms of martial arts, which are all very convenient skills to have when having to take on scores of men and women trying to kill you.

In Call Her King, while Jaeda is kicking ass and taking names, Gabriel is holding his own form of court, but instead is trying the prosecutors and the judicial system. He puts the prosecutor of his brother’s case Hawkins (Garrett Hendricks) on trial for prosecutorial misconduct and corruption. Forcing Hawkins to not lie (or else a hostage will be killed), he is able to expose that not only Hawkins was corrupt in his means to try and secure a conviction for Sean, but he also has been trying to rekindle a college romance with Jaeda (even though the two of them are married.). Call Her King tries to use this part of the film as a way to expose the dark side of the judicial system, one that leaves many black and brown people in worse-off situations.  This also showcases that Lance Gross is still a formidable actor as he carries the scenes well.

Throughout Call Her King, there are some soft character moments to help you understand what makes our hero tick. Jaeda is a hyper-vigilant judge due to a mistake that costs a person’s life and is also dealing with some marital issues at home. Meanwhile, it seems as though Sean’s case isn’t all that bad. Jason Mitchell and Naturi Naughton sell those scenes very well. It’s the action sequences that leave a little to be desired. It’s clear through selective and choppy editing and poorly lit fight sequences, that the fight choreography budget was minimal for Call Her King. Although the fight scene between Naughton and actress Shiobann Amisial (who played Gabriel’s “right-hand man”) was well done, most of the other action set pieces weren’t as suitable in their execution.

Call Her King isn’t trying to reinvent the wheel in regard to action movies, but it still doesn’t hit all the beats it needs to. Something like this could have been better served as a limited series. This would have meant a better budget as well as more time to flesh things out. It would have been better to spend half the time on Sean’s original trial, and then go to the siege of the courthouse instead of just dropping us into the day of the incident. Hell, since the movie had the nerve to have a post-credit scene, it could be an ongoing series about Jaeda and she not only tackles things in the courts…. but on the streets almost like The Equalizer. But suffice to say, that’s not what we got from director Wes Miller and the end result is some good old mindless fun.

Call Her King is currently streaming on BET+.

‘Ash’: First Look At Eiza González And Aaron Paul In Flying Lotus’ New Sci-Fi Mystery

Flying Lotus aka Steven Ellison is something of Renaissance man. The Grammy Award-winning musical artist is also a record producer, DJ, composer for Adult Swim and many other brands. Oh, and he’s also a filmmaker, having made a splash in 2017 with the bizarre comedy Kuso and a segment in V/H/S/99.

Next up for Ellison is the sci-fi thriller Ash, and we have the first look at stars Eiza González and Aaron Paul. Ellison directs and scores his sophomore effort, which centers on a woman who wakes up on a distant planet to find that the entire crew of her space station have been murdered. Now she must decide who can be trusted, including the man sent to save her.

Also in the cast are Beulah Koale, Kate Elliot, and The Raid‘s Iko Uwais.

Here is the synopsis: When a woman (Gonzalez) wakes up on a distant planet and finds the crew of her space station viciously killed, she must decide if she can trust the man (Paul) sent to rescue her. 

Ash does not yet have a release date.

 

‘Corner Office’ Trailer: Jon Hamm Goes Back To Work In New Workplace Dark Comedy

Jon Hamm will always be most-closely associated with Mad Men, one of the great workplace dramas ever put to TV.  Now Hamm heads back into the office for an entirely different look at the daily grind, Corner Office, a dark comedy in the vein of Office Space.

Hamm is joined by Sarah Gadon, Danny Pudi, and Christopher Heyerdahl in the adaptation of Jonas Karlsson‘s novel The Room about an office misfit who has grown disillusioned with corporate life. But when he discovers a mysterious room, it unleashes his full potential and a quick rise up the corporate ladder.

The film is directed by Joachim Back from a script by Ted Kupper.

Here’s the synopsis: In this workplace comedy reminiscent of Office Space and “Severance,” misfit Orson (Jon Hamm) finds himself trapped in the absurdities of corporate life. As The Authority’s newest employee, Orson finds it difficult to connect with his enigmatic desk mate, Rakesh, as well as with the rest of his colleagues. His alienation deepens when he discovers a room he’s told doesn’t exist – a place that unleashes his true potential, leading to an ascent up the corporate ladder. Buoyed by his newfound confidence, Orson invites a receptionist into his sanctuary, sparking a climactic clash between the corporate world’s harsh realities and his own wild fantasies.

Corner Office hits theaters and VOD on August 4th.

Review: ‘Insidious: The Red Door’

Patrick Wilson And Ty Simpkins' Return To The Further Is A Door Best Slammed Shut

Insidious: The Red Door is the fifth movie in the long-running horror franchise, but it’s the first time in a decade that we’ve revisited the central traumatized family, the Lamberts, and the red-faced demon that haunts them. The previous two movies, Insidious: Chapter 3 and Insidious: The Last Key, were prequels telling completely separate stories. After so long away from the Lamberts, revisiting them now feels a bit odd and the psychological frights are lame enough that this door should’ve stayed shut.

Patrick Wilson returns as patriarch Josh Lambert, but he also steps behind the camera and makes his directorial debut. There’s nothing particularly wrong with Wilson’s direction; it’s very safe and fitting for the movie with the least actual scares or time spent in the demonic astral plane known as The Further. So everything is very grounded in reality, as Josh and his young son Dalton (a returning Ty Simpkins), now a freshman in college, experience the reemergence of traumatic memories they were hypnotized to forget a decade earlier.

We can understand why such a drastic action was taken. When last we saw the Lamberts, Josh had been possessed by the demon and tried to murder his entire family. But the aftermath has been hard. Josh and his wife Renai (Rose Byrne, also back) are divorced; eldest son Dalton barely speaks to his father, and Josh’s mother Lorraine has recently died. The family is fractured, making them more vulnerable than ever. Josh is an absent father to all three of his kids. And Dalton, he’s an aspiring artist with a chip on his shoulder. He also can’t stop drawing creepy images of mysterious doors, shadowy figures, and other things that would cause a teacher to call security.

The Insidious movies are rooted in the idea of astral projection. Y’know, like when Doctor Strange enters a trance-like state and his consciousness leaves his body to do some other shit. That’s what Josh and Dalton can do; except they travel through The Further, which is like the Upside Down where dead spirits lurk and cause all kinds of trouble. Opening that door into The Further also leaves them free to enter our world, and that’s when things get seriously messed up.

Josh and Dalton are both experiencing the fallout of their repressed memories, and are acting out as a result. A major theme here is the legacy passed from fathers to sons, especially when it pertains to mental illness. Josh’s father could astral project, too, but people thought he was nuts. And so, Josh feels the same way and threatens to pass that along to Dalton.

This sort of archair psychiatry is moderately interesting, but not enough to carry a movie. Journeys into The Further are rare and lack thrills, which is why the film soon starts to lean on jump scares to fill the void. It’s also just a very grim, unappealing story at its core. The only hint of humor to come from it is Sinclair Daniel as Dalton’s college roommate and only friend, Chris, who is unafraid to drop some Black Girl real talk about all of this dumb supernatural stuff. If this franchise continues, pairing Chris and Dalton as a skeptic/realist duo ala Mulder & Scully could be a lot of fun.

Otherwise, Insidious: The Red Door offers closure but little else. If you’re someone who has been following the Dalton story from the beginning, it might be worth it to see the arc completed. But for the rest looking for something spooky to see this weekend, don’t bother knocking on this door.

Insidious: The Red Door is in theaters now.

‘The Nun II’ Trailer: The Conjuring Universe’s Demonic Nun Returns This September

Believe it or not, James Wan’s Conjuring Universe is about to be nine movies deep and a decade old, having launched with 2013’s The Conjuring. Surprisingly, it wasn’t one of the “core” movies that is the franchise’s highest earner. That would be 2018’s The Nun with $365M worldwide, and now five years later the sequel, The Nun II, is here.

Franchise veteran Michael Chaves, who directed The Curse of La Llorona and 2021’s The Conjuring: The Devil Made Me Do It, is behind the camera for The Nun II. Taissa Farmiga is back as Sister Irene, who four years after her first encounter with the demonic nun Valak, must face it once again. And yes, it still sorta looks li

Farmiga is joined by Storm Reid, Anna Popplewell, Katelyn Rose Downey, and Bonnie Aarons as The Nun.

Here’s the brief synopsis: 1956 – France. A priest is murdered. An evil is spreading. The sequel to the worldwide smash hit follows Sister Irene as she once again comes face-to-face with Valak, the demon nun.

The Nun II hits theaters on September 8th.

‘Mission: Impossible’: Tom Cruise Admires Harrison Ford, Hopes To Play Ethan Hunt Until He’s 80

MISSION: IMPOSSIBLE-DEAD RECKONING PART ONE- As summer blockbusters go, they don’t get much bigger than Mission: Impossible-Dead Reckoning part 1. The audacious title matches the audacious runtime and audacious plotline, involving the global threat of AI which somehow necessitates Tom Cruise’s Ethan Hunt riding a motorcycle off of a mountainside. Hey, whatever works! The visual spectacle somehow gets more incredible with each film cooked up by Cruise and his partner-in-crime, Christopher McQuarrie. This film, the first chapter of a two-part epic, continues to make us feel something for Hunt and his little IMF team of rogues. No matter how ludicrous the threat, the personal stakes are never in doubt.

Without looking it up on Wikipedia, how old do you think Tom Cruise is? Dude just turned 61 earlier this week, but he looks better than most people half his age. It’s kinda nutty when we see him performing one death-defying stunt after another in Mission: Impossible-Dead Reckoning Part 1, but if Cruise has his way he’ll be doing it for another twenty years. That’s right, he wants to follow the Harrison Ford/Indiana Jones model.

Speaking with the Sydney Morning Herald (via Deadline), Cruise says he’s driven to do what Harrison Ford has done by playing Indiana Jones until he was 80…

“Harrison Ford is a legend; I hope to be still going. I’ve got 20 years to catch up with him,” Cruise said. “I hope to keep making “Mission: Impossible” films until I’m his age.”

That’s a Hell of a lot of impossible missions for Ethan Hunt. How many of Hunt’s lovers will get murdered in that amount of time?

Cruise is probably being serious, though. He seems reinvigorated by working with Christopher McQuarrie and really pushing the limits of his physical endurance. If anyone can keep going at a high level when he’s 80-years-old, it’s Cruise

Mission: Impossible-Dead Reckoning Part 1 hits theaters on July 12th, but you can check out my early review here.

‘Red, White & Royale Blue’ Trailer: The President’s Son Falls In Love With A Prince in New Amazon Rom-Com

Even though they shouldn’t be, LGBTQ rights are more of a hot-button political issue than ever. But there are more enjoyable, light-hearted ways to bring meld politics and gay romance, like the upcoming Prime Video rom-com Red, White & Royal Blue which brings together the sons of the most powerful figures in the U.S. and U.K.

Starring Taylor Zakhar Perez and Nicholas Galitzine, the film finds the son of the President of the United States and Britain’s Prince Henry meeting cute after an international incident thrusts them together. But what starts out as a PR campaign reveals feelings between the two men that neither expected.

The film is based on Casey McQuiston’s novel, and marks the directorial debut of Tony Award-winning playwright Matthew López. Greg Berlanti is aboard as a producer. Uma Thurman, Stephen Fry, Clifton Collins Jr., Sarah Shahi, Rachel Hilson, and Ellie Bamber round out an impressive cast.

Here’s the synopsis: Alex Claremont-Diaz, the son of the President of the United States, and Britain’s Prince Henry have a lot in common: stunning good looks, undeniable charisma, international popularity … and a total disdain for each other. Separated by an ocean, their long-running feud hasn’t really been an issue, until a disastrous—and very public—altercation at a royal event becomes tabloid fodder, driving a potential wedge in U.S./British relations at the worst possible time. Going into damage-control mode, their families and handlers force the two rivals into a staged “truce.” But as Alex and Henry’s icy relationship unexpectedly begins to thaw into a tentative friendship, the friction that existed between them sparks something deeper than they ever expected.

Red, White & Royal Blue hits Prime Video on August 11th.

‘Bob Marley: One Love’ Teaser: Kingsley Ben-Adir Is The Reggae Pioneer In New Music Biopic

This is quite a time for Kingsley Ben-Adir, who really emerged a couple of years ago as Malcolm X in One Night in Miami. Right now he’s causing havoc throughout the MCU as the villainous Gravik in Secret Invasion, while in a couple of weeks he’ll be living that plastic life as part of the Barbie cast. But what could be his biggest role yet has him starring in biopic Bob Marley: One Love as the legendary reggae singer and cultural icon.

Joining Ben-Adir in the film is Lashana Lynch who plays Marley’s wife, Rita. The film will follow Bob Marley’s career from the formation of his band The Heartbreakers to his death in the 1980s.

Behind the camera is King Richard director Reinaldo  Marcus Green, reuniting with that film’s screenwriter Zach Baylin, plus co-writers Frank E. Flowers and Terence Winter. Ziggy Marley and Brad Pitt are aboard as producers.

Here’s the synopsis: BOB MARLEY: ONE LOVE celebrates the life and music of an icon who inspired generations through his message of love and unity. On the big screen for the first time, discover Bob’s powerful story of overcoming adversity and the journey behind his revolutionary music. Produced in partnership with the Marley family and starring Kingsley Ben-Adir as the legendary musician and Lashana Lynch as his wife Rita, BOB MARLEY: ONE LOVE is in theatres January 12, 2024.

Review: ‘Joy Ride’

Adele Lim's Raunchy, Risque Road Comedy Is A Fresh Spin On A Well-Worn Genre

The raunchy road trip comedy gets turned on its head with Adele Lim’s hilarious and heartfelt, Joy Ride. The rare comedy of this type to feature a cast led by Asian-American females and one non-binary, it has the potential to open doors similar to what Girls Trip did for comedies led by African-American women.

Beginning in 1993, Joy Ride centers on best friends Audrey, played by Ashley Park, and Lolo, played by Sherry Cola. Growing up as the only two Asian kids in an all-white neighborhood in Washington State, they leaned on one another to get by, literally punching out those who dared to be even a little bit racist. Although joined at the hip, the two couldn’t be more different. Audrey, who was adopted by white parents, grows up to be a successful attorney, while Lolo is a sex-positive artist unafraid to push boundaries.
The hijinx begins when Audrey is tasked with flying to Beijing to complete a business deal. Lolo tags along as a translator, while Audrey’s college pal Kat, played by Everything Everywhere’s Stephanie Hsu, and Lolo’s K-Pop fanatic cousin Deadeye, played by nonbinary actor Sabrina Wu, join them.

Of course, the trip goes haywire in a funny but potentially dangerous cultural misfire, leaving them stuck in China with no way home. This proves to be quite a challenge for Audrey who struggles with her identity, having no connection to China whatsoever. The humor is unquestionably risque but never sinks to the level of lowbrow. Instead, Joy Ride makes keen social observations about the everyday prejudices they face as Asian-Americans and as women. Even when things take a hilarious cocaine-fueled turn for the worse, Joy Ride never spins out of control.

The screenplay goes to great lengths to make sure every character has something to say and a unique perspective. And while it does press on the messaging a bit earnestly, it’s easy to understand why. Movies like Joy Ride don’t get a major studio platform very often, so take advantage! Asian women have so often been depicted as docile, exotic curiosities for straight white men, it’s good to see a movie that portrays them as real women with desires and passions just like everyone else. If it offends you to see Asian women talking frankly about sex, then you probably need to grow up.

Most notably, Joy Ride depicts the bond between four very-different Asian-American women who have tackled life in their own way. Lim, who co-wrote the script and made her directorial debut, brings energy and freshness to a well-worn genre. Joy Ride isn’t like your typical movie of this formula, and with more diverse stories being told, we can all be grateful for that.

Joy Ride opens in theaters on July 7th!

Greta Gerwig Will Direct Two ‘Chronicles Of Narnia’ Movies For Netflix

Last November, we learned that when Greta Gerwig was all done with Barbie, she might leave the world of toys behind and head instead to Narnia, directing two films in the world created by C.S. Lewis. Well, Netflix has finally made the deal official.

THR reports that Gerwig is attached to direct two Chronicles of Narnia movies for Netflix. The streamer acquired the rights to adapt Lewis’ books, which follow a group of siblings who are magically transported to the fantasy realm of Narnia. There they encounter magical creatures, talking animals such as the heroic lion Aslan, and become heroes themselves as they battle evil.

The Narnia books were adapted into 2005’s hit The Lion, the Witch and the Wardrobe. After a very strong start, the franchise quickly faltered with 2008’s Prince Caspian, and basically concluded with 2010’s The Voyage of the Dawn Treader.

So this puts a wrinkle in any hope of Gerwig returning for a Barbie sequel, assuming one were to happen. Gerwig has steadily expanded the size of the films she directs, and those hoping she’d return to her indie roots might have a long wait for that.