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American Skin 1.15.2021 (Nate Parker) police are in trouble

playahaitian said:
so this has been out since 2019

and the reviews so far have been AWFUL

en.wikipedia.org

American Skin (film) - Wikipedia

en.wikipedia.org en.wikipedia.org

www.imdb.com

American Skin (2019) ⭐ 7.0 | Drama, Thriller

1h 30m | R
www.imdb.com www.imdb.com

www.rottentomatoes.com

American Skin | Rotten Tomatoes

Discover reviews, ratings, and trailers for American Skin on Rotten Tomatoes. Stay updated with critic and audience scores today!
www.rottentomatoes.com www.rottentomatoes.com

bu sorry I can't trust no critic with this one here.
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One thing I noticed is that all these bad reviews are coming from white people. Go figure....
 
respiration said:
Streaming most likely. I‘d pay to see this.
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I would too.

Just off gp.

I want it to be GOOD though

Not just because of the visual based off the subject matter

We NEED THIS TO BE GOOD.

I don't trust the negative reviews...

Especially when its reported this movie received a 7 min standing ovation at festivals

From the trailer and interviews? It seems like its not going to be "realistic" which is fine. Maybe even more of a stage play vibe, again that's fine. Just tell your story the best way possible.

Just be good.
 
Flawless said:
Police will say this is an attack on them risking their lives for us :rolleyes:
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hit-dogs-holler.jpg
 
playahaitian said:
I would too.

Just off gp.

I want it to be GOOD though

Not just because of the visual based off the subject matter

We NEED THIS TO BE GOOD.

I don't trust the negative reviews...

Especially when its reported this movie received a 7 min standing ovation at festivals

From the trailer and interviews? It seems like its not going to be "realistic" which is fine. Maybe even more of a stage play vibe, again that's fine. Just tell your story the best way possible.

Just be good.
Click to expand...
I hear that.

In Trump’s America in particular, I’m not trusting what the whiteys think about it.

Those standing ovations are telling.

I remember back when Spike and John Singleton were doing their first movies.

We would go to support Black filmmakers with our presence and our dollars.

Considering what Nate’s been through to make these revolutionary films, I’m down for the cause.
 
respiration said:
I hear that.

In Trump’s America in particular, I’m not trusting what the whiteys think about it.

Those standing ovations are telling.

I remember back when Spike and John Singleton were doing their first movies.

We would go to support Black filmmakers with our presence and our dollars.

Considering what Nate’s been through to make these revolutionary films, I’m down for the cause.
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You to respect brothers like this and spike. Because what they are choosing to do is be creative and put out content for US, not what white people think. That's what need as a society in every aspect of life in order to go where we need to go. Whatever is best for us, period, and fuck what anybody has to say about it and keep pushing.
 
keone said:
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There is only ONE black produced, directed and cast movie that scared/concerned the white power structure so much, that they effectively so it black balled, and kept it from being widely distributed and viewed in America. Many here surely know, and others (find it and watch it) may never have heard of it. "The Spook Who Sate By The Door". It wasn't a big budget film, didn't have a big well known cast, and never had a wide release. But it WAS so disturbing to the powers that be (J. Edgar Hoover) that they did everything they could to keep it from being shown. The content of this movie will definitely determine how it is distributed/shown. How the WHITE characters are dealt with, and how it is images of said scenes are viewed will be the most important factor.
 
clitsational said:
but he HAD to die so the cac maybe might could learn a lesson

:cool:​
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Yea thats that typical hollywoood logic... its so played out,

its why I dont even watch movies like I used to..

they cant even show a happy moorish american family,

its always mixed or some faggy shit.. mostly sisters with white dudes

and I dont have a problem with that... Im just saying

dont shove it down a kniggas throat..

because some of us KNOW who we are, and LOVE who we are..

mind fuckery DONT WORK on real kniggas aka DA REAL NAGAS
 
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
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Time to stroll through his Twitter and make him uncomfortable
 
abc7.com

Nate Parker's new movie 'American Skin' explores race, family, policing

"American Skin" tells the story of a Black teenager shot to death by a white LAPD officer during a traffic stop in an affluent neighborhood.
abc7.com abc7.com

New movie 'American Skin' gives us something to talk about, explores race, family, policing
'American Skin' tells the story of a Black teenager shot to death by a white LAPD officer during a traffic stop in an affluent neighborhood.

By George Pennacchio
Updated 3 hours ago
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'We're having a conversation about the world:' Ensemble cast tackles hard topics of racism and policing in new movie 'American Skin.'

HOLLYWOOD -- There is a new movie heading to on demand involving a young Black man killed by a white police officer. It was filmed almost two years ago- before the deaths of George Floyd and others that culminated in the creation of the Black Lives Matter movement.

Nate Parker directs and stars, and he had no trouble assembling his cast.

"We knew we needed to be a part of it," said Omari Hardwick. "And it's so ironic because we did it so long ago."

"We were in 2019 and we were still making a film about something that, in 2021, is still quite relevant," said Sierra Capri.

"So all of these issues are just making this movie even stronger, showing us the differences in race, in police vs. people, people vs. people. It's bringing up a lot of topics that we have to examine and how can we make things different? How can we make it better?" said Vanessa Bell Calloway.

"We want to change the world through our work, you know, and we were all there for a common goal: To save lives and create this dialogue," said Shane Paul McGhie.

In the film, Parker's character kidnaps the Chief of Police and then storms into the police station-firing shots along the way, determined to get answers for the death of his son.

"He painted this beautiful Basquiat, if you will," said Hardwick. "And everybody's going to look at a Basquiat differently."

"This blurs the line. We're having a conversation about art but technically, we're having a conversation about the world, surely having a conversation about the United States," said Theo Rossi.

"American Skin" is available on demand beginning Friday.
 
‘American Skin’ Review: Out for Justice
In Nate Parker’s film, a father takes matters into his own hands to hold a police officer to account for shooting down his son.





Nate Parker, right, with Milauna Jackson in “American Skin.”Credit...Vertical Entertainment
By Nicolas Rapold
  • Jan. 14, 2021, 7:00 a.m. ET
American SkinDirected by Nate ParkerDramaR1h 29m
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Nate Parker’s “American Skin” opens with a traffic stop, captured on body cams. The driver, Lincoln (played by Parker), watches helplessly as his teenage son, Kijani (Tony Espinosa), is shot down by a police officer. The incident plants the seed for what becomes a kind of vigilante courtroom drama.
A year after the shooting, a student filmmaker, Jordin (Shane Paul McGhie), undertakes a documentary about Lincoln and his loss. He interviews Lincoln and chronicles the aftermath when Kijani’s killer goes free. Then Lincoln, a soft-spoken Marine veteran, takes Jordin and his small crew on a car ride that unexpectedly turns into a mission to kidnap a police captain.

Lincoln goes on to take an entire police station hostage at gunpoint, with help from friends, all filmed by Jordin’s team. He launches an ad hoc trial of the freed cop, Randall (Beau Knapp), appointing jurors from the jail’s orange-suited prisoners and others who happen to be present. The stage is set for the airing of grievances, prejudices and outrage. (The improvised court setting may feel fraught for another reason: Parker’s 2016 debut feature as director, “The Birth of a Nation,” foundered after new controversy surrounding rape charges he faced and was acquitted of in 2001.)
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The screenplay’s ample chances for grandstanding don’t serve any actor well for long. The button-pushing dialogue during the trial sounds like agree-or-disagree statements from a poll of racial attitudes. Instead of lending immediacy, the padded-out documentary conceit only spotlights the stiltedness, and Parker falls short of building credible drama out of urgent issues.

www.nytimes.com

‘American Skin’ Review: Out for Justice (Published 2021)

In Nate Parker’s film, a father takes matters into his own hands to hold a police officer to account for shooting down his son.
www.nytimes.com www.nytimes.com
 
American Skin' explores race, policing and loss through a provocative lens
Review by Brian Lowry, CNN

Updated 2:09 PM ET, Thu January 14, 2021

Milauna Jackson and Nate Parker in 'American Skin.'
(CNN)"American Skin" touches on raw nerves in the midst of a chaotic historical moment, which is ultimately the whole point. Following his 2016 feature debut "The Birth of a Nation," writer-director-star Nate Parker seeks to bore into the issues surrounding policing and Black America, through a provocative but flawed dramatic vehicle that strains against its confining central device.
That device involves presenting the movie through the lens of a student filmmaker, Jordin (Shane Paul McGhie), who is following up on the police killing of a 14-year-old African-American boy during a traffic stop a year earlier. Jordin has come to interview the boy's father, Lincoln Jefferson (Parker), a Marine veteran grieving his son's loss.
Linc decides to take matters into his own hands and seek justice, with the camera crew there to document what transpires. A hostage situation ensues, trying to force the police to confront what happened.
Parker fleshes out the you-are-there approach with things like dash-cam video of the original encounter and surveillance footage, but it's clearly a challenge to construct the drama around this format. On the plus side, the verité style contributes to the sense of realism the film wants to convey, tapping into the audience's awareness of too many real-life videos depicting similar tragedies.
The main problems reside in Parker's script, which saddles certain characters -- most notably the police officers involved -- with stilted, heavy-handed dialogue. Given its structure the film wisely runs a brisk 90 minutes, but a byproduct of that is crunching complex issues to fit in that package.
"American Skin" fares better in capturing Lincoln's pain, having lost his son despite all his warnings and admonitions reflecting the fears that Black parents harbor. When someone seeks to express sympathy by noting that they have children, Lincoln replies quietly, "Are they breathing?"
The cast includes Omari Hardwick ("Power") as a fellow veteran, Beau Knapp as the cop who pulled the trigger and Theo Rossi ("Sons of Anarchy") as a fellow officer. The primary emotional journey, meanwhile, involves Jordin, who goes from passive observer to grappling with his own feelings about what happened and whether violence is ever the answer.
In some respects "American Skin" plays like a more urgent modern-day companion to "Birth of a Nation," which chronicled Nat Turner's 1831 slave rebellion. Among recent movies it also recalls "American Son," a Netflix adaptation of the stage play about a Black mother in a police station waiting for an update about her child.
"American Skin" has waited a long time to see the light of day, having premiered at the Venice Film Festival in 2019. The delay has not made the movie any less timely -- while adding distance to a personal controversy involving Parker that drew attention when "Birth of a Nation" was released.
Presented by Spike Lee, the film doesn't sugarcoat its message about systemic injustice, or the anger and desperation that fuels. Parker's stated goal in the production notes is to "challenge systems of oppression by promoting a much-needed dialogue between law enforcement and community members of color."
Trying to spur such conversations can be a messy way to make a movie, and it's not easy unwinding the film's ambition from its merits. "American Skin" is worth seeing, for the issues Parker seeks to address, even if it only partially works in leaving a mark.

www.cnn.com

'American Skin' explores race, policing and loss through a provocative lens | CNN

"American Skin" touches on raw nerves in the midst of a chaotic historical moment, which is ultimately the whole point. Following his 2016 feature debut "The Birth of a Nation," writer-director-star Nate Parker seeks to bore into the issues surrounding policing and Black America, through a...
www.cnn.com www.cnn.com
 

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