Terri J. Vaughn

  • Christmas Belles (2019)

    Christmas Belles (2019)

    ByChristian Sauvé Movie Review

    (On TV, December 2021) Ask any cinephile about the films made by The Asylum, and you will get near-unanimous retching — it’s a low-budget studio that specializes in making cheap copies of blockbuster films with near-identical titles in the hope of drawing an easily fooled public, a business model that survived intact from the DVD to the streaming paradigm. (Oh, and they did the Sharknado series.)  Now imagine my aghast reaction and sinking expectations at seeing “The Asylum presents” as the title card of a Christmas romantic comedy broadcast on BET. But waaaait — I may have found the best Asylum movie of all times. In fact—and you may want to hold on to something solid and reassuring for my next few words—Christmas Belle may be among the better original movies broadcast on BET recently. I know, I know — that’s not exactly a very high standard to begin with. But under Terri J. Vaughn’s direction and especially Chad Quinn’s witty screenplay, it quickly becomes obvious that the film is punching above its weight through sheer better-than-average writing. Oh, it helps that the beautiful DomiNque Perry and Raven Goodwin have great BFF energy together as they compete for the same pastor’s attention— the way they go through their dialogue only makes it better. But there’s more than the usual BET romantic comedy going on here — some great lines, good comic moments, slightly racier humour than usual and decent breaks from the formula all help. (I knew that I liked the movie at the “Do you want to be gay? / Sure [beat] Naah, I’m done” exchange, which is innocuous and funny but well outside what other Christmas romantic comedies go for). The focus on friendship rather than romance (although there’s plenty of romance left) is also a welcome change of pace. Oh, I don’t want to let “better than BET average” be misleading: there are still plenty of odd plotting mistakes, missed opportunities and disappointing moments, alongside the very limited budget and consequently timid direction. But Christmas Belles is significantly better and more entertaining than many of its BET stablemates because it has understood one thing: if you’re stuck with a small cast, limited sets and a tiny budget, make those words sing. Dare something different. Offer something else. It does, and that goes beyond the can’t-dislike-Christmas, can’t-be-unhappy-at-romance feeling that many similar movies coast on. This is probably my favourite The Asylum production of all times, but once again let’s keep some perspective: director Vaughn is so outside The Asylum’s usual orbit that I suspect that the arrangement here is financial more than anything — The Asylum wanted to cash in on the Holiday movie market, so they paid for it. No matter how it happened, I’m happy with the result — this is one BET Christmas film that’s worth a look all year long.

  • Twas the Chaos before Christmas (2019)

    Twas the Chaos before Christmas (2019)

    ByChristian Sauvé Movie Review

    (On TV, December 2021) Competent enough to avid mockery but not enough to be memorable, Twas the Chaos before Christmas drapes the double-booked holiday destination trope with Christmas decorations. Mismatched families from upper-class New York City and middle-class North Carolina realize that they’re booked at the same Washington, DC rental house and so learn to live together and learn from each other. You can probably figure where the rest of the story goes — the uptight rich mom learns how to let loose and decorate festively, while the younger daughter and son from both families match well together. The initial conflict between the two families dissipates in a cloud of holiday spirit and the film becomes less and less dramatic until it’s time to wrap it up. Unlike other Christmas films (of which I’m seeing far too many these days), this one doesn’t bet everything on romance and does go for actual comedy. It’s a bit too muted for my preferences, but it works relatively well. Veteran actress turned director Terri J. Vaughn is already accumulating an impressive filmography in a few short years: her films aren’t terrific, but they’re usually better than average, and she clearly knows how to work a limited budget into something that looks reasonably good. Twas the Chaos before Christmas may not be the kind of film that sticks in mind, but it’s good December filler and doesn’t inspire sarcastic put-downs like many others of its ilk.

  • Angrily Ever After (2019)

    ByChristian Sauvé Movie Review

    (On TV, September 2021) As far as BET original romantic comedies go, Angrily Ever After is strictly middle-of-the-road stuff — fun enough to watch (perhaps preferably while doing other things) but not memorable enough to stick in mind. That, mind you, is already not too bad — there are enough terrible BET original movies to make anyone appreciate the not-so-bad ones. In this case, the plot revolves around a young news anchor who, thanks to an emotional outburst against her fiancé and his too-intimate friend, ends up losing her job, her engagement, her apartment, her book contract on “Having it all” and much of her self-respect in one day. Things don’t necessarily get any better once she’s hired for another job, as her outburst has led her to be typecast as the “angry black woman” expected to issue enraged commentary on the issues of the day. For someone with a Masters in Journalism, that’s quite a step down — but she’s got other problems, such as confronting the white woman telling her that no $50,000 refunds are allowed on her wedding resort reservation — at best a year-long postponement. The ticking clock being activated, the rest of Angrily Ever After boils down to — is she going to get back with her two-timing ex-fiancé, that sexy new guy at the new workplace, or something else? Don’t worry — it all works out thanks to contrivances (what kind of moron kisses another woman in front of the bridal shop where his fiancée is trying her dress?), plot cheats and the weight of audience expectations. The portrayal of the TV business is hilariously warped: No channel ever hires someone for colour commentary and has them discover the exact nature of it on the air.)  It’s definitely heavier on romance than comedy — not that many funny situations here nor snappy dialogue, but at least it ends well. Jasmine Burke is lovely in the lead role, with Ta’Rhonda Jones providing much of the comic relief as the best friend character. You can argue that director Terri J. Vaughn’s film doesn’t manage to fulfill expectations — slack on comedy, not that exceptional on romance either, and curiously timid when it’s time to comment on social media toxicity or expectations toward young female professionals. But Angrily Ever After is watchable without being terrible, and it wraps up with a big smile at the “Joy of Losing It All.”  I’ve seen worse.