The inaugural Children’s & Family Emmys got underway at the Wilshire Ebell Theatre in Los Angeles for a two-night gala to award the best in kid-friendly programming. JoJo Siwa hosted the Creative Arts ceremony on Night 1 and Jack McBrayer took over hosting duties on Night 2 with the rest of the categories.
On Night 1, it was Maya and the Three, Sneakerella and The Quest that took the most accolades with three trophies each.
Some of the first night’s highlights included a special performance by Xomg Pop!, the all-girl group created by Jess and Siwa. There was also an appearance from Martin P. Robinson, the legendary puppeteer who has been with Sesame Street since 1980, providing voices and puppeteering for Mr. Snuffleupagus, Telly Monster, Slimey the Worm, Martians and more. He also built, designed and performed the Audrey II puppets for Little Shop of Horrors.
Night 2 of the...
On Night 1, it was Maya and the Three, Sneakerella and The Quest that took the most accolades with three trophies each.
Some of the first night’s highlights included a special performance by Xomg Pop!, the all-girl group created by Jess and Siwa. There was also an appearance from Martin P. Robinson, the legendary puppeteer who has been with Sesame Street since 1980, providing voices and puppeteering for Mr. Snuffleupagus, Telly Monster, Slimey the Worm, Martians and more. He also built, designed and performed the Audrey II puppets for Little Shop of Horrors.
Night 2 of the...
- 12/12/2022
- by Armando Tinoco
- Deadline Film + TV
It traveled on a screening series "Heritage Tour" last year, starting with a premiere held at the Woodruff Arts Center in Atlanta, Ga, in January, which was reportedly attended by the likes of Tyler Perry, and Soledad O'Brien. The film, titled Kunta Kinteh Island: Coming Home Without Shackles, is directed by Elvin Ross, making his debut as writer and director. Made to honor and celebrate Kunta Kinteh, a character from the novel Roots: The Saga of an American Family by Alex Haley, which would also be adapted for the small screen, the Kunta Kinteh Island: Coming Home Without Shackles story reads: More than 6 million people lost their lives…. for 300 years. One man’s story has become legend....
- 3/19/2014
- by Tambay A. Obenson
- ShadowAndAct
The premiere screening of a feature documentary I'm only just learning about, was held at the Woodruff Arts Center in Atlanta, Ga, in January, and was attended by the likes of Tyler Perry, and Soledad O'Brien. The film, titled Kunta Kinteh Island: Coming Home Without Shackles, is directed by Elvin Ross, making his debut as writer and director. Made to honor and celebrate Kunta Kinteh, a character from the novel Roots: The Saga of an American Family by Alex Haley, which would also be adapted for the small screen, the Kunta Kinteh Island: Coming Home Without Shackles story reads: More than 6 million people lost their lives…. for 300 years. One man’s story has become legend. Elvin Ross...
- 3/5/2013
- by Tambay A. Obenson
- ShadowAndAct
"Diary of a Mad Black Woman" is a strange hybrid, part romance-novel melodrama and part broad sketch comedy. Even more strange is that, in an awkward split-personality way, it works some of the time. Cutting through the schmaltz of the wronged-woman scenario are glorious third-act gospel contributions and the comic shenanigans of scripter-producer-actor-composer Tyler Perry. Despite its over-the-top sensibility and uneven performances, "Diary" has sleeper potential along the lines of last year's "Woman, Thou Art Loosed", which also toplined the dexterous and gifted Kimberly Elise.
Perry's script, based on his grassroots-hit play, paints emotions and character types with broad strokes. The soap-opera setup is ludicrous, but debuting feature helmer Darren Grant finds a certain groove for the material as inspirational, blessedly non-preachy entertainment. Even when grappling with matters as weighty as anger, forgiveness and faith, one of the film's endearing qualities is its refusal to take itself too seriously -- which would be hard to do with Perry in drag as the main character's grandmother.
Helen (Elise), the starry-eyed wife of respected attorney Charles (Steve Harris), endures his outrageous cruelty with such equanimity that she seems to have been beamed in from 1952, or maybe another planet. Her measured diary entries, heard in voice-over, cut the cad way too much slack. Helen is sympathetic only because Charles is such a creep; she's an empty shell whose only interest is being a perfect wife. Helen's happily-ever-after fantasy shatters when, on their 18th anniversary, he physically tosses her out of their Versailles-size Atlanta estate, his evil girlfriend (Lisa Marcos) at his side.
As Helen travels the bumpy road to self-knowledge, Grandma Madea is a crucial emotional support. The strongest of three characters Perry plays in the film, Madea's a straight-talking, pistol-packing voice of righteously funny anger. Perry's other roles are crotchety, pot-smoking Uncle Joe (less of a hoot than he's meant to be) and Joe Son's Brian, a good-guy lawyer who's given up on trying to help his estranged junkie wife (Tamara Taylor).
Madea snaps Helen out of her pining and into working-class reality, with time out for sweet revenge. Offering a more forgiving brand of wisdom are Helen's mother (Cicely Tyson) and new love interest, Orlando (Shemar Moore), a Harlequin-cover hunk with a heart of gold. Real-life concerns aside, the film definitely believes in fairy tales. But the story takes a few extreme turns on the way to romantic bliss. Just when Helen seems too saintlike to be true, her pent-up fury toward her ex emerges in a huge way. Elise is up to the melodrama, from refined and repressed to fierce and vengeful.
For all its false steps, "Diary" is refreshing in the way it explores the burden of anger and matters of faith without being cloying or judgmental. Technical contributions are OK within the budget's constraints. And a spirit-shaking, roof-raising gospel performance -- courtesy of Taylor, Terrell Carter and other extraordinary singers -- could have moviegoers on their feet.
DIARY OF A MAD BLACK WOMAN
Lions Gate Films
A Tyler Perry Co. production in association with BET Films
Credits:
Director: Darren Grant
Writer: Tyler Perry
Producers: Reuben Cannon, Tyler Perry
Executive producers: Michael Paseornek, John Dellaverson, Robert L. Johnson
Director of photography: David Claessen
Production designer: Ina Mayhew
Music: Elvin Ross, Tyler Perry
Co-producer: Mike Upton
Costume designer: Keith Lewis
Editor: Terilyn A. Shropshire
Cast:
Helen: Kimberly Elise
Charles: Steve Harris
Madea/Joe/Brian: Tyler Perry
Myrtle: Cicely Tyson
Orlando: Shemar Moore
Debrah: Tamara Taylor
Brenda: Lisa Marcos
MPAA rating PG-13
Running time -- 117 mins...
Perry's script, based on his grassroots-hit play, paints emotions and character types with broad strokes. The soap-opera setup is ludicrous, but debuting feature helmer Darren Grant finds a certain groove for the material as inspirational, blessedly non-preachy entertainment. Even when grappling with matters as weighty as anger, forgiveness and faith, one of the film's endearing qualities is its refusal to take itself too seriously -- which would be hard to do with Perry in drag as the main character's grandmother.
Helen (Elise), the starry-eyed wife of respected attorney Charles (Steve Harris), endures his outrageous cruelty with such equanimity that she seems to have been beamed in from 1952, or maybe another planet. Her measured diary entries, heard in voice-over, cut the cad way too much slack. Helen is sympathetic only because Charles is such a creep; she's an empty shell whose only interest is being a perfect wife. Helen's happily-ever-after fantasy shatters when, on their 18th anniversary, he physically tosses her out of their Versailles-size Atlanta estate, his evil girlfriend (Lisa Marcos) at his side.
As Helen travels the bumpy road to self-knowledge, Grandma Madea is a crucial emotional support. The strongest of three characters Perry plays in the film, Madea's a straight-talking, pistol-packing voice of righteously funny anger. Perry's other roles are crotchety, pot-smoking Uncle Joe (less of a hoot than he's meant to be) and Joe Son's Brian, a good-guy lawyer who's given up on trying to help his estranged junkie wife (Tamara Taylor).
Madea snaps Helen out of her pining and into working-class reality, with time out for sweet revenge. Offering a more forgiving brand of wisdom are Helen's mother (Cicely Tyson) and new love interest, Orlando (Shemar Moore), a Harlequin-cover hunk with a heart of gold. Real-life concerns aside, the film definitely believes in fairy tales. But the story takes a few extreme turns on the way to romantic bliss. Just when Helen seems too saintlike to be true, her pent-up fury toward her ex emerges in a huge way. Elise is up to the melodrama, from refined and repressed to fierce and vengeful.
For all its false steps, "Diary" is refreshing in the way it explores the burden of anger and matters of faith without being cloying or judgmental. Technical contributions are OK within the budget's constraints. And a spirit-shaking, roof-raising gospel performance -- courtesy of Taylor, Terrell Carter and other extraordinary singers -- could have moviegoers on their feet.
DIARY OF A MAD BLACK WOMAN
Lions Gate Films
A Tyler Perry Co. production in association with BET Films
Credits:
Director: Darren Grant
Writer: Tyler Perry
Producers: Reuben Cannon, Tyler Perry
Executive producers: Michael Paseornek, John Dellaverson, Robert L. Johnson
Director of photography: David Claessen
Production designer: Ina Mayhew
Music: Elvin Ross, Tyler Perry
Co-producer: Mike Upton
Costume designer: Keith Lewis
Editor: Terilyn A. Shropshire
Cast:
Helen: Kimberly Elise
Charles: Steve Harris
Madea/Joe/Brian: Tyler Perry
Myrtle: Cicely Tyson
Orlando: Shemar Moore
Debrah: Tamara Taylor
Brenda: Lisa Marcos
MPAA rating PG-13
Running time -- 117 mins...
- 3/11/2005
- The Hollywood Reporter - Movie News
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