#blackploitation film
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Batman: Soul of the Dragon*MINOR SPOILERS*
Broooooo! This movie is off the freaking hook! Okay Batman + 70s + Kung-Fu Movie tropes + Blaxploitation Movie tropes?!?!?!?! I was living my best life the entire hour and some change.
Some of my notes during my watch time because honestly…what was i really thinking:
ngl movie is funny as hell
we love the 70s vibe
Richard Dragon=Bruce Lee
Shiva is a BADASS
Ben whooped Bruce’s ass no bullshit, but Bruce showed some balls to keep fighting
Shiva has some of the best lines: 1) “I’ll take the girl, her looks offend me.” “I am the weapon”
I don’t know what i was thinking really, but as a solo Batman movie: Shit is GASSSSSS! I would love to see the world that this opened up be explored some more. All of the fight scenes were really freaking good, the relationship that our main cast had was charming and giving very much dysfunctional family.
AND BENNNNNN!!11!! I GOTTA TALK ABOUT THE BLACK PEOPLEEEE!!! I’m sorry but his swag, his heart, his humor. I love it🤤 Definitely reminds me of the character Williams from Enter The Dragon. And maybe this is me, but the sex appeal was just effortless from him. He was someone the kids looked up too and I just wish we saw more of his story.
But, overall this was a well rounded story, with a great array of characters, mixed in reality with fantasy, good kung-fu storyline and i want to see more of this now a days. Out of five, I give it a solid 4.
Hope y’all have a wonderful Thursday and a early start to the weekend <3
#batman#film review#dc animated movie universe#dcau#bro i’m finishing this @ 2am#black people#blackploitation film
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Intro to Black Belt Jones (1974) starring Jim Kelly
This whole movie is so god damn iconic, if nothing else watch just for the music.
#black belt jones#jim kelly#martial arts#martial arts movies#movies#film#70s movies#70s films#blaxploitation#blackploitation#Robert Clouse#kung fu movies#kung fu#cult movies#cult films#Dennis Coffey
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"Cotton Comes to Harlem" at 50
“Cotton Comes to Harlem” at 50
Thanks to Criterion once again we took the opportunity to fill in a gap in our cinematic education last night. We’have had the occasion to mention Cotton Comes to Harlem (1970) many times on this blog on account to having written about many of its principal artists, but hadn’t ever seen the legendary film, which many credit with launching the “blackploitation” genre. I hadn’t given it urgency on…
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The “Key” to Representation
My friend and I stopped off to get a burger at our favorite place in Burbank on our way to get a key at her friend’s house last night and we found ourselves in an interesting conversation - one we’ve had millions of times.
Breaking into the entertainment industry. We know people adjacent to the right people, we send hundreds of applications, we go on awkward coffee meet n’ greets, we aspire to finally write something down and shoot it ourselves - and yet the biggest, most difficult things stands in our way - time and money.
This particular night, we found ourselves discussing being a minority trying to make it in the industry.
A storm of agreeable and passionate conversation ensued.
[FULL DISCLOSURE - I’m a white guy whose minority status as a member of the lgbtq community can be hidden away fairly easily (I understand that), my lovely and closest friend in LA is of Jordanian descent and a woman (she finds it a bit more difficult to hide this).]
She describes how being part of a group built by and for women to take an active role in production is the first place that has given her a chance to get on set. How awesome is that!? I’m incredibly happy for her - after months of dragging her feet, contemplating moving back home and giving up on this big stupid dream, she joined this group by word of a friend and finally started getting work. Yipee!
I recently went on one of my best interviews to date (at a name-brand studio no less!) and didn’t get the show. The culprit: my race and gender.
This has caused an inexorable mix of emotions. I am without doubt a feminist and pro-affirmative action. There’s nothing I want more than for my friends to rise up, and yet when it came to my personal bread and butter, a step up for me, I am met with a bout of depression. I’ve never felt so unwanted because of something I can’t control. In that moment, I believe I caught a tiny glimpse of what it is to be anything but white in America.
Good.
It was bound to happen - and I’m happy it did.
What’s a boy to do? At least someone else got the job, someone who mightn’t have had the opportunity in the past - that is progress in our larger social conquest indeed. The expense to my career hurts, but I’ll get over it.
My friend suggests I take advantage of gay-oriented film groups. I’m hesitant to do so and I’m not sure why. It could be any number of irrational things. I’m good at coming up with those and believing them. I’m not gay enough (whatever the hell that means) often bubbles up - insecurities on the rise.
She makes a good point - wouldn’t it be nice to see a gay boy on screen, written and directed by a gay boy? The answer is obvious. I rebut that it’d be nice to see an Arab woman up there too, written and directed by an Arab woman.
Moonlight by Barry Jenkins is by far one of my favorite pieces of cinema. It changed everything for me, it rocked my world-view, threw timber on the flames of my passion - it was a transformative experience.
There have only been two times that I’ve witnessed a film early in it’s run and knew deep inside that it would most certainly win best picture - they were Birdman and Moonlight.
During that first viewing, I became totally consumed. I felt every bit of pain and joy Chiron felt. For the first time in my life I was forced to consider a perspective, a life, that I couldn’t otherwise conjure up in my imagination, and it changed me. I consider it a miraculous achievement. Astounding in all facets of technique. The perfect combination of structure and character, proliferating it’s profound message of tolerance through understanding into the universe.
If supporting people of minority identities results in films like Moonlight (and even if it doesn’t), my support is only strengthened with cooperative passion and new-found understanding.
Here’s what I fear - a new wave of blacksploitation films similar to that of the New Hollywood era of the 1970′s when the entertainment industry realized there was a market for films starring black actors in leading roles. While black consumers were getting some representation on screen, characters were often typified by stereotypes, which makes sense with white men at the helm of their creation. My fear consummated when Shaft was rebooted.
My hope is that in a society more aware of these disparities and past failings, truer works of diversified art are here to stay and in its course a sort of cultural balance becomes of the mainstream entertainment market. A market which I hope in turn continues to fund independent works of art and film designed by minorities for all of the world to enjoy.
To see a piece of oneself on screen, represented for the first time is a powerful thing. To have the feeling of being seen for the first time by everyone is beyond-words-magnificent.
AnYwAy...
We finished our meals, I leaned comfortably on the pleather cushion back of the booth for a while, taking it all in. Eventually my friend said we must be going. I pleaded for a moment to stay longer, to never leave this comfort. Though, she was right. It was ten already and we still needed to get that key.
-RS
#bob's big boy#key#blacksploitation#cinema#moonlight#gay#lgbtq#entertainment#industry#arab#birdman#movies#movie#career
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Un nouvel article a été publié sur https://www.rollingstone.fr/black-panther-roi-mort-vive-marvel/
"Black Panther" : Le roi est mort, vive Marvel
Près de deux ans après avoir fait son entrée dans l’Univers Cinématographique Marvel, Black Panther s’offre une origin story d’anthologie. Nous l’avons vu pour vous
Contraint de remplacer son défunt père à la tête du richissime Wakanda, le prince T’Challa est dos au mur. Faut-il poursuivre la politique isolationniste de son pays technologiquement supérieur au reste de la planète, ou ferait-il mieux de proposer son aide aux plus démunis ? Devant son hésitation, quelques voix s’élèvent, dont celle du belliqueux Killmonger…
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Plus habitué aux décors urbains qu’à la jungle – d’Atlanta – Ryan Coogler négocie le surplus d’effets spéciaux qui accompagne généralement les productions Disney avec une fluidité et une intelligence n’étant pas sans rappeler son sanguin Creed. Conjuguant scènes de poursuite au rythme presque trop effréné et combats en faux plan séquence, sa caméra mobile distrait tout autant qu’elle sert une histoire et des personnages bien décidés à réveiller l’Univers Cinématographique Marvel.
Si Chadwick Boseman redore son blason après un Message From the King – vous avez dit destin – plus qu’en demi-teinte, Michael B. Jordan prouve une fois de plus qu’il a sa place au sommet du cinéma mondial. Ces messieurs font pourtant peu les fiers face aux nombreuses leading ladies qui donnent à Black Panther ce côté piquant, frais et résolument moderne que les plus lisses Black Widow et autres Pepper Potts n’avaient jamais pu lui apporter. Véritable caméléon, Lupita Nyong’o prouve qu’elle est aussi à l’aise en haillons que dans de somptueux costumes colorés et s’assure de recevoir des scénarios encore plus variés à l’avenir.
Ces derniers participent d’ailleurs grandement de l’identité visuelle d’un Black Panther n’ayant pas décidé de renverser les codes établis par Marvel depuis bientôt dix ans, mais bien de les adapter pour servir son propos percutant. Coogler se permet même des incartades pop, presque wachowskiennes, soulignant ainsi la filliation à un matériaux de base qui a longtemps été le seul héros afro-américain auxquels il était possible de s’identifier.
Remettant au goût du jour la Blackploitation, Black Panther s’appuie de toute évidence sur un passé lourd de sens. Et si l’action du film commence à Oakland – le berceau du mouvement politique auquel le héros doit son nom – au lendemain de l’arrestation musclée de Rodney King, cela n’est pas innocent. Nier son message d’ouverture serait alors contre-productif, mais il convient de ne pas trop y voir non plus. Black Panther est avant tout un divertissement brillamment efficace venant rajouter une pierre saillante au colossal Infinity War qui se prépare.
Dernière chose, on ne le répètera jamais assez mais restez jusqu’à la fin du générique. Pas le milieu, la fin !
Jessica Saval
#Andy Serkis#Black Panther#Chadwick Boseman#Daniel Kaluyaa#disney#Lupita Nyong'o#marvel#MCU#michael b jordan
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The way Cicely Tyson felt about Blackploitation films is how I feel about hood dramas now. I'm literally waiting for the Power franchise to just die.
On the other hand, I only wanted blackploitation films back because I thought Lovie Simone would be cute as a groovy super spy, minus the sexualization that comes with these films.
Cecily Tyson died telling everyone's business. I love her for that
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Fred Williamson 70s Blackploitation film 🎥 also know as the hammer in pro football 🏈 #footballamericain #urbanphotography #blackhollywood #girls #men #fashion #soulmusic #funkypeople #badass #styleblogger #teeshirtswag #fun #dude https://www.instagram.com/p/B2UpwFxn7DJ/?igshid=zclucoi7py5j
#footballamericain#urbanphotography#blackhollywood#girls#men#fashion#soulmusic#funkypeople#badass#styleblogger#teeshirtswag#fun#dude
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Idk why feminist aren't into blackploitation films allot of them are groovy black ladies kicking ass and looking hot
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JOE BULLET - A Day For Night Review
A review by @forrisday
Joe Bullet, the ladies love him and men fear him.
Joe (Ken Gampu) is the hero of the movie “Joe Bullet.” It was released in 1973, and has an all African cast and was banned by the apartheid government when it was originally released. It is a low budget film but a fun one to watch.
The story revolves around the main character, Joe Bullet, as he battles the bad guys to try to rescue two star players of the soccer team, The Eagles.
Without these two players the championship soccer game, which is only one week away, will probably be a loss. The players have been kidnapped by corrupt gangsters who want to change the outcome of the championship in their favor. Can Joe find the players and defeat the criminals? He'll have to put all his martial arts skills to use and hopefully have a bit of luck as he's attacked by assassins, fighters, and booby traps.
The movie has all the elements you would expect in a 1970s low budget flick. Misaligned audio, bad acting, and cheesy effects, but of course these are what make these films so darned fun and enjoyable to watch. Interestingly, it may be the soccer aspect of the film that may turn off an American audience as soccer isn't as huge here as it is in other countries although I believe the sport is gaining momentum.
The film has been restored on this DVD and the picture quality is great. The audio is misaligned at times, but that was original to the film as I assume much of the dialog was overdubbed in post-production. I really enjoyed watching Abigail Kubeka as Joe's love interest Beauty. She sings, isn't afraid of anyone and, well, is easy on the eyes. Don't tell Joe Bullet I was looking at her though. He'll kick my ass.
Cheesy? Sure. Bad actors? An abundance. Is it worth a watch? Heck yea!
Click here to purchase Joe Bullet
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James Bond est envoyé pour enquêter sur un magnat de l’héroïne diaboliquement brillant, à la tête d’une organisation complexe. Ce magnat organise ses actions en fonction des interprétations d’une cartomancienne, tout en troublant les choses en se servant du vaudou comme couverture…
“Live and Let Die” est un film d’espionnage britannique datant de 1973, réalisé par Guy Hamilton, à qui l’on doit également “Diamonds Are Forever” (1971). Les acteurs principaux sont Roger Moore, qu’on a pu voir dans “The Quest” (1996), Yaphet Kotto, qu’on a pu voir dans “Alien” (1979), Jane Seymour, qu’on connaît essentiellement pour son rôle dans la série télévisée “Dr. Quinn, Medicine Woman” (1993–1998), Julius Harris, qu’on a pu voir dans “King Kong” (1976), David Hedison, qu’on a pu voir dans “The Enemy Below” (1957), et Clifton James, qu’on a pu voir dans “The Deadly Tower” (1975). Ce métrage est le huitième James Bond dans la série produite par Eon Productions. Il s’agit du troisième des quatre James Bond réalisés par Guy Hamilton.
L’histoire proposée par “Live and Let Die” nous invite à suivre un trafiquant de drogue installé à Harlem, un quartier populaire de New-York. Ce dernier est connu sous le nom de M. Big (Yaphet Kotto) et il prévoit de distribuer gratuitement deux tonnes d’héroïne afin de mettre fin aux activités des barons locaux de la drogue et ainsi obtenir le monopole de la distribution. Il est révélé rapidement que M. Big est l’alter ego de M. Kananga (Yaphet Kotto), un dictateur corrompu des Caraïbes, qui dirige San Monique, une île où l’on cultive secrètement du pavot à opium. James Bond (Roger Moore) enquête sur la mort suspecte de trois agents britanniques. Ses investigations le conduisent à Kananga. L’Agent 007 se retrouve dans un univers de gangsters et de vaudou, tout en essayant de mettre un terme au stratagème de ce nouveau baron de la drogue…
Bien qu’étant présenté comme un film d’espionnage, “Live and Let Die” ressemble plus à un film policier, avec une enquête visant à neutraliser un baron de la drogue, le Dr. Kananga / Mr. Big. Tourné au plus fort de l’ère de la blaxploitation, dont le métrage “Shaft” est probablement le fer de lance, de nombreux archétypes et clichés de ce genre cinématographique propre aux États-Unis, sont présents dans le film. La drogue étant d’ailleurs un thème récurent des films sur la blaxploitation de cette période. L’action se situe dans des lieux culturels afro-américains tels que Harlem et la Nouvelle-Orléans et la Jamaïque fait usage de l’île fictive de San Monique.
Les personnages sont très marqués afin de correspondre avec l’idée de la blackploitation. On ira même jusqu’à ajouter une assistante black à James Bond, son agent de liaison à San Monique, Rosie Carver (Gloria Hendry), à qui Tom Mankiewicz, le scénariste, a donner un côté nunuche qui prête à sourire. Ce dernier avait envisagé de faire de Solitaire, une femme noire, avec Diana Ross comme choix principal. Cependant, les producteurs, Albert R. Broccoli and Harry Saltzman, ont décidé de s’en tenir à la description d’une femme blanche telle que Ian Fleming l’avait écrit dans son roman. Après avoir envisagé Catherine Deneuve, c’est Jane Seymour qui a été choisie pour le rôle.
Tom Mankiewicz a également créé le personnage du shérif J.W. Pepper pour ajouter un personnage en relief comique. Interprété par Clifton James, Pepper reviendra dans le James Bond suivant, “The Man with the Golden Gun” (1974). Cette démarche est plutôt ratée, car Peppers apparaît clairement comme un sombre crétin et n’apporte en rien la touche humoristique souhaitée. “Live and Let Die” fut le seul James Bond, jusqu’à “Casino Royal” (2006) où “Q” est absent, toujours incarné par Desmond Llewelyn. Les producteurs décidèrent de ne pas faire apparaître le personnage estimant que les gadgets étaient trop utilisés et ils voulurent minimiser cet aspect dans la série.
C’est donc Roger Moore qui endosse le costume de l’Agent 007. Celui-ci a tenté de ne pas imiter Sean Connery, tout en s’éloignant de son rôle de Simon Templar dans la série télévisée The Saint. Le ton léger et l’approche légèrement comique du personnage que Roger Moore a insufflé à James Bond, en y ajoutant les expressions faciales, sa manière de relever un sourcil, le rapproche de son personnage de Lord Brett Sinclair dans la série télévisée The Persuaders! (1971), plus connue en France sous le titre de Amicalement Vôtre.
Avec “Live and Let Die”, on retourne vers la source, action, déduction, séduction qui font les racines du personnage de James Bond. Le tout astucieusement combiné à un langage plus moderne. D’une durée de 121 minutes, le métrage nous emmène à la fois dans les bas-fonds de Harlem et au paradis dans les Caraïbes. La photographie de Ted Moore en profite pour offrir quelques superbes panoramas, ponctués par des bagarres, des courses-poursuites et autres cascades. On retiendra d’ailleurs essentiellement la course-poursuite à bord de bateaux rapides dans le Bayou en Louisiane.
En conclusion, “Live and Let Die” est un excellent film policier disposant d’une histoire intéressante, d’une intrigue quelque peu confuse et d’un développement permettant de revenir à la source du personnage. Le rythme est plaisant, le récit est alambiqué et la narration est linéaire. La photographie est avenante, les scènes d’action sont bien orchestrées, surtout les courses-poursuites. La bande originale utilise habilement le thème habituel et le titre signé Paul et Linda McCartney est inoubliable. Un huitième film qui donne un petit coup de fouet à la série qui commençait à s’user…
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LIVE AND LET DIE (1973) ★★★★☆ James Bond est envoyé pour enquêter sur un magnat de l'héroïne diaboliquement brillant, à la tête d'une organisation complexe.
#Bernard Lee#Clifton James#David Hedison#Geoffrey Holder#Gloria Hendry#Guy Hamilton#Jane Seymour#Julius Harris#Lois Maxwell#Roger Moore#Yaphet Kotto
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Throwback Thursday Review: Superfly by Curtis Mayfield (1972)
Duff’s Necessary Albums #11
Boy this album is so smooth. There’s just something about 70s music that gets me. This album just jives while also highlighting some plights of the African American community at the time. The lack of resolution for some of them gives the album a jagged quality. This album is a partial film soundtrack to a blackploitation film. That genre highlighted those topics and presented them in a more exaggerated way. I can only imagine what new perspective the music will bring with the visual accompaniment. Stellar album.
Key Tracks: “Little Child Runnin’ Wild”, “Freddie’s Dead”, “Give Me Your Love”, “Think”
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Fred Williamson 70s Blackploitation film 🎥 also know as the hammer in pro football 🏈 #footballamericain #urbanphotography #blackhollywood #girls #men #fashion #soulmusic #funkypeople #badass #styleblogger #teeshirtswag #fun #dude https://www.instagram.com/p/B2UpwFxn7DJ/?igshid=emome0eltndu
#footballamericain#urbanphotography#blackhollywood#girls#men#fashion#soulmusic#funkypeople#badass#styleblogger#teeshirtswag#fun#dude
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Fred Williamson 70s Blackploitation film 🎥 also know as the hammer in pro football 🏈 #footballamericain #urbanphotography #blackhollywood #girls #men #fashion #soulmusic #funkypeople #badass #styleblogger #teeshirtswag #fun #dude https://www.instagram.com/p/B2UpwFxn7DJ/?igshid=emome0eltndu
#footballamericain#urbanphotography#blackhollywood#girls#men#fashion#soulmusic#funkypeople#badass#styleblogger#teeshirtswag#fun#dude
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