Variety reports that Lionsgate has signed a deal to acquire Sundance Grand Jury and Audience Award winner Push: Based on the Novel by Sapphire, directed by Lee Daniel and featuring a tour de force supporting performance from Mo’Nique. According to the bare-bones news blurb, “Oprah Winfrey and Tyler Perry will support Lionsgate’s distribution through their respective motion picture companies.”
This news brings two thoughts immediately to mind: 1) the old conception of Lionsgate as a slash-horror factory is even more out of date this afternoon than it was this morning; and 2) Being that Lionsgate were rumored to be zeroing in on Push at least hours if not days before it won multiple awards on the final night of Sundance, if they were waiting for Oprah and Perry to pledge assistance before making the deal final and/or public, then maybe there’s something to the whispers (largely drowned out by media coverage of those awards, but still prevalent on the ground in Park City) that just because rich white people (ie: critics, Sundance audiences and jury members) take an interest in an art film about poor black people, that doesn’t guarantee an easy path to selling the film to actual black people.
The fine details of racial demographics may or may not be the major factor here, but it’s certain that this is a time for safe bets, and it doesn’t get much safer than aligning an unknown quantity indie with name brands.
In any case, check out our Sundance review and interview with Mo’Nique.
UPDATE: indieWIRE is pegging the value of the deal at $5.5 million, making it the biggest of Sundance 2009.
Push took top prizes at Sundance 2009 (Grand Jury for Drama, Audience Award and special acting prize for Mo’Nique), but–like a lot of prize winners in the past–it may prove to be too much for regular audiences. During the Q&A after the screening I attended, a girl stood up and said, “I’m from Harlem and I know people like that, but I’ve never seen it on a screen before.” She then thanked director Lee Daniels through her tears and sat down. It was the kind of moment Sundance programmers live for.
This small, risk-taking film does show something that hasn’t been on a screen before, and it eclipses the feel-good-and-give-me-your-money bigger pictures. Push: Based on the Novel by Sapphire is a simple story about an uneducated, pregnant girl in Harlem circa 1987. It leaves you a sweaty wad of mixed emotions and defies you to figure you what you’re feeling and why you feel it.
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Lee Daniels‘ Push has proven to be one of the most divisive high profile movies at the 2009 Sundance Film Festival. Splitting audiences is nothing to new Daniels, whose Shadowboxer remains generally maligned, but Push at least plays well to a good number of people. A heavily stylized account of troubled, overweight Harlem teen Precious (newcomer Gabourey Sidibe), who has been impregnated by her mother’s boyfriend, the movie barrels forward with a frenetic pace.
While some people think Push is too obvious or jarring — I don’t — one performer unarguably reaches her full emotional potential: Mo’Nique, boldly playing against type as Mary, Precious’s crazed single mom. The true villain of the movie, she’s also its tragic centerpiece. The usually, delightfully raunchy comedian turns in a forceful, haunting performance that prompted one audience member, after the premiere on Friday, to ask her what she plans to wear when she wins an Oscar. “Nothing,” she replied. A few days later, over coffee on Main Street, we asked Mo’Nique to elaborate on her dynamic accomplishment.
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I wasn’t surprised to enjoy Welcome Home Roscoe Jenkins, which I saw (and paid for) over the weekend. Even if I haven’t really been a fan of Martin Lawrence since his sitcom went off the air, I could tell the movie would be a stupid good time. I’m a not-at-all-secret fan of Mo’Nique (I was really disappointed that Phat Girlz was so tame), and I’ll watch James Earl Jones anytime, especially as a father figure (from Darth Vader to King Jaffe Joffer to Papa Jenkins). I was, however, surprised to like it as much as I did. And apparently I wasn’t the only film writer to think so.
For the New York Times, Matt Zoller Seitz wrote, “it’s a cut above other films of its type.” Jonathan Rosenbaum didn’t quite recommend the movie, but did call it, “a little better than formulaic,” while Slant’s Nick Schager said, “it’s not half bad,” Entertainment Weekly’s Clark Collis called it, “a decent enough way to spend two hours,” and Newsday’s Gene Seymour said it, “grows on you.” Meanwhile Kyle Smith of the New York Post took the words out of my mouth laptop by calling the movie a sure sign of the apocalypse due its being a Martin Lawrence movie he enjoyed. OK, so they aren’t tremendous raves, but considering the movie’s low, 31% critical rating on RottenTomatoes.com, I have to give these guys credit for not simply brushing this one off. …Read more
