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‘Spider-Man: Across the Spider-Verse’ Review

by Dwight Brown film critic for DwightBrownInk.com and NNPA News Wire (***1/2) Buckle up, Spider-Man fans. What feels like a barrage of one billion cartoon images is coming your way. Digital effects so massive and rapid-fire, your eyeballs will scream for mercy. The Oscar®-winning 2018 Spider-Man Into the Spider-Verse is a distant 2018 memory. Back […]
The post ‘Spider-Man: Across the Spider-Verse’ Review first appeared on BlackPressUSA.

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by Dwight Brown film critic for DwightBrownInk.com and NNPA News Wire

(***1/2)

Buckle up, Spider-Man fans. What feels like a barrage of one billion cartoon images is coming your way. Digital effects so massive and rapid-fire, your eyeballs will scream for mercy.

The Oscar®-winning 2018 Spider-Man Into the Spider-Verse is a distant 2018 memory. Back then bug-bit, highschooler Miles-Morales (Shameik Moore) lived with his Puerto Rican mom Rio (Luna Lauren Velez) and African American, police officer dad Jefferson Davis (Bryan Tyree Henry) in Brooklyn.

He’d been mentored by OG Spider-Man Peter J. Parker (Jake Johnson) and befriended and smitten by Gwen Stacey (Hailee Steinfeld)—aka Spider-Woman. Miles and other folks banded together to fight what was evil. It was a challenging feat made easy to discern by Phil Lord and Rodney Rothman’s screenplay and expertly directed by Bob Persichetti, Peter Ramsey and Rodney Rothman.

That filmmaking team has turned over the reins to directors Joaquim Dos Santos, Kemp Powers and Justin K. Thompson. Phil Lord’s co-writing team now includes Christopher Miller and Dave Callaham. The difference is night and day. The ultra-contemporary dialogue sounds like kids on the street expounding on life, parents who don’t understand them and the ambivalent feelings they have for others. Multiple extraneous characters are piled on to the point of oversaturation, but are easy to tell apart, nonetheless. The plotline splinters in a various directions. Some fascinating. Some not. Still, what’s on view is astounding to see 99% of the time.

The Spot (Jason Schwartzman) is a villain who blames Miles for his deformed existence. The white ghost of a figure, with black spots on his body, seethes: “I’m going to take everything from you like you took everything from me!” Spider-Man’s clear assignment is to stop him. The waters ahead are muddied by a band of Spider-People from the Spider-Society. They’re led by Miguel O’Hara (Oscar Isaac), who wants to implement a different approach to saving the Multiverse. They clash. They clash big time. And nothing will thwart a mission like a bunch of narcissistic super-heroes disagreeing. Miles: “Everyone keeps telling me how my story is supposed to go. Nah. Imma do my own thing!”

The visuals kick ass. Quick, kinetic illustrations thrown at the screen like a series of colorful, pop art paintings. Special attention to shapes, shades, textures, layers and angles. An uncanny mixture of old-school drawings and futuristic animation. The action sequences thrill, too. Folks dangling from webs, gliding through the air. Fist fights, annihilations. More people, more superheroes. Jumbo-size, comic book words plastered on the footage. It’s a lot to absorb. Stunning to look at in the most ingenious ways. An assault on the senses. A good one. Makes you want to ask the film’s creators how many psychedelics or magic mushrooms they took before they dreamed up this fable. And if drugs weren’t involved, they all need psychiatric help!

Minus a few expository moments, it’s like an eclectic, staccato MTV video is blasted at you for 2h 20m (editor Mike Andrews). Or, like you just took a punch and are still seeing stars. The colors (art directors Dean Gordon and Araiz Khalid), costumes (Brooklyn El-Omar) and sets (Patrick O’Keefe) are stunning. The non-stop visual, digital, audio and animated effects are completely arresting. When Daniel Pemberton’s blaring musical score (driving bass and soaring strings) isn’t revving up emotions and energy, the most upbeat, neo-soul, funk, rock playlist is streamed, like it was culled from Spotify’s top ten: “Sunflower,” by Post Malone; “This is My Time,” by Lecrae; Familia,” by Nicki Minaj.

When the script isn’t selling bombastic, self-indulgent, big-picture visuals, it finds time to explore deep-seeded feelings. Heartfelt emotions between a teen boy and his worried parents. Between an angst-riddled adolescent girl and her struggling-to-understand single father (Shea Whigham). These moments are precious. Calming oases amid a stormy onslaught that’s as invigorating as it is exhausting. For the first 40 minutes of setup, the hurricane of hallucinations and fantasies are entertaining. But as the film rattles on, the younger moviegoers may stay more attentive than adults, who may become weary.

The entire cast conveys more drama with voices, tones and inflection than in-the-flesh actors could ever do in a live-action treatment. The new additions of Issa Rae, Daniel Kaluuya, Karan Soni, Jorma Taccone and Amanda Stenberg bring more life to the party.

It might be hyperbole to say that this state-of-the art animation is about as genius as it gets for the genre. But for kids, teens and twentysomethings, raised on MTV, comic books and TikTok, that isn’t an overstatement. It’s their truth. This is their holy grail. Their generation’s take on what a superhero parable should be. Zillions of images hurled at their eyeballs until they’re dizzy and in ecstasy.

In theaters June 2nd.
Trailer: https://www.youtube.com/watch?v=shW9i6k8cB0
Visit NNPA News Wire Film Critic Dwight Brown at DwightBrownInk.com.

The post ‘Spider-Man: Across the Spider-Verse’ Review appeared first on Chicago Defender.

The post ‘Spider-Man: Across the Spider-Verse’ Review first appeared on BlackPressUSA.

Chicago Defender Staff

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Black Feminist Movement Mobilizes in Response to National Threats

BLACKPRESSUSA NEWSWIRE — More than 500 Black feminists will convene in New Orleans from June 5 through 7 for what organizers are calling the largest Black feminist gathering in the United States.

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By Stacy M. Brown
Black Press USA Senior National Correspondent

More than 500 Black feminists will convene in New Orleans from June 5 through 7 for what organizers are calling the largest Black feminist gathering in the United States. The event, led by the organization Black Feminist Future, is headlined by activist and scholar Angela Y. Davis. Paris Hatcher, executive director of Black Feminist Future, joined Black Press USA’s Let It Be Known to outline the mission and urgency behind the gathering, titled “Get Free.” “This is not just a conference to dress up and have a good time,” Hatcher said. “We’re building power to address the conditions that are putting our lives at risk—whether that’s policing, reproductive injustice, or economic inequality.” Hatcher pointed to issues such as rising evictions among Black families, the rollback of bodily autonomy laws, and the high cost of living as key drivers of the event’s agenda. “Our communities are facing premature death,” she said.

Workshops and plenaries will focus on direct action, policy advocacy, and practical organizing skills. Attendees will participate in training sessions that include how to resist evictions, organize around immigration enforcement, and disrupt systemic policies contributing to poverty and incarceration. “This is about fighting back,” Hatcher said. “We’re not conceding anything.” Hatcher addressed the persistent misconceptions about Black feminism, including the idea that it is a movement against men or families. “Black feminism is not a rejection of men,” she said. “It’s a rejection of patriarchy. Black men must be part of this struggle because patriarchy harms them too.” She also responded to claims that organizing around Black women’s issues weakens broader coalitions. “We don’t live single-issue lives,” Hatcher said. “Our blueprint is one that lifts all Black people.”

The conference will not be streamed virtually, but recaps and updates will be posted daily on Black Feminist Future’s YouTube channel and Instagram account. The event includes performances by Tank and the Bangas and honors longtime activists including Billy Avery, Erica Huggins, and Alexis Pauline Gumbs. When asked how Black feminism helps families, Hatcher said the real threat to family stability is systemic oppression. “If we want to talk about strong Black families, we have to talk about mass incarceration, the income gap, and the systems that tear our families apart,” Hatcher said. “Black feminism gives us the tools to build and sustain healthy families—not just survive but thrive.”

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Hoover’s Commutation Divides Chicago as State Sentence Remains

BLACKPRESSUSA NEWSWIRE — Hoover was convicted of murder and running a criminal enterprise. Although some supporters describe him as a political prisoner, the legal and public safety concerns associated with his name remain substantial.

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By Stacy M. Brown
Black Press USA Senior National Correspondent

The federal sentence for Gangster Disciples founder Larry Hoover has been commuted, but he remains incarcerated under a 200-year state sentence in Illinois. The decision by Donald Trump to reduce Hoover’s federal time has reignited longstanding debates over his legacy and whether rehabilitation or continued punishment is warranted. The commutation drew immediate public attention after music executive Jay Prince and artist Chance the Rapper publicly praised Trump’s decision. “I’m glad that Larry Hoover is home,” said Chance the Rapper. “He was a political prisoner set up by the federal government. He created Chicago Votes, mobilized our people, and was targeted for that.”

But Hoover, the founder of the Gangster Disciples, is not home—not yet. Now in federal custody at the Florence Supermax in Colorado, Hoover was convicted of murder and running a criminal enterprise. Although some supporters describe him as a political prisoner, the legal and public safety concerns associated with his name remain substantial. “There is a divide in the Black community here,” said Chicago journalist Jason Palmer during an appearance on the Let It Be Known morning program. “Some view Hoover as someone who brought structure and leadership. Others remember the violence that came with his organization.” Palmer explained that while Hoover’s gang originally formed for protection, it grew into a criminal network responsible for extensive harm in Chicago. He also noted that Hoover continued to run his organization from state prison using coded messages passed through visitors, prompting his transfer to federal custody.

Illinois Gov. J.B. Pritzker, who is widely considered a potential 2028 presidential contender, has not issued a statement. Palmer suggested that silence is strategic. “Releasing Hoover would create enormous political consequences,” Palmer said. “The governor’s in a difficult spot—he either resists pressure from supporters or risks national backlash if he acts.” According to Palmer, Hoover’s federal commutation does not make him a free man. “The federal sentence may be commuted, but he still has a 200-year state sentence,” he said. “And Illinois officials have already made it clear they don’t want to house him in state facilities again. They prefer he remains in federal custody, just somewhere outside of Colorado.”

Palmer also raised concerns about what Hoover’s case could signal for others. “When R. Kelly was convicted federally, state prosecutors in Illinois and Minnesota dropped their charges. If a president can commute federal sentences based on public pressure or celebrity support, others like R. Kelly or Sean Combs could be next,” Palmer said. “Meanwhile, there are thousands of incarcerated people without fame or access to public platforms who will never get that consideration.” “There are people who are not here today because of the violence connected to these organizations,” Palmer said. “That has to be part of this conversation.”

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WATCH: Five Years After George Floyd: Full Panel Discussion | Tracey’s Keepin’ It Real | Live Podcast Event

Join us as we return to the city where it happened and speak with a voice from the heart of the community – Tracey Williams-Dillard, CEO/Publisher of the Minnesota Spokesman-Recorder.

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https://youtube.com/watch?v=OsNLWTz6jU0&feature=oembed

May 25, 2020. The world stopped and watched as a life was taken.

But what has happened since?

Join us as we return to the city where it happened and speak with a voice from the heart of the community – Tracey Williams-Dillard, CEO/Publisher of the Minnesota Spokesman-Recorder.

She shares reflections, insights, and the story of a community forever changed. What has a year truly meant, and where do we go from here?

This is more than just a date; it’s a moment in history. See what one leader in the Black press has to say about it.

Recorded live at UROC in Minneapolis, this powerful discussion features:

Panelists:

  • Medaria Arradondo – Former Minneapolis Police Chief
  • Nekima Levy Armstrong – Civil Rights Activist & Attorney
  • Dr. Yohuru Williams – Racial Justice Initiative,
  • UST Mary Moriarty – Hennepin County Attorney
  • Fireside Chat with Andre Locke – Father of Amir Locke

Special Guests:

  • Kennedy Pounds – Spoken Word Artist
  • Known MPLS – Youth Choir bringing purpose through song

This podcast episode looks at the past five years through the lens of grief, truth, and hope—and challenges us all to do more.

🔔 Subscribe to Tracey’s Keepin’ It Real wherever you get your podcasts or follow ‪@mnspokesmanrecorder‬ for more.

🔗 Visit https://spokesman-recorder.com for more coverage and stories from Minnesota’s trusted Black news source.

#GeorgeFloyd #BlackPress #SpokesmanRecorder #Minneapolis #BlackHistory

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