At first, the focus of this fetaure appears to be Grace Davis (Tracee Ellis Ross), an R&B/pop music superstar along the lines of Beyoncé or Rihanna. However, Grace Davis is older than those artists. To its credit, the screenplay makes a feeble attempt to address the concerns of an aging woman in the music industry. Unfortunately, it merely pays lip service to those feelings without tackling them in any meaningful way. Manager Jack Robertson (Ice Cube) assumes that her hit-making days have passed. He advises Grace to accept a Las Vegas residency. He’s not wrong. I’ve always regarded a residency as an impressive honor. In the last decade beloved performers such as Celine Dion, Elton John, and Britney Spears have solidified their ongoing appeal in this way while reaping millions of dollars in the process without having to tour. Curiously the drama regards the very consideration as an embarrassing desire — an acknowledgment of being irrelevant. Call me crazy, but the idea is not hitting rock bottom folks. Far from it. This is in fact an account detailing the enviable choice between two very attractive options. There are literally no stakes here and therefore the plot is inconsequential at best.
The narrative slowly morphs, however, into a tale centered around a completely different person. Grace is indeed a big personality. She is a demanding individual with a huge talent and the sizable ego that comes along with it. But she also has Maggie, a personal assistant (Dakota Johnson) who is a dedicated and overworked soul. Maggie’s job description apparently requires her to do trivial things like break in Grace’s new pair of shoes. Maggie’s dream is to be a record producer. Much to my surprise, it is really her ambitions that ultimately become the main focus of the film.
Figuring out the point of view of The High Note is rather confusing. You’d think supporting the achievements of an aging woman in show business would be something we should admire. Yet Grace Davis is presented as a wholly self-centered creature. She carelessly dismisses a request from a fellow accomplished and well-known musician (Eddie Izzard) because he doesn’t have as many Grammys as she does. In other scenes, Grace is hellbent on suppressing her own creativity. It has been years since the artist put out new material. Assistant Maggie encourages her boss to release a new album because she believes in her talent. Nonetheless, Grace doesn’t agree. She counteracts with a declaration highlighted in the trailer: “In the history of music, only five women over 40 have ever had a No. 1 hit and only one of them was black.” [Fact-check: Tina Turner, Aretha Franklin, Bette Midler, Cher, Madonna, Sia and Mariah Carey have all had #1’s over the age of 40.] Maggie is trying to support the creative expression of this celebrity, while the woman herself argues against the idea. Maggie has taken the time to learn everything she can about her employer. She is uplifted as an intrinsically kind-hearted human. I’ll admit these admirable qualities may be a requirement of Maggie’s job but Grace can’t even be bothered to learn Maggie’s last name. Ouch!
The High Note is a glossy pop distraction directed by Nisha Ganatra (Late Night) and written by first-time screenwriter Flora Greeson. This superficial fable won’t any awards for originality. However, it’s well-acted by the entire cast. It exists as lighthearted entertainment that is easily consumed as comfort food to make you feel good while sheltering at home during dark times. Let’s not ignore the fact that this music superstar is depicted by the daughter of one of the most iconic personalities that ever lived: Diana Ross. Tracee Ellis Ross brings knowledge and depth to a role that few others could. There are two additional standouts: Dakota Johnson is engaging as the assistant. I continue to be impressed by her. Check out The Peanut Butter Falcon if you need further proof. There’s also Kelvin Harrison Jr. who plays David, an aspiring singer who becomes Maggie’s love interest. The actor was also in Waves last year and he’s definitely a rising star. See the movie for them. If you want to watch something new and you need it now. The High Note will suffice.
05-30-20
The Photograph is living proof that a compelling story matters. Gorgeous cinematography, a soothing jazz score (by Robert Glasper), and a pair of charismatic stars are indeed appreciated. Yet, all of those lovely ingredients ultimately come up short. The screenplay is the most important component of a movie. A drab tale can tank a film no matter how many sophisticated and artistic elements are employed. This production has the look of quality. I’ll admit that director Stella Meghie (Everything, Everything) is a talented individual. She is nothing if not prolific. The Photograph is her fourth feature since 2016. There is so much to admire here. Nonetheless, the script that director Meghie also wrote for this drama isn’t one of them. It’s stridently humdrum although it’s not distasteful at least. For some, that will be enough to recommend this lifeless flick. I — however — am not one of those people. 30 minutes in and I was already checking my watch.
Little Women has been adapted to film 7 times. That includes two silent entries. Then there’s the myriad of productions for television. The Houston Grand Opera even commissioned a piece in 1998. Needless to say, it’s been a beloved tale since Louisa May Alcott published her novel in 1868 and then 1869 in two volumes. At this point, her work been covered so many times that you assume they’d have to include some new twist to make it fresh for a modern audience. In the newest (and surely not the last) version, Greta Gerwig does indeed make several directorial choices to modify this timeworn saga.
Waves is a drama that gradually becomes an epic. It concerns a typical suburban family as they navigate that roadmap of emotional complexities that we call life. The chronicle begins rather deceptively as a simple melodrama. Tyler Williams (Kelvin Harrison Jr.) is a popular high school senior. He’s a smart kid and a star athlete with a bright future. Depending on your age, he could be your best friend or perhaps your son. But things aren’t always what they seem. As we are introduced to the characters that populate Tyler‘s reality, there is an inherent sense of foreboding. He’s constantly pushed to be better by his father Ronald (Sterling K. Brown). His stepmother Catherine (Renée Elise Goldsberry) is less domineering and more compassionate. His younger sister Emily (Taylor Russell) is also a calming presence. He spends time with his girlfriend Alexis (Alexa Demie). Things appear stable but soon that will change. Tyler begins to suffer some setbacks. The way he deals with misfortune will have a profound effect.
