John Ridley, the man who took on the heavy task of adapting Solomon Northup’s memoir Twelve Years a Slave into the Oscar-winning script that mesmerized us all this past year, has taken on true-life once again with Jimi: All Is by My Side. Focusing on the early years of Jimi Hendrix’s career, the film starts with Jimi, starring André Benjamin (André 3000 of Outkast fame), the night he meets the woman who will kick-start his path to fame, Linda Keith, played with doll-like charm by Imogen Poots. Her faith in his abilities and his destiny as a star pushes the film forward. After a series of misses, she finally makes a match for Jimi in Chas Chandler (Andrew Buckley), former bassist for The Animals, who sees that same star power in him and insists he come to London and sign with him as manager. On his first night in London Jimi meets Kathy Etchingham (Heyley Atwell) after playing at The Scotch and the two immediately begin what would be a several year relationship. The film documents the steps in Jimi’s career leading up to the Monterey Pop Festival where Jimi the Myth became Jimi the Legend.

The film’s weaknesses have nothing to do with its cast, instead Ridley attempts to channel the times with some of his more artistic choices in editing. Dialogue is often cut off mid-sentence, the more famous characters are given silly freeze frames with their names written on-screen, wigs run rampant, and while it’s understood drug use was a huge part of the scene, the hazy way in which Ridley tries to convey the mood is sometimes just too distracting from what we really want to see and hear: Jimi playing music. But when André Benjamin is given free rein to be Jimi, and in the scenes where he plays guitar especially, boy does he impress. His spot-on imitation of Jimi’s slow and deliberate speech patterns, juxtaposed with the intense presence he had on stage, are a testament to just how well the actor did his research. Jimi Hendrix enthusiasts will have very little to complain about.

It may be the tiniest bit too self-aware and Ridley might have been fan-boying out a little in his attempt, but the performances shine through his stranger directorial decisions and the film effectively pays tribute to the groundbreaking titan Jimi Hendrix was while respecting the more intricate parts of his personal life. A well done biopic carried by an inspired cast that’s failings are entirely artistic but in no way disrespect the legend it depicts.

Originially published on June 13, 2014 during the Los Angeles Film Festival

The Best Adapted Screenplay category is the lesser exciting of the two screenplay categories because of the lack of competition within the group of nominees, as well as the lack of films to choose from this year in general. The clear frontrunner this year is John Ridley for 12 Years a Slave, a film about a free black man who got sold into slavery for twelve years of his life. This would be a deserved win for the film as it does stand out against the rest of the competition.

I believe the only film here that could potentially upset 12 Years a Slave is Steve Coogan and Jeff Pope for Philomena—which contains its own heart-wrenching story about a woman searching for her son. Richard Linklater’s Before Midnight may have wooed critics, but a nomination from the Academy is likely all the film will receive. The Wolf of Wall Street certainly portrays the wild (drug induced) ride of Jordan Belfort as a wealthy stockbroker who became a main target of the federal government. Though as exciting as it is to watch, the script benefited from the masterful hand of Martin Scorsese and his crew. The same can be said about Captain Phillips, the story is interesting but not necessarily exceptional.

Though it would be a complete long shot for several reasons, including the fact that it is a foreign language film that is rated NC-17, Blue is the Warmest Color deserved to be nominated for its comic book adaption about a woman’s self-discovery and passionate love for another woman. Blue is the Warmest Color is an admittedly simple story, but one that captures all the raw emotions and intimacy that surrounds a loving relationship. Not to mention that it was the best film of 2013.

Category Predictions

Best Adapted Screenplay Nominees

Richard Linklater, Julie Delpy, Ethan Hawke – Before Midnight (review)

Billy Ray – Captain Phillips (review)

Steve Coogan and Jeff Pope – Philomena (review)

John Ridley – 12 Years a Slave (review)

Terence Winter – The Wolf of Wall Street

Previous Category Analysis

Best Shorts
Best Supporting Actress
Best Supporting Actor
Best Original Screenplay

With the 50^th anniversary of the Civil Rights Movement’s march on Washington having just passed, and with the historically deplorable Columbus Day holiday upcoming, we can’t be reminded enough of the history of humanity’s tyranny over one another. Sobering and immensely difficult to watch, British director Steve McQueen’s 12 Years a Slave, is to date the most unyielding film depiction of slavery in America ever released. With raw and heart wrenching performances from it’s cast, and a brutally honest artistic perspective from it’s director, this film deserves serious attention and veneration.

Based on the book published in 1853, 12 Years a Slave is the true story of Solomon Northup, a free African-American living in New York in 1841, who was torn from his life of freedom to that of slavery. Once a man of distinction and known for his musical talents, Northup is duped into taking a job with two men who drug him and sell him into slavery. Given the new identity of “Platt Hamilton” and forced to recognize himself as a runaway slave from Georgia, he was sold to and owned by several plantation owners in the Louisiana bayous. Unsure of whether he would ever see his wife and children back in New York, Northup is faced with the greatest obstacle any man can face: the revocation of his humanity and freedom.

Just as a slave in those days had no respite from the daily injustices they were subjected to, the film offers very little rest from the non-stop emotional and physical devastation of slavery. Indeed, in the way that Northup is thrown into and introduced to the severity of what it was to be a slave, so are we the audience forced into an uncomfortable understanding of what it would be to have all ones privileges and family stripped from them. Northup’s position as a free man is identifiable to us, and therefore his harrowing journey is all the more provoking. Through every hanging, every lashing, each panic-inducing escape attempt, McQueen uses the camera to show more than we’ve ever seen before and for longer than we’ve ever seen it. But aside from the physical barbarity we’re forced to witness, it’s the assassination of the soul that is hardest to watch.

Chiwetel Ejiofor (Children of Men) IS Solomon Northup. Each wide-eyed look of disbelief when Northup encounters new injustices, and his eloquent speaking patterns, as a man both educated and wise, shows a complete immersion into the role. Michael Fassbender (an actor I often find myself not recognizing immediately in films because he seems so utterly different in every role he plays) epitomizes the very worst of men to emerge from white dominance in the slave-fueled South. As Solomon/Platt’s master, Edwin Epps oversees his slaves with a sort of controlled insanity that can only come from the drunkenness of entitled power. Benedict Cumberbatch, Paul Giamatti, Paul Dano, and Brad Pitt also give pivotal and fantastic performances. Though, side note, it’s honestly unsettling how well Paul Dano seems to be at playing despicable people. The face to watch from 12 Years a Slave, however, is that of Lupita Nyong’o. This newcomer plays fellow slave Patsey, a woman subjected to the living hell of being the Master’s favorite. Arguably having the hardest content of the entire film to perform, she is mesmerizing and her performance is truly affecting.

McQueen has made two other feature films, Shame (2011) and Hunger (2008), each about difficult topics. He’s made it clear he isn’t afraid to challenge his viewers with disturbing content, but with this film he’s found the best outlet for his talent. He shows a masterful control of the subject matter, never letting it overwhelm the artistic focus of the film, and pairing every heightened moment with well-designed sound editing and an unsettling musical score.

While Tarantino’s vengefully satisfying Django Unchained showed far more blood, gore, and savagery than 12 Years a Slave does, it’s ridiculousness made it laughable and thus far easier to take. McQueen’s film is not easy to take, and this is what makes it an absolute must-see; in fact even elicits a feeling of significance while viewing it. This film, and others like it, will always be necessary. Serving as a reminder of all we have, and all that can be denied from us. The moment we stop thinking about the past, at it’s most truthful, may be the moment we lapse into old ways of thinking. 12 Years a Slave has set the bar in honest historical filmmaking, as well as just how emotionally connecting a film can be.

12 Years a Slave trailer:

Steven McQueen’s highly anticipated 12 Years A Slave is a follow up to his mesmerizing sex addiction film Shame, which also features Michael Fassbender, and the first trailer for the film has just been released. The most notable part of the trailer seems to be the stunning performances from the cast, some of which include; Chiwetel Ejiofor, Paul Dano, Paul Giamatti, Quvenzhane Wallis, and Brad Pitt. 12 Years A Slave will be out on October 18th, the perfect time for Oscar potential.

Watch the official trailer for 12 Years A Slave: