Robert Townsend the actor, comedian, writer and director is a legend. His work in the early ’90s opened the door for Black filmmakers, then and now. He let Hollywood know his tone of funny when he created the classic comedy “Hollywood Shuffle” (1987) and “Eddie Murphy Raw” (1987). That’s just a few examples of his work.
The subject that is explored in the new film “Green Book” (which is the Green Book) is registering as a surprise to a lot of non-Black theatergoers, but for our community, it’s something that was (usually) shared by the older generation in an effort to keep the listeners safe.
Author J.K. Rowling was a single mother living on England’s version of public assistance, rejected by every major publishing company in the world and nearly at the end of her proverbial...
Steve McQueen’s powerful heist movie gives Viola Davis a strong role as a crime widow who is forced to command an operation. It’s life or death.
Cuba Gooding Jr. has a larger-than-life personality, so it’s not a stretch that he was cast as Billy Flynn, the smooth-talking lawyer in the prohibition-era musical, “Chicago,” with music by John Kander, lyrics by Fred Ebb and book by Ebb and Bob Fosse.
Dance, it’s said, is the hidden language of the soul. Celebrating the pure joy of it, the Joyce Theater will debut James Whiteside’s newest work, “The Tenant.” Considered ballet’s most daring principal artist and known for his theatrical and technical versatility, Whiteside created his newest work from the novel by Roland Topor.
On a muggy day that felt more like August than October, Oscar winner Barry Jenkins took to the stage for New York Film Festival’s free talk to give details about his highly anticipated film, “If Beale Street Could Talk,” based on James Baldwin’s novel of the same name. The film was screening at the 2018 NYFF, with its world premiere in Harlem at the famed Apollo Theater.
One of Harlem’s most beloved sons, James Baldwin, I think, would approve of the film adaption of his 1974 novel “If Beale Street Could Talk” that “Moonlight” writer-director Barry Jenkins has lovingly crafted.
Here’s the good news: the success of “Night School” by director Malcolm D. Lee does not live or die by the whim of any critic because Lee understands what’s funny to the collective “us” and by “us” I mean folks, and by “folks” I mean Black folks.
“Nappily Ever After,” the new romantic comedy produced by Tracey Bing and based on the novel of the same name by Trisha R. Thomas is now playing on Netflix.