KIDNEYS ON FILM: PART ONE (a personal journey through the cinema of kidney disease, kidney transplants & kidney theft from a cinephile/kidney transplant recipient)

Well its the fourth anniversary of my kidney Transplant so I thought I'd make a new movie blog series about my favorite (and NOT-so favorite) films on the subject of Kidney Disease and Kidney Transplantation. Sometimes when people go through a serious surgery they don't want to talk about, look at, read or have anything to do with it after the fact. Well, I'm the opposite. Anyone who knows me half well or reads this blog should know that I'm quite a movie fanatic. I'm such a movie fanatic that I sometimes relate real life situations to movie scenarios at some of the most inappropriate times. Take my Transplant for example. After the initial shock of finding out I was going to need a kidney, I thought to myself; "Oh man, this is just like that time in that movie when 'so n' so' needed a kidney!!"
To my knowledge, Kidneys seem to be the least explored organ on film. There's plenty films about heart transplants and liver transplants, but to my knowledge in the last decade it seems like Kidney Disease has been spreading like an epidemic. From the overflow of patients i always see sitting in the waiting room at Yale New Haven to the various random celebrities like George Lopez, Alonzo Mourning and Tracey Morgan to fictitious characters like Peter Griffin and Kyle Brovlofski...EVERYONE is getting kidney transplants these days. I'd like to see more films dealing with this subject.

Hopefully you've seen or are at least familiar with the movies listed below because there will be spoilers (just letting you know).

STEEL MAGNOLIAS

This movie brings me back to early days of HBO when even at the young age of 8 I started to notice that they would play the same block of movies for a month straight with little to no variation. For some reason my parents love this movie. Because they use to watch it so much when I was kid, naturally I ended up watching it a few times (or to be more specific, just happened to be in the room when the movie was on). Who woulda thought that one of the subplots in this movie I use to call stupid as a kid would pretty much happen to me almost 20 years later? Who woulda thought I'd have something SO in common with an upper-middle class, southern white lady portrayed by Julia Roberts? For those of you who haven't seen this movie (and I kinda don't blame you), part of 'Steel Magnolias' has to do with Julia Robert's character suffering from diabetes induced kidney disease...just like me. My main gripe with this movie is that although it my tug at your emotional heart strings, Julia Roberts' portrayal isn't exactly accurate (...trust me, I know). Towards the end of the movie Roberts' body rejects the kidney and she just kinda drops dead on the spot. Kidney disease can be quite deadly, but it ain't like how it's portrayed in 'Steel Magnolias'. Unless your kidney issues are completely unmonitored (which was NOT the case for Julia Roberts in 'Steel Magnolias'), you're not just gonna drop dead. Once you have kidney disease, you're monitored on a regular basis until your doctors determine its time for you to go on dialysis (something I actually didn't have to go through, thank god) or, if you're lucky enough and get a donor, have your transplant.

But as inaccurate as this movie may be, it still holds a place in my heart. I think back to my childhood, and I picture myself watching this movie and its almost like a foreshadow of what was to come...

UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES

Before I even knew this film was about a man dying from kidney disease living out his last days on a farm, I was already in love with it just from the opening scene (i didn't read any reviews and didn't really look in to what it was about). When spirituality and mysticism on film are done right, I'm always a sucker for it ('The Taste Of Cherry', 'The Mirror', 'Sacrifice', 'Bamako', 'The Intruder' and even 'The Tree Of Life'...sorry Chris Funderberg). Although this is the epitome of an "Art House" film, its just as much of a movie going experience as something like 'Avatar', 'Hugo 3D' or any other IMAX film in my opinion. I was a little disappointed that this ended up playing at the film forum instead of the Sunshine or IFC. (no offense). I mean, the film forum is legendary but their small screens and uncomfortable chairs were just not the place for a film like this.
Director; Apichatpong Weerasethakul (someone we'll be exploring in 2012 on PINNLAND EMPIRE) has such an amazing talent for making the audience feel like their in a Thailand jungle surrounded by tall grass and wild life. The opening of Uncle Boonme is so subtly heavy and layered with its combination of rich colors, atmospheric music and sounds of the jungle its overwhelming. 

Although 'Uncle Boonmee...' deals with spirituality (part of the film has to do with the spirits of deceased family members coming back from the dead) as well as surrealism (there's a scene where a women gets eaten out by a talking catfish...literally), Apichatpong Weerasethakul doesn't hold back when its time to show the realism that comes with kidney disease: The dialysis machines, the changing of the dialysis bags and the crazy fatigue that comes with kidney failure. 

To read more about my love for this film, please read my review after seeing it at last year's New York Film Festival as well as my best of 2010 entry where, even though the list wasn't ranked, if it was this would have been at the top.

SEVEN POUNDS

This is one of those movies that gets me in trouble with friends and family. Whenever I'm asked my opinion about this movie (or any other oscar bait-ish movie like it), I give my true and honest opinion: "It's not my thing". But as the years go on, my friends tell me stories about how 'Seven Pounds' made them cry for a whole day and stuff like that. So the last thing I wanna do is belittle my friends' emotions by snickering and going; "THAT made you cry?...okaaaay" (which is what I really wanna say). I'm just not big on films that try EXTRA hard to make you cry or can be described as "powerful" (the older I get, the more cynical I get towards movies that are described as "powerful". Shit makes me roll my eyes). I cant tell you how many times I've heard; "Marcus, how can you NOT like seven pounds??" (which is funny because I've never once said "I didn't Like It". Its just not my thing). Then the personal attacks on Marcus start: The eye rolling, the huffing & puffing, the comments like; "Whats the problem, Marcus? Not artsy enough for you?" or "If this movie was french would you like it better?!?!" Although those are clever jabs at my taste in film and I could see why someone would be hasty to say such things, you couldn't be more wrong. To me, movies like 'Seven Pounds' are the equivalent of someone getting right up in your face with a boom box playing the most depressing music possible and just screaming for you to cry for 2 hours. I cant take that seriously.

In high school when I revealed to people I didn't 'American Beauty', they looked at me in shock. Or when I reveal to my co-workers or any other average American in their mid-40's that I think Paul Haggis' 'Crash' is awful (which it is), people look at me like I said something blasphemous. 

But I guess I could see why people who aren't film snobs like me would enjoy a movie like 'Seven Pounds'.

In 'Seven Pounds', Will Smith plays a guy trying to make up for a horrible accident he caused years ago by finding seven people at random and helping them out in some way. He gives a person a piece of his lung, he gives a woman his vacation house to escape her abusive boyfriend and other various good deeds like...donate one of his kidney's to a hockey coach suffering from kidney failure. So even though I'm not the biggest fan of 'Seven Pounds' (or Will Smith and his overacting), I'm still not above placing it on my list of kidney-related films.

...but I don't highly recommend this.

REPOMEN

This is one of those movies that falls in to the "NOT-so favorite films on the subject of Kidney disease" that i spoke about earlier. I know I'm repeating myself a little from last months blog on Forrest Whitaker and his horrible choices in recent movie roles, but how could this movie (a sci-fi film about organ repossessors) be SO bad and forgettable? I wasn't expecting a masterpiece, but this was such a stupid movie yet it coulda been good had someone like Cronenberg or even Terry Gilliam had directed it (which is funny because the ending of 'Repomen' TOTALLY ripped off the ending of Gilliam's 'Brazil'). But I don't like repeating myself too much, so check out last months blog entry on Forest Whitaker to read more about what grinds my gears about 'Repomen'.

SYMPATHY FOR MR. VENGEANCE & SYMPATHY FOR LADY VENGEANCE

'Sympathy For Mr Vengeance' (2002)

I know that 'Oldboy' will probably end up being Park Chan Wok's definitive masterpiece (and it certainly looks that way after watching his more recent stuff like the awful 'Im Cyborg, But Its Ok' and 2009's overrated vampire film 'Thirst'), but there's still 2 other movies in his "vengeance trilogy" that often go unnoticed by most people. Although 'Oldboy' is the better film, Mr Vengeance still gives Oldboy a run for its money. If you refer back to what I said about 'Seven Pounds' and movies that intentionally pluck at the emotional heart strings, THIS, in my opinion, is a film that almost chokes me up every time I watch it. From the character; "Ryu" running and driving around the streets of Korea in pain after having one of his kidneys taken in an effort to fix a situation that got WAY out of hand, to the scene of Park's daughter drowning at the end, 'Mr Vengeance' really gets to me. But all of those emotional elements are disguised in a thrilling, entertaining film about a kidnapping gone wrong.

'Sympathy For Mr. Vengeance' follows a character by the name of "Ryu": a deaf, mute, and very naive/childlike factory worker who's sister desperately needs a kidney transplant. Things just don't ever seem to work out for him though... He' not a match for his sister so he cant donate his kidney to her, he gets fired from his job and when he tries to get a kidney for his sister through the black market he gets screwed over big time (the black market dealers not only take his money, but they also take one of his kidneys).
After getting double crossed on the black market, he sets out to kidnap the daughter of his ex-boss who fired him to get ransom money. But like most similar situations, things go very wrong. 'Sympathy For Mr. Vengeance' is a look at how far someone will go to save a family member as well as how messed up the medical system can be.

'Sympathy For Lady Vengeance' (2005)

The third part of Park Chan Wok's "vengeance trilogy" ('Sympathy For Lady Vengeance') also deals with Kidney Transplantation. In this film about a woman set up for a crime she didn't commit and her plan to get revenge on everyone who's wronged her, while in prison she gives an inmate one of her kidney's in an effort to show that she's a model prisoner so that she can get out of jail early. Of the three films (mr vengeance, oldboy and lady vengeance), this is my least favorite, but still entertaining nonetheless, and deals with kidney disease, so it deserves a spot on this list.

HEAT (AND THE CINEMA OF MICHAEL MANN REDUX!)

In the tradition of David Lynch & 'Mulholland Drive', Michael Mann's 'Heat' originated from a failed television project ('LA Takedown'). 'Heat' carries over the same basic plot as well as certain specific lines from 'L.A. Takedown' (there's even a cameo in 'Heat' from Xander Berkley who appears in the original). And strangely enough, 'Heat' and 'Mulholland Drive' share another common bond. Aside from being set in L.A., certain aspects of both films are LOOSELY based on true events and real people (with 'Mulholland Drive', David Lynch was subconsciously influenced by the death of his former assistant, while certain characters in 'Heat' are based on real people). 'L.A. Takedown' was a more simplified version of what Mann really wanted to do. It didn't have so many characters, not as many subplots and its only 90 minutes long, whereas 'Heat' is almost 3 hours with quite a few side stories. 

In 'Heat', Al Pacino plays "Vincent Hanna": A somewhat unusual, yet dedicated police lieutenant (based on real life police officer-turned screen writer Chuck Adamson) who's on the trail of "Neil McCauley" (Robert Deniro) and his crew (Val Kilmer, Tom Sizemore, Danny Trejo) who're about to pull a major heist. Hanna and McCauley's relationship, which we'll get to a little later, is a bit strange but at the same time very interesting. 

I really appreciate the fact that even though 'Heat' is essentially an action film (or "crime drama"), Michael Mann took his time, and wasn't afraid to make a long, complex tale involving many different players and subplots. These subplots include: Hanna's marital problems and his suicidal stepdaughter (played by Natalie Portman), McCauley's relationship with his girlfriend and his pursuit of a former partner of his who double crosses him (just like in 'Thief', 'Public Enemies' and 'Miami Vice', Michael Mann creates a world where there's GOOD bad guys). The film also delves in to the life of Denrio's partner/2nd in command; "Chris" (Val Kilmer) who's also got marital and gambling problems. Over the years I've heard some people complain about all the additional characters and subplots, but in my opinion I thought they gave the film depth. In addition to basing Al Pacino's character off of a real life police officer, Michael Mann also based John Voight's character off of actor/author/ex-con Eddie Bunker (reservoir dogs and animal factory), who also acted as a consultant on 'Heat'.

The rest of the supporting cast in this film is so stacked, you often forget all the actors in it like; Ted Levine, Tom Noonan, Hank Azaria or Dennis Haysbert. Even a pre-entourage Jeremy Piven has a small part. 

'Heat' is one of my favorite movies, but at the same time I cant deny it has its plot holes or unbelievable moments like; Al Pacino man handling Henry Rollins (i don't think so), Val Kilmer's getaway at the end or 3 guys greatly outnumbered by a S.W.A.T. team who manage to shoot their way out and get away with only 1 casualty, but none of that really seemed to bother me, because in my opinion it didn't take away from the "big picture". 

This isn't just a blog entry about 'Heat'. Its also doubling as a study on Michael Mann and his style of film making (with 'Heat' as the main focus). Ever since i started doing the "images & stills" studies on various directors on PINNLAND EMPIRE, I've always felt the one i did on Michael Mann was pretty weak, so I'm gonna make up for it now...

"MICHAEL MANN STYLE":

In my opinion, 'Heat' is an important landmark. Its where all the great elements of Mann's early work like 'Thief' and 'Manhunter' (the acting, the grittiness, the music) met the great elements of his future work like 'Miami Vice' and 'Collateral' (unique cinematography, bright lights, big cities, nightclubs, beautiful lighting, etc). Techniques and shots were carried over from 'Thief' and 'Manhunter' into 'Heat', and we were also introduced to new techniques and shots in 'Heat' that Mann continues to do to this day...

'Manhunter' (1986)

'Heat' (1995)

'The Insider' (1999)

'Ali' (2001)

'Heat'

'Public Enemies' (2009)

'Heat'

'Miami Vice' (2006)

'Public Enemies'

'Manhunter'

'Heat'

'Miami Vice'

Every director creates their own world. Some directors like Lodge Kerrigan or David Lynch create a world of unease and crazy people that you don't wanna visit. Directors like Cassavetes show realism. Other directors like the obvious Tim Burton create a land of fantasy. Mann kinda combines all of those worlds. 'Heat' may appear to be realistic, but so many things in that movie would NEVER happen in real life. With a director like Mann, even with all the criminals, shootouts and violence, its a world you wouldn't mind visiting because he makes everything look cool and sleek. In 'Heat', he makes L.A. (a city I'm not too fond off) seem like a place I would enjoy.

INFLUENCES:

Its common knowledge to most movie nerds/Michael Mann fanatics that Alex Colville's painting; "Pacific" not only inspired some great shots in 'Heat' (below)

but 'Miami Vice' as well...

and as i said in my review of 'Thief', Mann draws inspiration from french crime directors like Jean Pierre Melville (specifically 'Le Circle Rouge'). Deniro's performance in 'Heat' is very Alain Delon-esque (minimal emotions, cool, calm, collected). Melville's influence on Mann has also trickled down to other filmmakers like Nicolas Winding Refn in 'Drive'...

'Le Circle Rouge'- Melville (1970)

'Heat'

Melville's influence on Michael Mann's other work (note the style of lights and the way they're shot in Melville's film compared to Mann's Ali)...

'Le Circle Rouge'

'Ali'

DENIRO & PACINO:

Of course the biggest hype around 'Heat' was that this was gonna be the first film to have Pacino and Denrio on screen together (as we all know they were both in 'The Godfather Part 2', but never at the same time). Say what you want, but Michael Mann has managed to quietly work with some of the biggest actors from each era. James Caan in the early 80's, Denrio, Pacino and Russell Crowe in the 90's and Johnny Depp, Tom Cruise, Javier Bardem and Christian Bale in the last decade. He was quite aware of the hype that would be surrounding this, and he made the audience wait until that classic scene when both iconic actors wold be in the same scene together. In the first half of 'Heat', Mann teased us with the stakeout scene, which is edited to look like Deniro and Pacino are looking right at each other when in fact they're in completely different locations.

He prolongs the meeting between Pacino and Deniro yet AGAIN, with another similar scene in which they aren't on camera together, but both are aware of each other's presence...

Eventually we get the famous "cafe scene" where Pacino and Deniro finally meet (which is kinda edited in a similar fashion as the stakeout scene from earlier). Their relationship in this scene, as well as this movie is like a flirty heterosexual relationship. Both characters have (some) respect for each other, even though they're technically enemies. Its this unspoken "thing" between the two of them...

Now that we've been face to face, if I'm there and I gotta put you away, I won't like it. But I tell you, if it's between you and some poor bastard whose wife you're gonna turn into a widow...brother...you are going down. - Vincent Hanna (Pacino)

There is a flip side to that coin. What if you do got me boxed in and I gotta put you down? Cause no matter what, you will not get in my way. We've been face to face, yeah. But I will not hesitate. Not for a second. - McCauley (Deniro)

The respect that Hanna has for McCauley is a little odd. Its like he has a crush on him or something. His choice of words in that scene is a bit strange. As a cop, why wouldn't he like it if he had to take down a criminal who was putting the lives of others in danger (you know, essentially doing his job)? Through out the film whenever Hanna mentions McCauley, he repeats the line; "this guy is good". On the flip side, it seemed like once McCauley found out Hanna was on to him, he wanted to go through with it even more because it would be the ultimate challenge for him.

'Heat' is easily one of the best movies of the 90's and one of the greatest crime dramas of all time (...in my opinion). A true Los Angeles film that deserves its place among other ensemble modern LA films like 'Shortcuts' or 'Pulp Fiction'.

ALI: REVISITED A DECADE LATER

Like 'Ghost Dog', 'Solaris' (2002) and countless other underrated movies that came out in my late teens/early 20's, I used to dislike 'Ali' (well maybe not dislike, but i wasn't crazy about it). I remember back in the myspace blog days, Pinksmoke writer John Cribbs included Mann's 2001 biopic on his list of "25 best films of the decade so far" which is pretty much what prompted me to give it a 2nd chance. There's still a few nitpicky flaws that get to me, but at the end of the day my stance on 'Ali' has definitely changed. I admit that when I saw Ali upon its initial release I didn't have the same appreciation for Michael Mann's visual style that I have now. Maybe it's a maturity thing, but it wasn't until a few years ago that I realized how much I loved his movies and overall visual style. I always liked 'Thief' and 'Heat' but I never attributed my love of those movies to Michael Mann's unique style. Even his stuff that I'm still not crazy about like 'Collateral' & 'Public Enemies' still has that particular look that I appreciate. What is it about Mann's style that makes a shot of blurry street lights or a close-up of the side of someones face look so great? Its like listening to atmospheric music with no lyrics. When you really get down to it - there's no scientific explanation as to why that kind of music touches someone. It's an indescribable thing just like the strange beauty in these borderline experimental Mann shots...

'Ali'

Mann's signature side shot of Mario Van Peeples as Malcolm X in 'Ali'

 'Collateral'

another similar side shot of Tom Cruise in 'Collateral'

blurry street lights 'Miami Vice'

And yet another side shot, this time of Colin Ferrell in 'Miami Vice'

Furthermore, 'Ali' showed Mann's continued fascination with various hues of the color blue...

'Ali'

'Collateral'

'Heat'

The timeline of 'Ali' spans from his first bout with Sonny Liston (another boxer whose story would make an amazing biopic if done right) up through "The Rumble In The Jungle" with George Foreman. Like many classic boxing movies ('Raging Bull' & 'Rocky') what makes 'Ali' great is what the director focuses on outside of the ring as well as inside. In between those 2 historic matches (Liston & Foreman), Mann touches on Ali's relationships with the Nation Of Islam & Malcolm X, his romantic relationships, his refusal to fight in the Vietnam War (which led to him being stripped of his heavyweight title) and his unique relationship with Howard Cosell (played by John Voight). What made 'Raging Bull' standout among all the other boxing movies was Scorsese's focus on Jake Lamotta's legal troubles, his love life and his rocky relationship with his brother.

At the end of the day Will Smith did a wonderful job, but, and I know some of you are going to want to crucify me for saying this, it would've been interesting to see an unknown actor play the part. Sorry, but we're running out of (good) young/young-ish black actors in America. Will Smith, Jefferey Wright, Don Cheadle & Terrence Howard are in their 40's and Denzel Washington is in his mid-50's. I seriously think one of the main reasons that so many biopics on important black figures like Stokley Carmichael and Angela Davis haven't come out is because the movie industry, both mainstream & indie, doesn't know how to break new young black (film) actors. They always look at who is current, available or relevant when it comes time to play a part. Rarely do you see a young black actor or actress "made" or "discovered" in the same vein as a Chris Hemsworth (Thor) or Sam Worthington (Clash Of The Titans, Avatar). The unknown lead actor surrounded by a supporting cast of well-known/established actors is a formula that needs to be explored more
The performances that did make me a believer came from the supporting cast. In the last decade Michael Mann has gathered together some great supporting players in his films. With 'Miami Vice' he had Justin Theroux, Eddie Marsan and Isaach Debankole. In 'Public Enemies' he got Giovanni Ribisi, Billy Curdup (who, in my opinion, did a great job as J Edgar Hoover), Stephen Graham and Carey Mulligan. In 'Ali', among the supporting cast of John Voight, Jada Pinkett, Jeffery Wright, Ron Silver, Ted Levine (in an uncredited role) and Giancarlo Espisito (who for whatever reason was cast as Muhammad Ali's father, even though he's only 9 years older than Will Smith) the standout performance came from Jaime Foxx as Drew Bundini. Just imagine if the title role of Ali was played by an "unknown"/newcomer with a remaining cast of well known supporting actors like John Voight, Jeffery Wright and Jaime Foxx? Something to think about. Just Sayin'...

I think one reason a lot of people doubted that Mann could pull this film off was because when you're dealing with an iconic figure like Muhammad Ali, you're dealing with a lot more than just a boxer. He was an iconic figure among black people. It seems like ever since 'Malcolm X', Spike Lee is the only choice to direct any important story concerning black people. But what some of you fail to realize (and forgive me for saying what I'm about to say) is this would have been a post-2000/'Bamboozled' Spike Lee film, which means there's a strong chance Lee's version of 'Ali' would've been a big disappointment like so many other films he's done in the last decade. Sorry, but I'd rather watch 'Girl 6' twice in a row on repeat then watch 'She Hate Me' again. And 'Miracle at St. Anna' was a ploy to win over fans that didn't like Spike Lee. He figured making a war movie would put him in the good graces of America, but his mouth got him in trouble during promotion for the film (he criticized Clint Eastwood's recent war film ' Flags Of Our Fathers' and that didn't sit well with white Americans).

Spike Lee was definitely sour about not being picked to direct 'Ali'. Between the pre-production and release of Ali, he had the following things to say...

I would say I do know more about white culture than Michael Mann knows about black culture, and I will say Ali was indicative of that (OUCH!)


I wanted to do it, but Will didn't want me to direct it


Few white directors can get our stuff right. Ali didn't get it. I'm tired of other people documenting our history. 

Rumor has it that Will Smith didn't want Spike Lee to direct 'Ali' because of his harsh (and just) criticism of 'The Legend Of Bagger Vance'.

Smith & Mann

Besides Spike Lee, what other black directors at the time could have made this film? By 2000/2001 John Singleton was on his way to selling out (and he hasn't stopped since), Robert Townsend fell in to direct-to-video obscurity, Mario Van Peeples (who ironically co-starred in 'Ali') failed to do the Black Panthers' story justice, so I wouldn't want him anywhere near the Muhammad Ali story, and his father Melvin was (and still is) enjoying his cult status in Europe. This kind of a project would have been too big for Matty Rich, Wendall B Harris had fallen in to obscurity as well, Steve Mcqueen ('Hunger' & 'Shame') hadn't started directing feature films yet and I don't see the Hudlin Brothers pulling this one off either ('House Party' is one thing, but I don't about 'Ali'). Charles Burnett would have been an interesting choice with the right budget, but lets be honest...a name like Charles Burnett doesn't hold the same weight as Michael Mann. And just because a prominent black director can't make a film about a prominent black figure doesn't mean the movie should just be scrapped. It's not like Brett Ratner directed 'Ali'. Michael Mann is one of the last studio directors working today that actually has style. Naturally people are always going to be skeptical about a white director dealing with important issues concerning Black America (especially during the 60's & 70's), but Mann did a great job if you ask me (the first 10 minutes of 'Ali' showed a lot of unspoken racial tension). And lets not forget that Norman Jewison directed 'A Soldiers Story', Jim Jarmusch directed 'Ghost Dog' and Spielberg did direct 'The Color Purple'. So every once in a while a white director can do a black story justice. The only criticism I have towards Mann's focus on black issues in 'Ali' was the Malcolm X angle. It just seemed to go on for too long and it took away from Muhammad Ali's story. For the first 40 minutes of the movie, 'Ali' almost feels like a joint biopic of both X and Ali. Many people don't realize this, but Spike Lee was the THIRD director chosen to direct 'Malcolm X'. First it was Norman Jewison, then it was Michael Mann and finally Spike Lee got the job. Something tells me Mann's elongated focus on Malcolm X in 'Ali' was kind of a shot at Spike Lee (Mann actually went so far as to re-shoot the scene of Malcolm X's death the way it actually happened). And not only that - Mann even got two actors who co-starred in 'Malcolm X' to appear in 'Ali' (Giancarlo Espisito and Al Freeman).

I highly recommend giving this another chance (for those of you who weren't crazy about it 10 years ago like i was) or actually give it a FIRST chance to begin with (for those blind Spike Lee fans who have actually never seen the movie but still judge it).