Angela Basset

  • Meet the Browns (2008)

    Meet the Browns (2008)

    ByChristian Sauvé Movie Review

    (On Cable TV, September 2021) As is customary for early Tyler Perry movies, there are a lot of familiar elements at play in Meet the Browns: A single mother struggling to keep her kids out of trouble; a suddenly deceased father; a return from Chicago to the south in order to reunite with a family she didn’t know; a tall-dark-handsome romantic prospect with a troubled past; an ex that just won’t stay in his place; street gang drug dealing; and Madea for not much more than a cameo. In execution, it all feels slap-dash: the tone jumps from comedy to drama to romance, the film fails to capitalize on many of its assets (the house renovation, which could have been a powerful thematic device in other hands, is here completely glossed over) and the dialogue can be dryly ordinary. But that’s not necessarily the case throughout: For instance, a sequence in which the patriarch enumerates all of the deceased father’s “hoes” is their scandalous diversity in front of his surviving family is a delightful comic highlight. Angela Basset looks amazing and gives life to her role as the lead; and the morals of the film are in the right place. Sofia Vergara also shows up in a pre-stardom role. I did like the ensemble of characters quickly sketched in straightforward scenes, and the romance is crudely effective in its own way. It makes for likable if imperfect viewing, the kind of thing that works best in a series (as in: “Tyler Perry movies”) than by itself, where it feels slightly too small and incomplete. Case in point: The Madea cameo feels gratuitous and disconnected by itself, but is meant as a lead-in to the next film in the series. On to the next one, then…

  • What’s Love Got to Do with It (1993)

    What’s Love Got to Do with It (1993)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, January 2021) I used to think that great music was at the heart of any worthwhile musical biography, but I’m starting to reconsider my position. There’s a huge survivorship bias at play, after all: not-great musicians probably won’t have any biopics made about them. The big job of music in a biopic is to underscore the plot, and that’s where the difference lies: is this a good story? Does it feature a musician that’s also a compelling character? But there’s another element essential to such movies, and it’s the lead actor. Even acknowledging that they can be dubbed for the vocals (as is the case in What’s Love Got to Do with It), does the lead actor have what it takes to make us believe we’re watching someone already famous, someone we’re already familiar with? The resounding answer in What’s Love Got to Do with It is simple: ho boy, yes. Angela Basset plays Tina Turner in a multi-decade biography that focuses on the abuse she suffered at the hands of her ex-husband/producer Ike Turner. It’s a muscular performance in more ways than one (As the sleeveless concert footage shows, Basset was fit when she played the part) and an almost unrecognizable Lawrence Fisher is nearly up to her level in playing the film’s antagonist. There’s plenty of dramatic license in adapting the true story to the film, but what’s on screen is fascinating enough in between the hit numbers spanning decades and much character growth. No matter what the elements of a good musical biopic are, What’s Love Got to Do with It has them all.

  • How Stella Got Her Groove Back (1998)

    How Stella Got Her Groove Back (1998)

    ByChristian Sauvé Movie Review

    (On TV, May 2020) Anyone who thinks that How Stella Got Her Groove Back is a one-quadrant romantic comedy solely destined to older black women is missing one thing—late-1990s Angela Basset was the complete package for all other three quadrants—simply a joy to watch given her versatility, precision in her acting choices, and devastating gorgeousness. The film knows it and wastes no effort in reinforcing it—she sports at least half a dozen hairstyles through the film and looks amazing in all of them. The story is also designed to let her go from one peak to another—she hits all of the right notes as the narrative takes her all the way from a tight-haired power broker to a lovelorn single mother to a grieving friend to a woman in limbo to, finally, affirming her own desires in their complexity. Refreshingly, the twenty-year-gap between the protagonist and her younger lover (a breakthrough role for Taye Diggs) is honestly dealt with. While there are no real surprises here (she does get her groove back: relief!), it’s a likable film even when it’s balanced on a bad idea. Add Whoopi Goldberg and Regina King and I’m disappointed I watched the film on a grainy standard-resolution channel. Obviously, your mileage may depend based on how you feel about Basset.

  • Waiting to Exhale (1995)

    Waiting to Exhale (1995)

    ByChristian Sauvé Movie Review

    (On Cable TV, January 2019) While Waiting to Exhale isn’t that significant a movie in film history, it still plays so often on cable that it wore me down. I gave up and finally recorded it, although not out of exasperation. My intentions in watching it were not noble at all: Whitney Houston, Lela Rochon, Loretta Devine and Angela Basset headlining the film? I’ll watch that. An episodic story focusing on four women’s attempt to find love in spite of bad partners, Waiting to Exhale also features the directorial debut of Forest Whitaker, who imbues the film with odd stylistic choices that, perhaps unfortunately, precisely date the movie to the mid-1990s. Still, the movie itself is quite a bit of fun to watch. Our heroines don’t take cheating and romantic disappointment very well: in the film’s most memorable sequence, one sets fire to her cheating husband’s car, his clothes inside. While the episodic nature of Waiting to Exhale means that it has high and low points, the acting talent brought together here remains notable. Angela Basset, in particular, is at her best here with a powerhouse performance. The all-black casting is so successful in that by the time a white woman shows up (as a romantic rival, no less) late in the movie, the effect is definitely jarring. Among the male cast, Dennis Haysbert and Wesley Snipes have good roles, but viewers should be forewarned that this is not a movie in which men get the most admirable characters—this is female empowerment, and much of Waiting to Exhale’s success can be found in how completely and solidly it makes viewers (even white men such as myself) identify with the four black women protagonists.

  • Strange Days (1995)

    Strange Days (1995)

    ByChristian Sauvé Movie Review

    (Second Viewing, on DVD, June 2009): You would think that a 1995 film re-casting 1992 racial tensions in then-future 1999 Los Angeles would be irremediably dated fifteen years later. But nothing could be farther from the truth: For once thing, the story (co-written by James Cameron) is a savvy exploration of a seductive SF concept that hasn’t aged a wrinkle since then. For another, Kathryn Bigelow’s exceptional direction keeps things moving both in and out of frame: there’s a terrific visual density to what’s happening on-screen, and the subjective camera moments are still brutally effective. But even the dated aspects of the film still pack a punch, as they now appear to have taken place in an alternate reality where police brutality and memory recording have flourished even as the Internet hasn’t taken off. (History of Science students are free to sketch how one explains the other.) But it’s really the characters that keep the whole thing together: Ralph Fiennes is mesmerizing as a romantic hustler, while Angela Basset’s seldom been better than she is here, all smooth cheekbones, high attitude and shiny dreadlocks. The pacing is a bit slow (how many times do we need to see Lenny pine away for Faith?) and the ending isn’t as snappy as it should have been, but Strange Days is still amazingly peppy for a film with such an explicit expiration date. It measures up against the best SF films of the nineties, and that’s already saying something. The DVD has a smattering of extras (most notably a few good deleted scenes, a twenty-minute audio commentary and a teaser trailer that I could still quote fifteen years later), but this is a film overdue for a special edition treatment.