Rosa Lynn sends her druggie daughter Loretta and her children Thomas and Tracy away from the big city to live with their uncle Earl in the ancestral home in rural Mississippi. Earl puts ... See full summary »
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At a time of international incident, the body of a young female staffer is found in a White House wash room. Homicide detective Harlan Regis is called in to investigate the murder only to ... See full summary »
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Rosa Lynn sends her druggie daughter Loretta and her children Thomas and Tracy away from the big city to live with their uncle Earl in the ancestral home in rural Mississippi. Earl puts Loretta to work in his restaurant, Just Chicken, while also telling them about the generations of their family, the Sinclairs, dating back to their time in slavery before the the Civil War. Written by
Jon Reeves <firstname.lastname@example.org>
When Thomas is going to shoot a picture of a deer, the door he exits out of springs back closed, but the shot before Annie goes out the door, it swings freely open as if there is no returning spring on it. See more »
I don't know how she's going to recognize me. She thinks somebody else is her own dead mother.
Oh, yeah? Maybe somethin' come back if she more of ya.
Dad, how many times we got to talk about this? I'm not moving back to Mississippi.
But your roots are here.
You taught me that my roots are here.
[pause, looks at the checkerboard]
Whose move is it? You always do this. Why do you always start talking and then you...
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Written by Stevie Wonder and Stephanie Andrews
Performed by Stevie Wonder
Published by Jobete Music Co. Inc., and Black Ball Music
c/o EMI April Music, Inc. (ASCAP)/Stone Diamond Music and Sawandi Music
c/o EMI Blackwood Music Inc. (BMI)
Stevie Wonder appears courtesy Motown Record Co., L.P. See more »
A warm and life affirming story. Alfre Woodard gives another memorable, emotionally compelling performance in a story that engages from frame one. Al Freeman's fabulously inspired and understated performance as Uncle Earl is a lesson in how to fully inhabit a character without chewing the scenery. His is a most convincing and moving performance that should not be missed.
Mary Alice has become one of the great African American screen matriarchs now, possessing a vulnerable serenity in this role which underscores our hopes for the rebirth of the urban progeny at the core of this film.
Maya Angelou got up to directorial speed fairly quickly in this debut although some blocking and editing from early in the project (in opening scenes especially) are rough. She doesn't show a professional sense of timing in many of her edits and scene endings, but the heart she brings to her material more than compensates. And there are instances of excellent intercharacter cutting in scenes where it counts. It's fair to say that there's not a wasted scene anywhere in this film. It's equally fair to say that some scenes show more directorial finesse than others. Look for even greater work from this master poet.
The only disappointment is Stanley Clarke's score, an unfortunate embarrassment for Mr. Clarke who is an accomplished jazz bassist otherwise. His score shows little ability to become emotionally involved with dramatic material and no skill with scenic beats and transitions. Clarke had a major opportunity to deliver here and he blew it -- and this is truly a hard movie to screw up.
"Down in the Delta" is movie blessed with plenty of heart and a talented ensemble that delivers. Well worth two hours of your time.
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