Redemption Road, Opens Friday Aug. 26th
Michael Clarke Duncan and Morgan Simpson
Michael Clarke Duncan, taking a co-starring role in Redemption Road. Most famous for his Oscar-nominated turn in The Green Mile, the mountainous actor frequently plays cops or criminals, or provides the voice of musclebound animated characters like Kung Fu Panda’s rhino prison guard or Green Lantern’sKilowog.
Duncan co-produced Redemption Road and plays Augy, an intimidating but cheerful country music fan in Western wear, fond of line-dancing at country bars or extolling the virtues of hot sauce and thick women. Augy works in a mysterious capacity for a lawyer and transports wannabe bluesman Jefferson Bailey (Morgan Simpson) from Austin, Texas, to Huntsville, Alabama. As the title Redemption Road none-too-subtly suggests, the plot hinges on whether Augy can help Jefferson rise above his problems with alcohol and stage fright.
It’s a shame Augy doesn’t command Redemption Road’s center stage, given Duncan’s Rabelasian portrayal of an atypical movie character. Instead, like a musician going up and down the scales, Redemption Road predictably explores Jefferson’s personal demons. The talented guitarist and harmonica player drinks heavily and not only owes money to a local tough (Luke Perry), he’s having an affair with the guy’s wife. The only reason Jefferson agrees to travel with Augy is to make a getaway
Simpson co-wrote Redemption Road’s thin screenplay and lacks the magnetism to make the viewer care very much about Jefferson’s self-esteem issues and (musical) performance anxiety. He comes across less as tragic than sullen, so it’s hard to invest much concern for his disappointments and bad behavior, or feel that he should reconnect with the old girlfriend who got away (Kiele Sanchez). The dialogue traffics heavily in lines like “Love will set you free.” At least none of the characters turn out to be angels sent from above to redeem Jefferson Bailey (whose name derives from two Jimmy Stewart characters).
Directed by Mario Van Peebles, Redemption Road’s cinematography gives a rich glow to juke joints, music stores and fleabag apartments. The sound editors clearly know their way around music performance, and the blues guitar riffs seem to fill up the room and rattle the audience’s bones. Redemption Road could be a film shown at AA meetings when nobody feels like talking, and it’s a shame that the script doesn’t live up to the soundtrack or Duncan. Share
Redemption Road. 2 stars. Directed by Mario Van Peebles. Stars Morgan Simpson, Michael Clarke Duncan. Rated PG-13. Opens Fri., Aug. 26. At select theaters.
Redemption Road: Movie Review
Redemption Road is a 90 minute feature are all flawed; but the smooth bluesy tunes will linger in your mind for days. In fact, many of the lyrics act as the narrator on this journey of forgiveness and second-chances. The story revolves around Jefferson Bailey (Morgan Simpson), a once talented musician who can rock the blues like no other. Right now, he presently rocks the bottle as he basks in an alcoholic haze, and can no longer face the stage in Austin, Texas. Enter in the cowboy hat wearing Augy (Michael Clarke Duncan), who tells Jefferson that he is an executor to an estate one of his relatives left to him in Huntsville, Alabama. The item outlined in the will is simply a safe deposit box at a local bank. Augy tries to convince Jefferson to stop drinking for a bit and climb aboard his precious steed (beat-up pickup truck), but Jefferson isn’t having any of that. That is until a local cat named Boyd (Luke Perry in badass mode) comes looking to collect some overdue money he lent Jefferson. Rather than face the wrath of Boyd, Jefferson “relents” and the two enter down a path of finding out who they really are. A revelation neither of them is fully prepared for.
The script written by Morgan Simpson and George Richards provides a rich, deep dialogue that is balanced out with on-screen musical performances that will have one constantly tapping their feet to the groove. The audience may want to applaud after every musical number that takes place in a variety of dive-bars. All the character performances are spot-on too and that is especially true for the relative unknown in Morgan Simpson. His character is relatable and you can feel the emotion the guy is pouring out. Plus, his chemistry with Michael Clarke Duncan provides comical moments sprinkled throughout the feature. Every key character has substance and the script provides ample time for the viewer to get know them just enough.
Although the majority of the focus is on the Jefferson and Augy characters, the timely interjection of a couple roles for our leads to play-off adds some depth to the spiritual tale. Kiele Sanchez is playing the lost love interest and the venerable Tom Skerritt clocks in as the old bar owner who is more-or-less a Yoda figure to Augy and eventually Jefferson. The working in of these two subplots just over halfway through provided a nice wrinkle in this wordy, musical odyssey.
By the way, Mario Van Peebles is no slouch at the helm of this production. Known mostly for his acting resume, the guy has nearly thirty directing credits (New Jack City & a variety of network TV shows) over the last twenty-five years. His symbolic cinematography tells the story better than the dialogue & performances do in select sequences. Sure the script isn’t all that taxing from a mechanical standpoint, yet there’s a decent amount of thought put into every shot.
The only real knock on this flick is the pacing at the end comes across a little too tidy. The delivery of the story was methodical and smooth; much like the attractive soundtrack. That said, the ending felt rushed, and in some cases, contradictory to how the characters were established. The second twist if you will, just seems like a pile-on effect and the story didn’t require it. This change of pace catches one off guard, yet the overall experience maintains enough moxie to get the message across.
This story is about the journey, not the destination. In movie review terms: the first two acts are engaging enough to maintain the viewer’s interest but the levels after the initial climax drop-off.
Overall, Redemption Road turns out to be a raw faith-based genre pic with a coming-of-age aesthetic. Religion gone semi-wild is a phrase that comes to mind after taking this in. Thankfully, the spiritual hooks are not laid on as thick as the lively soundtrack. For the most part, the gritty tale keeps the tonal beat it set out to, despite the closing number being a tad underwhelming and generic. Share
Overall Score: B+
Redemption Road
Director: Mario Van Peebles
Starring: Michael Clarke Duncan, Morgan Simpson, Tom Skerritt, Kiele Sanchez, Luke Perry, Taryn Manning
Redemption Road
Redemption Road, Kiele Sanchez
In Mario Van Peeble’s new film “Redemption Road”, two seemingly different men (Academy Award Nominee Michael Clarke Duncan, Morgan Simpson) embark on a music-steeped journey through the American South, learning along the way that life isn’t about where you end up – it’s how you get there that matters. Somewhere along the 900 miles between Austin, TX and Huntsville, AL the two men become unlikely friends. However, every road has an end. In Huntsville, sad truths come to light, with heartbreak and violence lingering in their wake, ultimately leaving both men changed forever. The music of “Redemption Road” is permeated with authenticity, from Country music – perfectly befitting the film’s Nashville locations – to the full scope of the Blues with a pinch of good old-fashioned Gospel to reflect the film’s deeper themes of faith. Share
Official Site:http://www.redemptionroadmovie.com
Director: Mario Van Peebles
Writer: Morgan Simpson, George Richards
Cast: Michael Clarke Duncan, Kiele Sanchez, Taryn Manning, Tom Skerritt, Luke Perry, Melvin Van Peebles
Distributor: Freestyle Releasing
Country: US
Synopsis: A Tennessee-set drama focused on an individual’s spiritual redemption.
San Francisco Black Film Festival, June 17-19th
50 Cent and Brian A. Miller wrote the screenplay and Randall Emmett produced the film. Also among the local, national and international films to be screened at the San Francisco Black Film Festival is “Black, White and Blues,” written by Morgan Simpson and George Richards and starring Michael Clarke Duncan, Kiele Sanchez, Taryn Manning, Tom Skerrit and Melvin Van Peebles and also directed by Mario Van Peebles.
“We are thrilled to have these great films in our line up,” said Kali Ray, co-director of the San Francisco Black Film Festival. “There are so many positive subtexts to ‘Things Fall Apart’ and ‘Black, White and Blues’ being in the festival with their themes of overcoming challenges and redemption all on Father’s Day Weekend as we have a father-son film industry connection with Mario Van Peebles and Melvin Van Peebles,” added Ray, who took over the reigns of the San Francisco Black Film Festival after the unexpected and untimely demise of his mother and founder Ave Montague, who was called the unofficial mayor of the Fillmore.
“We’re looking forward to having as many of our stars as possible at the San Francisco Black Film Festival walking the red carpet,” said Randall Emmett, producer of “Things Fall Apart.”
The film festival also highlights local filmmaker Kevin Epps on opening night with his documentary “Straight Outta Hunter’s Point 2,” a follow up to his 2002 groundbreaking acclaimed documentary, “Straight Outta Hunter’s Point.” Epps revisits the neighborhood for a look at the current state of the community and the myriad of social and economic issues.
Among other local filmmakers in the festival is San Francisco native Jacquie Taliaferro, who recently returned from the Cannes International Film Festival promoting his film, “10-10 Gotta Win,” edited by Trey Houston, that takes a look at the San Francisco District 10 Race for supervisor and how it parallels similar themes of access to power, economic stability and education in other communities across the nation.
“It’s an honor for me to work with a great group of volunteers on a project that opens the way for additional tourism in San Francisco as we continue to build the brand,” added Ray. “We extend a special thanks to Randall Emmett and Morgan Simpson – ‘Black, White and Blues’ screenplay writer and star – for giving the OK for ‘Things Fall Apart’ and ‘Black, White and Blues’ to be screened in the San Francisco Black Film Festival.”
“The Trajectory of the Black Family Through Film!” was a pre-festival film series held at the Jazz Heritage Center in the Fillmore, and the thrust of that theme continues through the San Francisco Black Film Festival as Bay Area families involved in the film industry will be honored including the Lange family: director-producer Michael, actor-director Ted and writer Jerri Lange. Michael recently launched a play in the Bay Area and the Lorraine Hansberry Theatre, with new Artistic Director Steven Anthony Jones and new General Manager Shirley Howard-Johnson. Ted has recently been honored and their mother has lately been involved in the promotion of Black female writers, writing an article for the Oakland Post among other activities. Jerri Lange, a pioneer broadcaster and veteran journalist, authored the book, “Jerri, A Black Woman’s Life in the Media.”
Shabaka Henley and wife Paulina Sahagun of Latino descent will be on hand with son Miles as their joint project, “90404 Changing,” directed and written by Michael Barnard, is screened. It depicts the relationships between Blacks and Latinos as Santa Monica, Calif., experiences redevelopment.
The festival has a video and essay contest: “My Dad is My Hero.” The public is asked to send in their two-minute or less video, or 500 words or less essay, to honor their father or the father figure in their life either living or in memoriam. All ages are welcome to participate. Entries should be sent in no later than June 10 to the San Francisco Film Festival, P.O. Box 15490, San Francisco, CA 94115 or emailed to info@sfbff.org, attn: “My Dad is My Hero.” The entries will be judged by a panel of community leaders and the fathers of the winning entries will be honored on Sunday, June 19th. (more…)
Macon Film Festival: February 17th – 21st, Black White and Blues
Macon Film Festival, Black White and Blues
Black, White and Blues centers around Jefferson Bailey, a talented blues musician had a difficult upbringing. He was abandoned by his mother at birth and lost his father in a tragic accident. Bailey meanders through life, working menial jobs in Austin, Texas. After one of his many drunken nights, a man approaches Bailey with some interesting news—his grandfather died and he is to receive an inheritance. Bailey must travel to Alabama to accept his property. Augy has been hired to find and connect Bailey with his rightful belongings. Bailey drives Augy out the door, telling him he’s got the wrong guy, seemingly disavowing the good news. The next day, an encounter with Boyd, a local troublemaker to whom he owes money, sends Bailey on the run and right into Augy’s truck. As Bailey and Augy travel through the deepest parts of the South–Texas, Louisiana, Mississippi, on to Alabama–the duo make good use of the rich musical history of the area, hitting every juke joint in sight, including the blues bar of Augy’s friend, Santa. Over the course of their trip, Bailey’s story unfolds, and we learn more about him, his family history and the blues music he has always felt connected to. Augy knows more about Bailey than he lets on and, with his help, Bailey manages to use the music he has in his soul to take control of his life and set off on a new path, one that puts his past to rest.
Black, White and Blues Co-Writer, Producer and star, Morgan Simpson, is confirmed as a Special Guest to the Macon Film Festival and will be on hand for Q&A after the screening.
Starring: Kiele Sanchez, Michael Clarke Duncan, Taryn Manning, Morgan Simpson, Luke Perry