Make a Contribution to Remove NSFW Ads

American Skin 1.15.2021 (Nate Parker) police are in trouble

tenor.gif
 
Maaaaannnnn.

It’s been in all our fantasies.

Something like this should’ve really happened already. Wish it did before a movie like this was made.

Bout to scare a bunch of white people. lol

If theaters open I’d be there to see it opening day.
 
I like how he stirs up the pot. He did this same thing on a more subliminal level with Birth of A Nation...equating armed rebellion against racists with a godly mandate-in the middle of the height of BLM. Going to churches and screening the film. That's why they tried to shut him down.
 
I'm very pleased to see Nate Parker still acting. :yes:
I have not forgotten how Hollywood purposely fucked him over at a time when he released a film easily as important as "Black Panther".
- At how many in Black Hollywood were silent or didn't support him.
- At how feminist and SJW's vilified him and tried so hard to "cancel" him a few years ago.
- At how some Black YouTube personalities called him out and made light of him for being in an interracial marriage.

Dude was truly the victim of a modern day, "Social lynching and castration" on social media.
I ain't never gonna forget any of that foul shit... :hmm:
 
Last edited:
'American Skin:' How Far Should a Marine Go to Seek Justice for His Dead Son?

Actor, writer and director Nate Parker stars as Marine Corps veteran Lincoln Jefferson in "American Skin." (Vertical Entertainment)
7 Dec 2020
Military.com | By James Barber
Actor/writer/director Nate Parker has a point he'd like to make in the most forceful and direct way possible in a film that anticipates the chaos of 2020.
"American Skin" looks like the sort of movie you'd want to see with a large crowd to see how the group reacts to the controversy it aims to provoke, but, alas, this one is coming to video on demand on January 15th. We've got a first look at the trailer.
MetLife is with you.MetLife Federal Vision offers access to more than 122,000 providers, with additional coverage for children under 18. Learn More.


Parker plays Lincoln Jefferson, whose character name should clue you in to the fact that the director is aiming for the least subtle messaging possible. Jefferson is a Marine who fought in Iraq and now he's back home in the States to raise a family.
He's pulled over by a pair of officers played by Beau Knapp ("Sand Castle," "Semper Fi") and Theo Rossi ("Sons of Anarchy"). Jefferson's son decides to film the traffic stop with his phone's camera and there's a tragic result.
Both officers are cleared of wrongdoing for the shooting and that proves to be too much for a Marine who's learned to follow the rules. Jefferson organizes his own trial to hold the cops responsible and leads what seems to be a live-streamed takeover of the local police precinct as he leads the mission.
Advertisement


None of this is subtle and it's not supposed to be. The Marine is Black and the cops are white. Did the police act exactly as they were trained to do or was there something more sinister going on? If they were following protocols, is there something wrong with the way they've been trained? Is a Marine who uses his training to stage this kind of protest betraying the values of the Corps?
All of the questions are loaded and Nate Parker, who previously made the controversial slavery film "The Birth of a Nation," intends to rile up the audience and then leave viewers to gauge their own reactions. We'll have to wait until the January release to find out where Lincoln Jefferson lands in the pantheon of movie Marines.
Keep Up With the Best in Military Entertainment
Whether you're looking for news and entertainment, thinking of joining the military or keeping up with military life and benefits, Military.com has you covered. Subscribe to the Military.com newsletter to have military news, updates and resources delivered straight to your inbox.


www.military.com

'American Skin:' How Far Should a Marine Go to Seek Justice for His Dead Son?

Nate Parker plays a Marine who served in Iraq. He's back home trying to have a normal life when tragedy strikes.
www.military.com www.military.com
 
Nate Parker’s ‘American Skin’ Sells To Vertical For North America, First Trailer Ahead Of Awards-Qualifying Release
By Andreas Wiseman
Andreas Wiseman
International Editor
@AndreasWisemanMore Stories By Andreas
VIEW ALL
December 8, 2020 10:03am
1COMMENTS
Services to share this page.
Vertical Entertainment has acquired North American rights to writer-director-actor Nate Parker’s drama American Skin, which debuted at the Venice Film Festival in 2019, winning the Sconfini Best Director award.
Nate Parker (The Birth Of A Nation), Omari Hardwick (Kick-Ass), Theo Rossi (Luke Cage), Beau Knapp (Seven Seconds) star in the film which has been championed by Spike Lee who is an exec producer.
The film charts how after witnessing his 14 year-old son’s murder by a white police officer who goes uncharged, Marine veteran Lincoln ‘Linc’ Jefferson takes matters into his own hands in a series of events he hopes will finally lead to justice for his son.



The film will be released next year in the U.S. on Martin Luther King Day and producers are aiming for awards season traction. Pete Jarowey and Josh Spector negotiated the deal for Vertical Entertainment with Mark Burg, Tarak Ben Ammar, and Emily Downs on behalf of the filmmakers.

Pic was independently financed by Burg and Ben Ammar’s Eagle Pictures, which is handling world sales. Lukas Behnken also produces. Executive producers is Zak Tanjeloff. Co-producer is R.D. Delgado.
Producer Ben Ammar told us: “When I was brought Nate’s script, I knew I had to be involved as this story would spark a discussion about the state of racism not only in the US, but the whole world. Just a few months after its premiere at the Venice Film Festival, the BLM movement occurred. As a society, we need to acknowledge the truth about systemic racism and tackle the fear that drives it. We’re thrilled to have our friends at Vertical Entertainment bring this film to audiences in the U.S. Nate Parker and his cast of talented actors will keep audiences on the edge of their seats while this story gets up close and very personal as it crescendos to its climax.”
Parker said: “In 2014, following the death of Michael Brown, I traveled to Ferguson, Missouri to stand against the overt domestic terrorism I saw spreading like a virus throughout our country. My hope was both to amplify calls for justice, while seeking a better understanding of the tensions between law enforcement and men and women of color. The most tragic moment of this trip arrived when I stood downtown between two infuriated groups of citizens. From one side came yells of ‘Justice for Mike Brown’ and on the other ‘Support Our Police’. It became even more clear to me, the disconnect in our collective understanding of citizenship, law enforcement, and our responsibility to preserve American Black lives. This trip and subsequent killings developed in me a fire that manifested itself into the makings of this film American Skin.”




np_amsk.jpg







Replay
Learn More



He continued: “As an American citizen, father, brother, son and artist, I felt compelled to use my platform as a filmmaker to respond to this crisis in a way that could not only promote social equity, but initiate a global culture shift that can result in the preservation of lives. If saving one life is the only thing this film achieves, it will have served its core purpose.”
Parker and Spike Lee took part in an extraordinary impromptu press conference at the Venice Film Festival in 2019 in which Parker addressed the “humbling journey” he has been on since 2016 when his directorial debut The Birth Of A Nation was derailed after news of rape allegations from his college days came to light. Parker stood trial in 1999 and was acquitted of the charges.
 
‘American Skin’ Review: Nate Parker’s Terrible Comeback Is Like a Cross Between Frank Capra and Tommy Wiseau

Nate Parker's new film — a clumsy found-footage political drama — is so bad that he deserves to be canceled on artistic grounds alone.
David Ehrlich
Sep 1, 2019 3:15 pm
@davidehrlich
“American Skin”
VIEW GALLERY
10PHOTOS
The debate over Nate Parker’s value as a person may never be conclusively decided (though it may seem otherwise in the court of public opinion), but the debate over Nate Parker’s value as a filmmaker has just been settled once and for all: He doesn’t have any. An unsolicited coda to a career that most of us assumed was already over, “American Skin” is an asinine and self-serving call to action that tries to hide its basic incompetence behind a veil of righteous fury.
That seems to be Parker’s only move. “The Birth of a Nation,” which became the most expensive Sundance acquisition of all time before the internet got wind of Parker’s involvement in a 1999 rape case, retold the story of Nat Turner’s slave rebellion as a full-throated rallying cry, effectively combining the political sophistication of “Braveheart” with the budget of an indie and the cinematic prowess of a student film. “American Skin” takes that formula a step further.



Here is another blistering film that channels the lucid and unimpeachable frustration of black Americans into a provocative story that openly challenges prevailing notions about the merits of violent resistance. Only this time, Parker’s messaging is even shallower, his budget is even smaller, and his movie — an absurd take on the found-footage genre that assumes the guise of a college thesis documentary — is literally presented as a student film. It’s the kind of head-smacking misfire that a more talented storyteller wouldn’t even know how to make. Regardless of his previous improprieties, Parker deserves to be canceled on artistic grounds alone.


The only thing that “American Skin” has going for it are good intentions. However labored and deafeningly loud Parker is about the pervasive harm of systemic racism, it’s not like no one out there needs to hear it. Quite the opposite. And yet, an unfathomably ham-fisted crash course on the problems of racial profiling — one told with all the subtlety of a “Sesame Street” segment, and none of the same grace; the violence of a direct-to-VOD Nicolas Cage thriller, and also none of the same grace — doesn’t feel like it’s going to move the needle. In fact, the inanity of the film’s premise only serves to diminish the pain and the urgency that Parker is trying to dramatize. If “American Skin” asks us to separate the art from the artist, then it must also invite us to separate the movie from its message.
Of course, separating the art from the artist is easier than it sounds in a movie where said artist appears in almost every frame. As with “The Birth of a Nation,” Nate Parker didn’t only write and direct “American Skin,” he stars in it too, playing an Iraq War vet named — wait for it — Lincoln Jefferson. Linc (as his friends call him) is a good man. He’s smart, he’s decent, and he proudly served a country that has never served him back. He’s also helpless and at the end of his rope after a grand jury declines to convict the police officer who shot and killed his 14-year-old son Kajani during a traffic stop in a white part of town.


“American Skin” opens with tense dash and body-cam footage from the night in question; it’s clear that Kajani isn’t a threat, but his insistence upon (legally) recording the officers with his phone sparks a tension that soon turns violence. It’s a fitting prologue for a movie that sees the mass dissemination of digital video — especially those directed by Nate Parker — as an invaluable tool in the fight against oppression.
That point is hammered home (again and again and again) when the action jumps forward to a year later, and a college student named Jordin (Shane Paul McGhie) shows up at Linc’s house with a film crew in tow. He’s making his college thesis about Linc’s ordeal, and everything we see in “American Skin” — from the film leader before the first shot to the slates that pop up throughout — is presented as a rough assembly cut of Jordin’s documentary. Why does Jordin have so much footage of himself sitting in the editing room and watching his own movie? It’s unclear. Even by the found footage genre’s low standards of logic, “American Skin” makes some very special choices.
Judging by Henry Jackman’s mournful and melodramatic horn score, it seems like this is shaping up to be an intimate rendering of a tragically familiar tale. The writing is streaked with the same kind of holy clumsiness that once made “7th Heaven” such a hit, but Parker radiates enough raw earnestness to make it work. Whatever his failings as a person, he’s always been an innately charismatic screen presence (go watch “Beyond the Lights”). That warmth, however, has its limits.
One flashback, captured by the camera on his son’s computer, finds Linc lecturing Kajani and his friend about the sad reality of what can happen when cops interact with black citizens. Kajani, who’s been raised with pride and integrity, doesn’t understand why he should act visibly submissive even when the police violate his rights. It’s a potentially affecting moment — a horrible conversation that millions of black Americans have to have with their kids — but Parker dilutes its power by turning the scene into a sermon.
There’s a reason why teenagers don’t respond to long-winded speeches, but Parker always lacks the patience for actual drama; he’d rather shout from a pulpit than incept an actual thought into anyone’s head. Kajani, meanwhile, becomes the first of many characters to get flattened into a two-dimensional construct; in a film where everyone is reduced to the most basic of archetypes (e.g. the crying mother, the dough-brained white cop, a motley crew of criminals whose hard exteriors hide great wisdom), Kajani is nothing more than the idea of a kid. Not in a million years could Parker name a single thing the character keeps in the “Hot Memes” folder he keeps on his desktop.



But “American Skin” doesn’t really go off the rails until a few minutes later, when Parker shifts into maximum overdrive and things go absolutely, unbelievably, is-this-really-happening? nuts. Jordin wants to make a movie? Okay, Linc will give him a movie. Without any warning to the 21-year-old documentarian, Linc and his war buddies strap themselves into kevlar vests, unpack a massive arsenal of machine guns, and storm the police station where Kajani’s killer has just been reinstated. The plan: Take everyone hostage, and force them — at gunpoint — to give Officer Mike Randall (Beau Knapp) the fair trial the American justice system wouldn’t. The inmates present will serve as jurors. If they vote not guilty, Linc will let Officer Randall go. If they vote to convict, well… Linc will get to even the score. “Whatever you do,” he says to Jordin and his crew, “don’t stop filming.”
From there, the rest of “American Skin” feels equal parts Frank Capra and Tommy Wiseau. The police officers in the precinct defend themselves with all the nuance of Fox News pundits (Parker plays all the hits, including crowd favorites like “I don’t see color!,” “rap is the real problem!” and “how can we possibly be racist if our chief is black!?”), while Parker dismantles their arguments at the top of his lungs. The cops can’t be thought of as straw men, because too many people actually believe these things, but the back-and-forth is so chintzy and didactic that you almost start to question if that’s really possible.
The whole movie is like a bad allegory that Parker forgot to make allegorical, as everyone is so handcuffed to their types that not even a hint of actual drama can take root. Parker and Knapp cry their eyes out, but “American Skin” exists in such a ridiculous vacuum that even its most salient points about political violence — especially as it exists at the intersection between individual humanity and institutional hatred — aren’t given the oxygen they need to reach whatever viewers need to hear them.
And while it’s convenient that much of the sloppy, overwrought filmmaking in “American Skin” can be excused by the found footage conceit (Jordin, by default, cannot be a better director than Parker), that isn’t much consolation while you’re watching it. It certainly doesn’t excuse the movie’s well-lit, low-angle obsession with Linc, who’s positioned as a symbol for centuries of pain and suffering, and shares Parker’s melodramatic flair for galaxy brain provocations. Even without his checkered past, Parker’s insistent self-focus would seem vain. It would still lead you to wonder why he didn’t just make an actual documentary about anti-black police brutality; it’s not as if there aren’t plenty of tragic stories to choose from. There just isn’t necessarily any room for Nate Parker in them.



The only justification comes at the end, when Parker reaffirms the idea that the world needs to hear Linc’s story. Looking directly into the camera lens, he insists that sometimes the message is so important that the messenger doesn’t matter; that people need to see this movie, regardless of who made it. Wouldn’t that be convenient. It’s true that a lot of people need to hear what “American Skin” has to say. But at the end of the day it doesn’t matter if Nate Parker is a bad person or just a bad filmmaker — the way he says things, nobody is ever going to listen
 
playahaitian said:
‘American Skin’ Review: Nate Parker’s Terrible Comeback Is Like a Cross Between Frank Capra and Tommy Wiseau

Nate Parker's new film — a clumsy found-footage political drama — is so bad that he deserves to be canceled on artistic grounds alone.
David Ehrlich
Sep 1, 2019 3:15 pm
@davidehrlich
“American Skin”
VIEW GALLERY
10PHOTOS
The debate over Nate Parker’s value as a person may never be conclusively decided (though it may seem otherwise in the court of public opinion), but the debate over Nate Parker’s value as a filmmaker has just been settled once and for all: He doesn’t have any. An unsolicited coda to a career that most of us assumed was already over, “American Skin” is an asinine and self-serving call to action that tries to hide its basic incompetence behind a veil of righteous fury.
That seems to be Parker’s only move. “The Birth of a Nation,” which became the most expensive Sundance acquisition of all time before the internet got wind of Parker’s involvement in a 1999 rape case, retold the story of Nat Turner’s slave rebellion as a full-throated rallying cry, effectively combining the political sophistication of “Braveheart” with the budget of an indie and the cinematic prowess of a student film. “American Skin” takes that formula a step further.



Here is another blistering film that channels the lucid and unimpeachable frustration of black Americans into a provocative story that openly challenges prevailing notions about the merits of violent resistance. Only this time, Parker’s messaging is even shallower, his budget is even smaller, and his movie — an absurd take on the found-footage genre that assumes the guise of a college thesis documentary — is literally presented as a student film. It’s the kind of head-smacking misfire that a more talented storyteller wouldn’t even know how to make. Regardless of his previous improprieties, Parker deserves to be canceled on artistic grounds alone.


The only thing that “American Skin” has going for it are good intentions. However labored and deafeningly loud Parker is about the pervasive harm of systemic racism, it’s not like no one out there needs to hear it. Quite the opposite. And yet, an unfathomably ham-fisted crash course on the problems of racial profiling — one told with all the subtlety of a “Sesame Street” segment, and none of the same grace; the violence of a direct-to-VOD Nicolas Cage thriller, and also none of the same grace — doesn’t feel like it’s going to move the needle. In fact, the inanity of the film’s premise only serves to diminish the pain and the urgency that Parker is trying to dramatize. If “American Skin” asks us to separate the art from the artist, then it must also invite us to separate the movie from its message.
Of course, separating the art from the artist is easier than it sounds in a movie where said artist appears in almost every frame. As with “The Birth of a Nation,” Nate Parker didn’t only write and direct “American Skin,” he stars in it too, playing an Iraq War vet named — wait for it — Lincoln Jefferson. Linc (as his friends call him) is a good man. He’s smart, he’s decent, and he proudly served a country that has never served him back. He’s also helpless and at the end of his rope after a grand jury declines to convict the police officer who shot and killed his 14-year-old son Kajani during a traffic stop in a white part of town.


“American Skin” opens with tense dash and body-cam footage from the night in question; it’s clear that Kajani isn’t a threat, but his insistence upon (legally) recording the officers with his phone sparks a tension that soon turns violence. It’s a fitting prologue for a movie that sees the mass dissemination of digital video — especially those directed by Nate Parker — as an invaluable tool in the fight against oppression.
That point is hammered home (again and again and again) when the action jumps forward to a year later, and a college student named Jordin (Shane Paul McGhie) shows up at Linc’s house with a film crew in tow. He’s making his college thesis about Linc’s ordeal, and everything we see in “American Skin” — from the film leader before the first shot to the slates that pop up throughout — is presented as a rough assembly cut of Jordin’s documentary. Why does Jordin have so much footage of himself sitting in the editing room and watching his own movie? It’s unclear. Even by the found footage genre’s low standards of logic, “American Skin” makes some very special choices.
Judging by Henry Jackman’s mournful and melodramatic horn score, it seems like this is shaping up to be an intimate rendering of a tragically familiar tale. The writing is streaked with the same kind of holy clumsiness that once made “7th Heaven” such a hit, but Parker radiates enough raw earnestness to make it work. Whatever his failings as a person, he’s always been an innately charismatic screen presence (go watch “Beyond the Lights”). That warmth, however, has its limits.
One flashback, captured by the camera on his son’s computer, finds Linc lecturing Kajani and his friend about the sad reality of what can happen when cops interact with black citizens. Kajani, who’s been raised with pride and integrity, doesn’t understand why he should act visibly submissive even when the police violate his rights. It’s a potentially affecting moment — a horrible conversation that millions of black Americans have to have with their kids — but Parker dilutes its power by turning the scene into a sermon.
There’s a reason why teenagers don’t respond to long-winded speeches, but Parker always lacks the patience for actual drama; he’d rather shout from a pulpit than incept an actual thought into anyone’s head. Kajani, meanwhile, becomes the first of many characters to get flattened into a two-dimensional construct; in a film where everyone is reduced to the most basic of archetypes (e.g. the crying mother, the dough-brained white cop, a motley crew of criminals whose hard exteriors hide great wisdom), Kajani is nothing more than the idea of a kid. Not in a million years could Parker name a single thing the character keeps in the “Hot Memes” folder he keeps on his desktop.



But “American Skin” doesn’t really go off the rails until a few minutes later, when Parker shifts into maximum overdrive and things go absolutely, unbelievably, is-this-really-happening? nuts. Jordin wants to make a movie? Okay, Linc will give him a movie. Without any warning to the 21-year-old documentarian, Linc and his war buddies strap themselves into kevlar vests, unpack a massive arsenal of machine guns, and storm the police station where Kajani’s killer has just been reinstated. The plan: Take everyone hostage, and force them — at gunpoint — to give Officer Mike Randall (Beau Knapp) the fair trial the American justice system wouldn’t. The inmates present will serve as jurors. If they vote not guilty, Linc will let Officer Randall go. If they vote to convict, well… Linc will get to even the score. “Whatever you do,” he says to Jordin and his crew, “don’t stop filming.”
From there, the rest of “American Skin” feels equal parts Frank Capra and Tommy Wiseau. The police officers in the precinct defend themselves with all the nuance of Fox News pundits (Parker plays all the hits, including crowd favorites like “I don’t see color!,” “rap is the real problem!” and “how can we possibly be racist if our chief is black!?”), while Parker dismantles their arguments at the top of his lungs. The cops can’t be thought of as straw men, because too many people actually believe these things, but the back-and-forth is so chintzy and didactic that you almost start to question if that’s really possible.
The whole movie is like a bad allegory that Parker forgot to make allegorical, as everyone is so handcuffed to their types that not even a hint of actual drama can take root. Parker and Knapp cry their eyes out, but “American Skin” exists in such a ridiculous vacuum that even its most salient points about political violence — especially as it exists at the intersection between individual humanity and institutional hatred — aren’t given the oxygen they need to reach whatever viewers need to hear them.
And while it’s convenient that much of the sloppy, overwrought filmmaking in “American Skin” can be excused by the found footage conceit (Jordin, by default, cannot be a better director than Parker), that isn’t much consolation while you’re watching it. It certainly doesn’t excuse the movie’s well-lit, low-angle obsession with Linc, who’s positioned as a symbol for centuries of pain and suffering, and shares Parker’s melodramatic flair for galaxy brain provocations. Even without his checkered past, Parker’s insistent self-focus would seem vain. It would still lead you to wonder why he didn’t just make an actual documentary about anti-black police brutality; it’s not as if there aren’t plenty of tragic stories to choose from. There just isn’t necessarily any room for Nate Parker in them.



The only justification comes at the end, when Parker reaffirms the idea that the world needs to hear Linc’s story. Looking directly into the camera lens, he insists that sometimes the message is so important that the messenger doesn’t matter; that people need to see this movie, regardless of who made it. Wouldn’t that be convenient. It’s true that a lot of people need to hear what “American Skin” has to say. But at the end of the day it doesn’t matter if Nate Parker is a bad person or just a bad filmmaker — the way he says things, nobody is ever going to listen
Click to expand...
giphy.gif
 

Make a Contribution to Remove NSFW Ads
You must log in or register to reply here.

Similar threads

Al Smith
RIP Dave Parker
Replies
27
Views
825
furlough
furlough
MASTERBAKER
Brazilian doctors are now using tilapia fish skin to treat severe burns,
Replies
7
Views
205
Cannibal
Cannibal
geechiedan
The Fuckboi Bunch got their wish.....New Army Shaving Policy Will Allow Soldiers with Skin Condition that Affects Mostly Black Men to Be Kicked Out!
Replies
19
Views
718
^SpiderMan^
^SpiderMan^
8
The ONE place you don't deal drugs...
Replies
10
Views
324
Ceenote
C
MASTERBAKER
American Black History · · Black food history:
Replies
10
Views
189
MASTERBAKER
MASTERBAKER
Back
Top