Keeping a Revolution Alive in 'Repentance'

Nicole Ari Parker and Forest Whitaker in "Repentance." Photo courtesy of CodeBlack Films.

A quiet, welcome revolution going on in Hollywood continues with “Repentance.”

The indie film starring Forrest Whitaker and Anthony Mackie, opens today in U.S. theaters. FW, one of the films producers, is Angel Sanchez. Angel is a deeply troubled man who reaches out in his hour of deepest need to AM's Thomas Carter, a repurposed self-help guru and best-selling author. Angel is a huge fan of Thomas'. (See video below).

The revolutionary aspect of “Repentance” is that it is the latest film featuring black actors in atypical roles. This is a Southern gothic thriller that looks to be set in Louisiana. Again, as is the case with “About Last Night,” “The Best Man Holiday,” “Lee Daniels' The Butler” and “42” – to name four – blacks are increasingly being featured as “normal people.” That is, as relatable folk with character traits beyond abject poverty, persistent crime and base buffoonery.

“Repentance is also the second release of CodeBlack Films, film company that was born of the collaboration of Jeff Clanagan's CodeBlack Enterprises and Lionsgate Films. CodeBlack Enterprises produces urban entertainment and Lionsgate wants a piece of the lucrative urban market, so hopefully it will be a match made in heaven. Note that urban means black and possibly Hispanic, too.

JC, a former concert promoter who worked with acts such as The Isley Brothers and LL Cool J, is on the record stating that a major goal of his growing CodeBlack business is to present programming that casts blacks in a positive light. Of course, time will tell and there is no reason to disbelieve him. His company is also behind the directorial debut of Lee Daniels, “Shadowboxer” and last year's critically-received indie effort, “The Inevitable Defeat Of Mister And Pete.”

Buffoonery and ghettoism take a holiday in “Repentance,” not that these things don't exist amongst black folk. It's just that black folk are so much more than these caricatures. They are like a pie with many slices, not just two or three. Indeed, blacks are people, too. This cannot be reiterated enough as long as stereotypes feed disgust and discrimination of a group of people.

In “Repentance,” Angel is a man who is haunted by a woman who may or may not be a ghost. Understandably, his wife Sophie (Nicole Ari Parker) is concerned and estranged from him. Meanwhile, Thomas has a new lease on life after a near-death accident. He also has a loving, support wife in Maggie (Sanaa Lathan), as well as a ne'er-do-well brother, Ben (Mike Epps).

Fans of the thriller genre will see in Philippe Caland's film more than a passing resemblance to “Misery.” FW's Angel comes across just as unhinged as Kathy Bates' Annie Wilkes. Similarly, AM's Thomas presents the voice of reason as does James Caan's author, Paul Sheldon.

As art, “Repentance” is a competent affair, if a bit loopy at times, mainly informed by FW's spirited performance. No one in “Repentance” need repent for a poor performance.

“Repentance” is rated R for violence including torture, and language; visit http://www.codeblack.com/seekrepentance/ to learn more about the film.

'Sparkle' Casts Enough Light to Blot Out Its Dark Side

Tika Sumpter, Carmen Ejogo and Jordin Sparks as singing siblings in “Sparkle.” Photo courtesy of Sony Pictures.

BY DARALYN JAY

CANDY may not exactly be good for you, but it sure tastes good going down.

In comparison to the grittier 1976 original, the big-budget, major studio remake of “Sparkle,” which follows the lives and career of Sparkle Williams and her sisters, is sanitized, sweetened and packaged in a sleek wrapper.

Character details and plot lines have been significantly altered – some effectively updating the story for a millennial audience (the title character is now the writer of the songs that she and her sisters perform). Others may be filed under “creative license” (the time and place have been changed from Harlem 1958 to Detroit 1968, for starters). The film opens nationwide today.

The differences are too numerous to name in this space, and the exercise would be pointless: “Sparkle” is an entertaining confection that stands on its own merits. Part-melodrama, part-musical, part-“Mad Men”-era fashion show, “Sparkle” manages to counter its clichés with swift pacing and solid acting, including a star-making turn by “American Idol” winner Jordin Sparks as Sparkle.

Whitney Houston as a very protective stage mother in "Sparkle."

Her performance as a teenage singer/songwriter on the verge of womanhood is charming and naturalistic, and she has musical chops to spare. Carmen Ejogo delivers as her sultry oldest sibling, Sister, portraying the character’s downward spiral with equal skill.

In what would have been her acting comeback, Whitney Houston brings humor and believability to the role of Emma, the girls’ mother. Here, she is reworked as a strict, overprotective parent who incredibly remains unaware of her daughters’ late-night meanderings. The scenes in which she references her troubled past are affecting and evoke pathos when viewed through the filter of the late singer’s drug-related demise.

The Williams sisters – Delores, Sparkle and Sister – hope their singing talents can lift them above their station in "Sparkle."

Director Salim Akil and screenwriter Mara Brock Akil have added nuanced moments to what is essentially a formulaic story, particularly in developing the subtext for the troubled relationship between Emma and her daughters. However, the ending feels contrived and leaves the audience to ponder such inconsistencies as how Sparkle could afford an apartment and a cover girl-worthy wardrobe on an entry-level worker’s salary. The same goes for how middle sister, Dolores (Tika Sumpter), can seemingly move on after the tragedy that occurs late in the movie with barely a blink of her false eyelashes. Domestic abuse and race riots are frequently glossed over or treated as a joke.

Nevertheless, all is forgiven after the stirring ending performance by JS.

Sparkle is rated PG-13 for violence and language.