The Dose - 2/23/17

THE AWARD-WINNING POP CULTURE MAGAZINE FROM

PREDICTING THE 89th ACADEMY AWARDS p.4-5 LA LA LAND p.2 HIDDEN FIGURES p.8

THE DOSE | PAGE 2

‘John Wick: Chapter 2’ surpasses the first movie

By Preston Mitchell Playing in theaters nationwide is the second chapter of the “John Wick” series. Now I’m a huge fan of the first film, which is a wonderful ‘70s-style revenge thriller that drew heavily from Hong Kong actioners and old westerns.

Considering how blockbusters have taken the “Bourne” method of quick editing — often creating an unpleasant sewing machine effect — “John Wick” was a breath of fresh air for its simple (but effective) narrative and its fluid fight choreography.

In addition to being a violent romp, it introduced a hyper-universe of hit men and gave Keanu Reeves another classic character that played to his physical strengths.

Picking up where its predecessor left off, “Chapter 2” begins as Wick attempts a life of retirement with his new dog. But after refusing to kill again, a crime lord bombs his home and leaves Wick with no other choice than to assassinate the lord’s sister in Rome. From that point on, codes are broken, loyalties are tested and Wick has to push his own limits to make the hit and stay alive.

With Chad Stahelski, who was one of Reeves’ stunt doubles on the “Matrix” movies, returning to direct, “Chapter

2” may be remembered as one of the greatest action sequels ever made.

This movie is bigger, better and crazier than the first “John Wick.”

While the original was structured as a revenge film, this is much more of a western. Sure, there’s no frills, boots or twangs, but does it have the revisionist trope of an antihero forced out of solitude? Check. What about an ensemble of morally ambiguous assassins? Check. Gunfights and standoffs? Check.

“Chapter 2” works because it shows the franchise expanding its world. It also introduces new rules to govern this expansion, forcing Stahelski and his stunt team to think outside the box in their new playground. In turn, this film pushes the envelope of audience expectations, delivering endlessly inventive action without betraying the world it’s building upon.

Not to mention, we learn more about Wick’s past and the organization he used to work for. Fortunately, the movie never becomes overly expository like the “Matrix” sequels, where Keanu’s lack of an acting range really showed. Here, he continues to do what he’s always done best: stay cool and outsmart everyone around him.

While several supporting actors make a welcome comeback — like Ian

McShane (“Deadwood”) and Lance Reddick (“The Wire”) — the new characters make matters even more entertaining.

Ruby Rose (“Orange is the New Black”) plays a mute assassin and exudes equal amounts of menace and sexuality. Peter Serafinowicz, familiar to American audiences as Edgar from “Parks and Recreation,” is hilarious as a Roman weapon’s supplier. And in a “Matrix” reunion, Laurence Fishburne churns out a larger-than-life performance as a gangster once left at Wick’s mercy.

My favorite addition to this franchise, however, is Common, who portrays a bodyguard that’s just as efficient as John Wick, if not better.

For anyone who recalls the enjoyable “Run All Night,” Common had an intimidating presence and believably went toe-to-toe against Liam Neeson.

Here, Common cranks up the swagger and is more threatening than ever, becoming the perfect nemesis for our mythic hero.

Best of all, “Chapter 2” dishes out the goods and will satisfy action junkies everywhere. Within a two hour running time, there’s enough gunplay, car chases and pugilism to hold viewers’ interests. And whenever the action pauses for some moment of plot,

Courtesy | Wikimedia Commons each instance is so brilliantly handled that even the stuffiest film snob will be impressed.

If this movie will get any criticisms, they’re relatively the same as any other action movie, in which the plausibility of each character is a little strained.

Although the first one wasn’t exactly Hemingway, most of those fatal situations killed those characters. In this one, we’re asked to believe that characters can survive explosions and stab wounds as if we’re reading a graphic novel.

At the same time, if you pay student prices or full admission for this thing, you know what you’re getting into.

Much like the first one, “Chapter 2” knows what it is and doesn’t aspire to be anything else.

Easily a new favorite of mine, “John Wick: Chapter 2” is highly recommended to action fans and dog lovers. It’s a total blast from beginning to end, and continues the February precedent set by “Kingsman” and “Deadpool” for groundbreaking genre films. Treat yourself by seeing it this weekend.

@presto_mitch

‘La La Land’ is a must-see even if you hate musicals

By Nathan Williams “La La Land” is easily one of the most critically lauded films in the past decade. Awards are raining down on

Courtesy | Wikimedia Commons

it so much that the cast and crew may have to build an ark to stay afloat. It has entered the hearts and minds of film lovers and casual viewers alike in a shockingly expeditious fashion.

But does it live up to the hype?

Undoubtedly, yes. Yes it does.

Let me say first that I am no fan of musicals, whether they’re on stage or on film. Frankly, I’d rather be waterboarded

by Pennywise the Clown in Freddy Krueger’s boiler room than subject myself to “Moulin Rouge,” “Newsies” or other films of that sort ever again.

But every once in a while, there comes a film that transcends this genre, which is rich with films that are, more often than not, akin to crimes against humanity as opposed to actual movies.

“La La Land” is such a film.

I could spend this entire review talking about what a technical marvel it is, but at the end of the day, we don’t go to the movies to fawn over cinematography and editing. We go to enjoy ourselves, and this movie is entertaining and delightful through and through.

The movie follows two struggling artists in Los Angeles, a jazz pianist (Ryan Gosling) and an actress (Emma Stone), as they fall in love and support one another in their attempts to achieve their respective dreams. Yet, as always, there’s trouble in paradise and it comes down to choosing their dreams or their relationship.

The straightforward story could easily fall into banality, but it never does, and it tells its love story in the freshest way.

Director Damien Chazelle, two years after making his other masterpiece “Whiplash,” pays homage to the Golden Age of movie musicals, when legends like Fred Astaire and Gene Kelly were churning out hits with precision and ruled the box office as a result.

In turn, “La La Land” is complete with tap dances, vibrant numbers, classicstyle jazz and even the CinemaScope

logo that introduced films from 1953 to 1967. It perfectly captures the feel of Old Hollywood that you find in flicks like “Singin’ in the Rain” and “The Band Wagon,” while managing to transport that mold into the 21st century.

Furthermore, the chemistry between Gosling and Stone is overwhelmingly wonderful, and they each turn in performances that are just as good as any in their filmography, if not better.

Their dance sequences rival those of classic musicals, and their duets are equally fantastic. Chazelle’s film is everything you want in a musical and more.

Please go watch “La La Land” in theaters. Whether you are a fan of the genre or not, it’s truly meant to be experienced on the big screen and it’s worth far more than the price of admission.

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WHAT TO DO ON CAMPUS

Feb. 23: DLS features Robin James Mayes Next up in the UNT Discovery Lecture Series is College of Information Ph.D. candidate Robin James Mayes who will discuss plagiarism prevention. The lecture will take place from Noon to 1:30 p.m. on Thursday, Feb. 23 in Room G150 (The Agora) at Discovery Park. Plagiarism is a serious offense and an easy one to commit accidentally if you don’t understand what it is. Mays will discuss the different types of plagiarism and give tips for websites like Turnitin and Blackboard so that students know how to make sure they are not plagiarizing. This lecture is open to the public and is being streamed online at ci.unt.edu/ welcome-discovery-lecture-series.

Brown bag lunch with beverages and dessert will be offered to those in attendance.

Feb. 23: Going Global?

France, Great Britain, Germany, China, Japan: these are just some of the countries you can visit as part of UNT’s study abroad

programs. Not sure where to go?

That’s OK. Come to the Study Abroad 101 Session at 2:30 p.m. on Thursday, Feb. 23, in the Business Leadership Building, room 205, to learn more. The event will provide information about programs, classes, finances and more. Don’t let the fear of not knowing stress you out -- come check it out. Take those Texas roots and travel the world, all while continuing your education. This event is free to the UNT community.

Feb. 24-26 & March 3-5: Sister Act the Musical The Music Theatre of Denton is putting on a musical based on the classic, empowering and funny 1992 film, Sister Act. It tells the story about a disco queen named Deloris who, after witnessing a murder, is put under protective custody and disguised as a nun. Deloris uses her disco spunk to transform a church choir into something the congregation and the church have never before experienced.

Sister Act will be presented at the Campus Theatre at 214 W. Hickory

St. on Feb. 24-26 and March 3-5.

The musical will be at 7:30 p.m. on Fridays and Saturdays, and 2 p.m. on Sundays. Tickets, now available for purchase, are $22 for adults, $19 for seniors and $16.80 for students.

For further information visit http://www.musictheatreofdenton. com/sister-act Feb. 25: UltraThon Gaming Competition If you like gaming, then you need to attend UNT’s UltraThon Gaming Competition. UltraThon is a multigame tournament taking place from 4:30-9 p.m. on Feb. 25 in the Lyceum. Sponsored by the UNT Fighting Game Community, the event is open to the public. Sixteen competitors who survive the qualifying rounds will go head-tohead to determine UNT’s first-ever UltraThon Champion. Competitors will play six games: three score or time-attack games, and three headto-head games. These include Halo 2 and Street Fighter V. For more information, visit www.ultra-thon. com, or contact Erick Flores by email at ultra.thon@outlook.com

or by phone at 469-733-8481.

Feb. 28: Great Conversations Great Conversations, the annual dinner benefitting the Honors College will take place from 6–7 p.m. on Tuesday, Feb. 28 in the Clubroom of Apogee Stadium on 1251 S. Bonnie Brae St. Tickets are $75 per person. Attendees will be seated in small groups and will be given a specific topic to discuss with a business or community leader, or a UNT faculty or staff

member, who is an expert in the topic being discussed at the table.

Topics cover a broad range of intellectually stimulating subjects, from the serious to the comic.

Great Conversations is sponsored by the UNT Honors College and is open to the UNT community. More information about the event can be found at http://honors.unt.edu/ great-conversations.

Netflix’s ‘Series of Unfortunate Events’ is hit and miss

By Julia Falcon “A Series of Unfortunate Events” was beloved by me and many other children in the early 2000s. I read every single book written by Lemony Snicket when my parents got divorced, so it was quite an escape for my 7-year-old self.

Needless to say, I was so excited when I heard the series was coming to life on Netflix.

But I was a little disappointed when I first binge-watched this series.

“A Series of Unfortunate Events” tells the story of the Baudelaire children – Violet, Klaus and Sunny – whose parents perished in a fire that burned down their home. The biggest difference I found

in this series from other iterations was how it was implied that the Baudelaire parents did not actually die in the fire, but that they were on the run with the goal to find the children and tell them all of their secrets.

In 2004, the movie based on the “Series of Unfortunate Events” books was released.

Jim Carrey played Count Olaf and brought Snicket’s character to life in a spooky way. Unlike the movie, which featured three of the 13 books, this Netflix original series is comprised of two-part episodes, adapting each of the first four books.

Much like that movie and the actual books, this series is narrated in third person by

Courtesy | Wikimedia Commons

Patrick Warburton as Lemony Snicket.

The series features stars such as Joan Cusack, Will Arnett, Cobie Smulders and Alfre Woodard. Arnett played “Father” and Smulders played

“Mother,” both of whom made appearances throughout the episodes.

Season one started out with “The Bad Beginning,” and introduces viewers to the children as they ride the

Rickety Trolley to Briny Beach, before Mr. Poe steps in and takes the orphans to their new guardian, Count Olaf.

Neil Patrick Harris was a funnier and less frightening Count Olaf than Carrey was.

Malina Weissman (Violet), Louis Hynes (Klaus), and Presley Smith (Sunny) were certainly younger actors this time around, but had the same brilliant personalities Snicket gave them.

So, what I’m saying is, the new actors and their performances weren’t as great, gloomy or gruesome as the books or movie have been.

Personally, I think this Netflix original was aimed at younger kids by spicing things up and flipping around certain

aspects. It was witty, but maybe not necessarily meant for 21-year-old viewers.

The series ended with the children being dropped off at boarding school, which is the name of the fifth book, “Austere Academy.”

The children, Snicket, Olaf and Poe all sang a song that I didn’t quite understand, but it makes me nervous as to whether there will be more of the series or not.

Or, I’m probably too much of a die-hard Lemony Snicket fan who had high expectations for my childhood classics.

@falconjulia22

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Predicting the 89 Academy Awards th

By Preston Mitchell

The Academy Awards, the legendary ceremony for honoring the best films of the prior year, will have its 89th show this Sunday on ABC. Hosted by Jimmy Kimmel, “La La Land” leads the pack with a record-tying 14 nominations, while “Arrival” and “Moonlight” have eight nominations each.

Will “La La Land” win Best Picture? Will “Moonlight” beat it unexpectedly? Will Meryl Streep win her fourth Oscar? No one can know for a fact, but I made sure to chime in on the months-long debate.

BEST PICTURE Will Win: “Moonlight” Should Win: “Moonlight”

Why: Now there’s some modern classics in this category. “La La Land” will be remembered fondly, “Hell or High Water” was the biggest indie hit of the year and “Arrival” is one of the greatest alien invasion movies ever made. But none of these films had the emotion or power of “Moonlight,” a coming-of-age masterpiece centering on three periods in a gay black man’s life, where his masculinity and

identity are challenged by his ghetto upbringing. The way Barry Jenkins experimented with memory, minutia and of course, lighting, exemplifies a genius using his toolbox to portray the intricacies of the human condition. And the film achieves immortality through highlighting a demographic without ever ripping off “Boyz n the Hood” or “Menace II Society.”

Illustration by Sam

BEST DIRECTOR Will Win: Damien Chazelle, “La La Land”

BEST ACTOR Will Win: Casey “Manchester by the Sea”

Affleck,

Should Win: Casey Affleck, “Manchester by the Sea”

Why: I’ve argued for a while that, acting-wise, Casey is the more interesting of the Afflecks. Either of them would’ve nailed the role of a jaded, depressed Massachusett without a smidgen of hope, but the younger Affleck had the daunting

task of acting against several thespians, and outdid them in every way. Unlike Leonardo DiCaprio, who literally won the gold by staring at the sky for three hours, Affleck turned in a powerhouse performance in the most naturalistic film of 2016.

Should Win: Barry Jenkins, “Moonlight” Why: While “Moonlight” is marginally stronger than “La La Land,” the Academy has a strange habit of splitting Best Picture and Director. It didn’t make sense

when

“Spotlight”

won

Picture

and lost Director, and it’s irritating how

BEST SUPPORTING ACTOR Wi l l Win: “Moonlight”

Ma hersha la

A li,

Shou ld Win: Ma hersha la A li, “Moonlight”

Why: A li has k illed it for quite some time, most ly k now n to “House of Cards” and “Hunger Games” fans before 2016. Now he’s gained more ex posure as a fantastic v illain on “Luke Cage” and a love interest in “Hidden Fig ures.” But even t hough he’s in “Moonlight” for one single act, he transfor ms t he dr ug dea ler

stereot y pe into a character who’s equa lly hear tbrea k ing and pater na l. For not hing else, I want A li to w in so he can give anot her speech empower ing t he Muslim communit y.

“Argo” won Picture without Ben Affleck nominated for directing. However, I’ll be pleased if Chazelle takes it this year. For his brilliant emulation of MGM musicals, Chazelle painstakingly applied cinéma vérité approaches to the Old Hollywood mold, often achieving spectacular numbers through long shots. For my money, Chazelle is Jenkins’ only competition.

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BEST CINEMATOGRAPHY Will

Win:

James

Why: Laxton,

“Moonlight” Should Win: James Laxton, “Moonlight”

Even

if

you

haven’t

tremendous

entries

this

season, especially “Silence”

holding young Chiron in the water is instantly

and “Arrival,” but I think

recognizable. It’s a testament to James

the Academy’s inclination to

Laxton’s skill that he made Naomie Harris’

award the best film as much as

crack fiend a terrifying maternal presence

possible gives “Moonlight”

in some cases, merely through symmetrical

another edge.

shot compositions. This category has some

BEST ANIMATION Will Win: “Zootopia” Should Win: “Zootopia”

Why: I have a soft spot for animated

films

modeled

after

that tradition as a great police procedural

set

in

a

world

of

classic genres, so upon seeing

anthropomorphized animals. Also,

“Zootopia” for the first time, it

the hilarious mystery addressed

entertained me in the best way.

institutionalized

The

greatest

than most live-action films try to

the

medium

device,

and

animation as

a

treats

storytelling

“Zootopia”

BEST ORIGINAL SCREENPLAY Will Win: Kenneth Lonergan, “Manchester by the Sea” Should Win: Kenneth Lonergan, “Manchester by the Sea” Why: It takes great writing to make any unlikable character watchable, but to write multiple unlikable characters and bask in their overwhelming dread takes really immaculate scripting to be palatable. Kenneth Lonergan does so in this beautiful tragedy, where Casey Aff leck and Michelle Williams wouldn’t have been as good without such a meaty script.

muel Wiggins

seen

“Moonlight,” the image of Mahershala Ali

racism

better

do.

fits

BEST ADAPTED SCREENPLAY Will

Win:

Barry

Jenkins and Tarell Alvin McCraney, “Moonlight” Should Win: Barry Jenkins and Tarell Alvin McCraney, “Moonlight”

BEST VISUAL EFFECTS

effects of the modern era, if not ever. He’s

“Rogue One” has a chance to

stated several times that he intended it

beat it. Despite some of its

to be his “Avatar,” where filming entirely

problems, the effects work to

took place on Los Angeles sound stages

resurrect Grand Moff Tarkin

acting of 2016, but its best factor is

and the animals were created with

and Princess Leia was pretty

the script, which was adapted from

performance capture and voice work.

impressive,

While I think it deserves the accolade, the

“Jungle” was a better film

McCraney’s

Favreau’s

Academy primarily awards later releases,

with better visuals.

“Jungle Book” has some of the best visual

from October to December. That said,

Will Win: “Rogue One: A Star Wars Story” Should Win: “The Jungle Book” Why:

Simply

put,

Jon

even

though

Why: “Moonlight” has some of the finest

directing,

play

camerawork

“In

and

Moonlight,

Black Boys Look Blue.” Not only does it capture of the vernacular of impoverished communities, its use of three acts preserves its theatrical

BEST SUPPORTING ACTRESS Will Win: Viola Davis, “Fences” Should Win: Davis, “Fences”

Viola

Why: Out of any category, this one’s no contest. When you’re directed by one of our greatest living actors — Denzel Washington — in an adaptation of a Tony-winning play, you’re bound to give an outstanding performance. In this great drama,

about a black man left behind by the American Dream, Viola Davis was the perfect anchor to Denzel’s imperfect character. In doing so, she magnified the complexities of his role, as well as the plight of black women during Jim Crow times.

roots, making no other details matter except for the content on screen. It’s a refreshing method of storytelling that keeps the themes rich and leaves everything else ambiguous, which is precisely how life is.

THE DOSE | PAGE 6

The best of the 2017 Grammy performances

By Kayleigh Bywater The 59th Grammy Awards have taken place and the annual award show was definitely one that will be remembered. Whether it was Cee Lo Green’s head-to-toe golden outfit or Katy Perry’s jabs at Britney Spears, it was a ceremony full of showdowns, tributes and memes.

While the Grammys signify music’s biggest awards ceremony of the year, it’s also an unforgettable night of concerts, performances, friendships and celebrations.

One thing that makes the Grammys stand out among many other award shows are the performances, both good and bad, that grace their way onto the stage. From the showmanship and talent of Beyoncé to the melodic performance from newcomer, Grammy winner and UNT alumna Maren Morris, the Grammys showed that, despite all the political and societal tensions throughout the country, music still stands strong.

Here’s a list of some of the finest Grammy performances because, despite bumps, slip ups and challenges, the performances pushed through and left an

impression on so many people.

7. The Bee Gees Tribute – Although I’m not a die-hard Bee Gees fan, the performance from Demi Lovato, Tori Kelly, Andra Day and Little Big Town really showcased the nostalgia that comes with the Bee Gees.

Although four different songs were performed during the tribute, they all merged together extremely well, showcasing how talented this group of singers is. The voices of these talented female and male performers really showed a new twist on some classics that so many people know and love.

6. Maren Morris and Alicia Keys – In this unexpected but amazing performance, UNT alumna Maren Morris and veteran musician Alicia Keys sang a soulful duet of Morris’ song “Once.” The performance brought about a certain sense of difference, bringing together an R&B legend with a country newcomer. But Key’s soulful vibe surprisingly meshed really well with Morris’ smooth country voice, which brought a great change of pace among all of the other upbeat, fast songs at the Grammys. This performance

was definitely the surprise of the night. It was something I never thought I would want to hear, but that I have gone back to listen to multiple times.

5. Katy Perry – The performance of her new single, “Chained to the Rhythm,” was definitely one of the most politically charged performances of the night.

Perry used her song and props, including mirrors and a large “We the People” projection, to bring a spark of politics to the award show. Her ability to express her opinions through her musical talent really brought a twist to the performances throughout the ceremony. In a show full of lively performances, costumes and high notes, Katy Perry did what Katy Perry does best: bring a change to the normal pace.

4. Chance the Rapper – As someone who had never really listened to Chance before the Grammys, as soon as his performance was over on Sunday night, I went and downloaded every one of his songs that I could on Spotify. In both his acceptance speeches and performance of “How Great” and “All We Got,”

the passion he portrayed for what he does in music could be seen through his face and his actions. Through his performance, Chance, the winner of Best Rap Performance, Best New Artist and Best Rap Album, showed the audience “all he got.” Mixing together gospel and rap would normally be a hard task, but for Chance, it’s second nature. The artist not only barred his musical soul out, but also shared his religious beliefs and ideals with those listening.

3. Beyoncé – While I’m not the biggest Beyoncé fan, there’s no doubt that her performance dropped jaws and pulled people in.

After announcing her pregnancy through Instagram, her performance really showcased the love and beauty that comes with being a woman. While Beyoncé didn’t receive Album of the Year at this year’s award show, her ability to draw the crowd in and make them feel something special really set her apart from all the other performers that night. The singer, who has received world wide recognition for her “Lemonade” album, has been a public figure for many, and this performance really emphasized her ability to empower people everywhere.

2. Ed Sheeran – Although some people may not have paid much attention to Ed Sheeran’s solo performance of his new single “Shape of You,” the performance really shed a light on how absolutely talented this 25-yearold singer is. Sheeran utilized his talents with loop pedals to create all the instrumentals and sounds right there, live, on stage. His ability to create every aspect of a song in the few minutes he had on stage really showcased his ability to perform great music in a style that not many artists could utilize on the Grammy stage.

Courtesy | Wikimedia Commons

1. The Prince and George Michael Tributes – These two performances kind of go hand and hand, both bringing emotions and remembrance deeply rooted in two talented and impactful late singers that made their mark on music history. However, both

performances provided different, unique ways to remember these great musicians.

The Prince tribute, which started out with the Time’s performance of “Jungle Love” and ended with Bruno Mars’ rendition of “Let’s Go Crazy,” was right on par with what the “artist formerly known as himself” would have wanted. From The Time’s infectious and catchy performance to Bruno Mars’ bright “Purple Rain” inspired outfits, the energy portrayed through the singers almost mirrored the energy Prince brought to every one of his performances.

While the memory of Prince weighed heavy on the audience as the performance went on, the songs and Bruno Mars’ guitar solo really allowed the audience to, just for a second, feel as though Prince was right up on stage.

Adele’s slowed down rendition of George Michael’s “Fastlove” was a sharp juxtaposition from the Prince tribute, but rightly so.

About a minute into Adele’s song, she abruptly stopped, asking to restart the song so she could make George proud.

While Twitter fired off with instant opinions, Adele’s actions showed something deeper than an artist feeling as though she messed up a song. In a way, she showed that it’s okay to not be perfect and that it’s okay to feel hurt. Adele, who is a huge fan of George Michael, allowed her emotions to be laid out on the table, even though millions of people were watching.

It’s hard when someone so many people look up to passes away, but Adele, Bruno Mars and The Time all showed the audience that the legacies of both men will live on.

And one sentence from Adele really summed up the importance of these tributes: “I can’t mess this up for him.”

@kayleighbywater

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‘I Am Not Your Negro’ is a strong start

By Abby Jones “I Am Not Your Negro” breathes life into the memoir “Remember This House” by renowned African-American author James Baldwin, which he only wrote 30 pages of before his death.

Director Raoul Peck essentially completes Baldwin’s manuscript in a documentary format by transporting his audience into the Civil Rights Movement of the 1960s.

It was the opening film of the third annual Denton Black Film Festival. Its sold-out double screening on Jan. 26 at Silver Cinemas in the Golden Triangle Mall was the first showing in Texas.

For anyone lucky enough to have attended, it should be no surprise that it snagged a nomination for Best Documentary at the upcoming Academy Awards.

The screening was preceded by brief speeches from Denton mayor

Chris Watts and UNT English professor Laila Amine, who both commended the festival’s inclusion of black culture and noted their excitement for seeing Baldwin’s story on the big screen. UNT theater senior Elliot Sims also stood at the microphone with an emotionally packed performance of a monologue from one of Baldwin’s plays, “The Amen Corner.” “[Baldwin] is one of the most inf luential writers of the 20th century,” Amine told the audience.

Samuel L. Jackson serves as the voice of James Baldwin in “I Am Not Your Negro.” Narrated from his point of view, the film animated Baldwin’s memories and ref lections of civil rights activists Medgar Evers, Malcolm X and Martin Luther King, Jr., as well as U.S. race relations at the time.

The audience relived Baldwin’s historic debate with William F. Buckley, Baldwin’s interview on “The Dick Cavett Show” and

the moment Robert F. Kennedy announced Martin Luther King Jr.’s murder to the country. The audience gets to know Baldwin on a melancholic, personal level after the assassinations of Evers, Malcolm X and King, all of whom were younger than Baldwin at their times of death.

Some footage in the film can be difficult to stomach. Peck uses Baldwin’s narrative in conjunction with this footage to make powerful statements about police brutality towards the black community.

The audience is shown archived evidence of riots in Birmingham, Selma and beyond.

Peck seamlessly ties in the matters of the ‘60s with recent events like the Ferguson riots of 2014. Peck merges the intolerance and injustice of the civil rights era with the successes and downfalls still present today. He affectively highlights the progress American society has made on the road to

Courtesy | Wikimedia Commons equality, but emphasizes that there is still a long way to go.

“I Am Not Your Negro” is an inspiring, empathy-evoking documentary for curious minds.

Baldwin’s intimate recounts of the Civil Rights Movement — and Peck’s adaptation of them — teach viewers a facet of the era from a truly unique perspective in a way that textbooks can’t.

The film encourages audience members to fight for equality and

remember those who started the fight. A gear-turner, conversationstarter and to some, even a tearjerker, “I Am Not Your Negro” will likely become an Academy Award winner and a staple in African-American film culture for years to come.

“I Am Not Your Negro” can be seen in theaters everywhere.

@abbyfjones28

‘Walk with Me’ tells some of the best civil rights stories in history

By Abby Jones Many federal judges go through their entire careers without having heard a highprofile case. Damon J. Keith, on the other hand, apparently hit the judicial jackpot in the 1970s.

Keith recounts much of his own story in “Walk with Me: The Trials of Damon J. Keith,” directed by Jesse Nesser. It was screened at 7 p.m. on Jan. 27 at the Campus Theatre as a part of the Denton Black Film Festival.

Keith can be described as “the greatest judge you’ve never heard of.” While his witty,

Guests take their seats as credits begin for the screening of “Walk With Me,” one of the 43 films being shown at the Denton Black Film Festival from Friday, Jan. 27 to Sunday, Jan. 29. Katie Jenkins

endearing demeanor may suggest otherwise, this 94-year-old man is responsible for major groundbreaking legislation that continued the snowball effect of the Civil Rights Movement.

“There is not a day that I’m not reminded I’m black,” Keith said in the documentary.

“Walk with Me” takes its viewers through four major cases that took place in 1970s Detroit and the legislation that resulted from Keith’s rulings. Race relations is a major factor in all of them. We see the effect he had on desegregation in public schools, equal opportunity workplaces, housing and police institutions.

Intertwined with these stories, Keith narrates many aspects of his personal life as he experiences segregation and racism. In both his personal and professional lives, it’s evident that Keith exhibits an astounding amount of willpower and determination, as well as an undying love and admiration for others.

He said he understood the disadvantages the color of his skin gave him but chose to fight the injustice and continue the legacy of activists such as Rosa Parks, Martin Luther King Jr. and Thurgood Marshall, exemplifying incredible resiliency.

Most of the speaking in the film is done by Keith himself during interview settings, with his sense of humor giving the documentary

a relatively light tone. The audience gets the chance to hear about Keith from the perspectives of his colleagues and three daughters, as well as Detroit-area citizens who were affected by the laws he put into place.

Keith was fearless in regards to breaking the stigma that surrounded AfricanAmerican men. While he is clearly proud of the progress he played a major role in advancing, he emphasizes the necessity of education concerning the history of black people in the U.S. He said he hopes his grandchildren, as well as anyone too young to have experienced the Civil Rights Movement first hand, understand what black people had to endure to get where they are today.

“It can’t be separate and be equal,” Keith said.

Regardless of skin color, anyone can take inspiration from Keith. Through “Walk with Me,” the audience is able to see the heartwarming rewards of pursuing what you believe, standing up for what is right and never backing down.

@abbyfjones28

THE DOSE | PAGE 8

‘Hidden Figures’ tells the stories of black women at NASA

By Preston Mitchell In this wonderful family film, perfect for our current times, “Hidden Figures” tells the true story of three black women, whose mathematical work was tremendous for America’s successes during the Space Race. Because of their calculations, John Glenn became the first American to orbit the Earth in 1962.

Giving her best performance to date, Taraji P. Henson stars as Katherine Goble, whose years as a teacher and widowed mother belied her astounding mathematical gifts. Beginning in 1953, the same year IBM unveiled its first model, Goble worked as a “colored computer” for the National Advisory Committee for Aeronautics, collecting analysis to meet growing demands for space shuttle research.

Supervising Goble and the other female computers was Dorothy Vaughan (Octavia Spencer). Despite being the first black woman to become a NACA head of personnel, Vaughan faced constant opposition from Vivian Mitchell (Kirsten Dunst), whose racism only typified the odds stacked against black women in Jim Crow-era workplaces.

Rounding out the three leads is Mary Jackson (Janelle Monáe), a colleague of Goble and Vaughan who worked alongside flight engineers at NACA before it was renamed NASA. What works best about “Hidden Figures” is its approach to social issues.

Unlike most films about race, “Figures” doesn’t revel in the horrors of prejudice to make its point loud and clear. Instead, similar to “Remember the Titans” or “Glory Road,” it treats racism as an obstacle that anyone can overcome.

Much like the best historical dramas teachers use in classrooms, “Hidden Figures” transports viewers into the malaise of the Civil Rights Movement and blends those stakes with Cold War disillusionment. Without being preachy, it comments on the racial and sexist tensions of reputable professions with how three women defied expectations through unsung heroism.

In doing so, the film never becomes a Spike Lee-style “white-guilt experience,” but nails the importance of different cultures uniting to strengthen their nation. Not only does this create a breath of fresh air from the harshness of “13th” and “Selma,” it’s an important storytelling component that elevates “Hidden Figures” beyond the trappings

of schmaltzy, predictable popcorn filmmaking.

Director Theodore Melfi (“St. Vincent”) attacks this film with the craftsmanship and detail that a Hollywood movie demands; packing this tale of STEM research with great comedic moments and riveting drama from on and off the ground. In the midst of the lessons to be learned, Melfi’s cast does a fantastic job of bringing these figures to the big screen.

Since one’s an Oscar nominee and the other’s actually won, Taraji P. Henson and Octavia Spencer give the kind of incredible performances most critics expect from them. Although Henson gets the most time to shine and handles majority of the heft, it was singer-songwriter Janelle Monáe who really surprised me.

Prior to seeing this, a friend of mine alluded to how Monáe moved to New York to study drama before relocating again for a music career. But unlike many musicians-turned-actors who simply luck out for good roles, Monáe projects perfect doses of humor and personality within her character, getting some of the biggest laughs in the film. Between this and “Moonlight,” I can’t wait to see the next great project

Courtesy | Wikimedia Commons Monáe chooses.

Another “Moonlight” leftover is Mahershala Ali, who makes the most out of his limited screen time as Katherine’s charming husband-to-be. Finishing out the supporting cast is Kevin Costner as the Space Task Group director juggling office politics and his morality, Kirsten Dunst imposing those politics and Jim Parsons proving “The Big Bang Theory” won’t hinder his talent.

Simply put, “Hidden Figures” is a great family film for the holiday season.

Inspiring, educational and more entertaining than it should be, this is a

‘Fifty Shades Darker’ is darker indeed

By Julia Falcon Girls and their boyfriends, groups of girls and hopeless romantics filled the Cinemark 14 theater on opening night to watch the second installment in the “Fifty Shades of Grey” series.

Before I get into chopping up this story, I’ll preface this by saying I did not read the books, which may have helped me understand the movie more. But I have been waiting two years since the first movie to watch this sexcentric film like any other fangirl.

I was giddy the entire time.

The movie was almost what I expected, albeit a little too melodramatic. While there were a lot less sex scenes than the first, it was still as steamy and BDSMfilled as we all want it to be.

The soundtrack was as phenomenal as the last one, but I might be a little biased because it

Courtesy | Wikimedia Commons

features the love of my life, Nick Jonas.

The sands of time go by, just like the days in the lives of Christian Grey (Jamie Dornan) and Anastasia Steele (Dakota Johnson). Their tale gets more

romantic and quickly evolves into way more than Grey’s suband-dom lifestyle. There’s drama, ex-subs, one with a desire to kill, Grey’s PTSD, a proposal and even more serious business.

When Anastasia announces

Grey’s ownership of her, it changes the character dynamic completely.

What also changed the game was when one of his former sub’s came after Steele, trying to take Grey back.

Towards the end of the movie, there was a random helicopter crash involving Grey and a coworker, which lasted about 10 minutes. During those 10 minutes, they crashed, burned, had a search after them and Grey suddenly appeared at his place where everyone was waiting for him.

Things happened fast in this movie, and if you weren’t paying very close attention, you’ll find yourself asking a lot of questions like I did. Or just getting lost in the steaminess.

Steele is the same Bella Swanesque, dry humored character that was almost too innocent for this movie. Dakota Johnson’s performance is still cringe

must-see for young people and fans of social or celestial history. For the type of movie this is, Theodore Melfi used every convention in the book to its best potential and delivered the most heartwarming film possible about its three brilliant subjects.

Released in theaters nationwide as of today, “Hidden Figures” comes highly recommended.

@presto_mitch

-worthy, like a freshman who’s got a big crush on the star senior quarterback of the high school football team. Grey is almost too much for her, with his muscles, insane physique and, of course, the whole BDSM factor. But that’s what makes the movie interesting, right?

Clocking in at nearly two hours, the parts everyone came to see didn’t start until halfway through.

During that time, you can visit the new bar at the theater, if you don’t reach your three drink limit.

That’s how I made it through this one.

I’m giving this a 4.5 because, although there were a few f laws that bothered me, it was worth the watch with its corny humor, good romance scenes, drama and, hello, the attractive actors.

Regardless if you read the book or not, it’s still an entertaining fantasy-filled f lick, perfect for the weekend.

@falconjulia22