‘jeen-yuhs: A Kanye Trilogy’ Act II Film Review: Doc Series Balances Familiarity With Thrilling Immediacy

young Houstonians with aspirations of fame, fortune, and artistry decide to have a go at making “The Farmer’s Daughter,” a low-budget dirty movie aimed at boosting the cast and crew’s dreams of fame and fortune.Maxine (Mia Goth), a coked-up stripper working at Bayou Burlesque, thinks this is just the ticket to international stardom. Her boyfriend, Wayne (Martin Henderson, “The Gloaming”), acts as the archetypically gung-ho executive producer who talks a great game.

If you go to see this, The Prank’s on you.

as an art form, addresses the interviewer with shining eyes and a kind voice. In an impassioned monologue that lends the documentary its name, he speaks about skateboarding with a kind of sublime reverence. Despite the bodily costs, he insists, “this is the luxury of having spent my life doing what I love.”“I’m not going to give up until the wheels fall off,” Mullen goes on.

th century.  Across a multitude of disciplines, their communal motivator was social-justice advocacy.Sanchez, a veteran musician turned first-time filmmaker, sets the tone with footage from Fantasy Studios where the title track, an ode to Chavez, was recorded before talking-head interviews and archival footage begin unspooling a thread that extends from his contemporaries to current performers like the band Ozomatli or songstress Lila Downs.In this roll call of Chicano storytellers, the tunes serve as sonic picket signs and tributes to the power of organizing: Joan Baez’s “No nos moverán,” El Chicano’s “Don’t Put Me Down (If I’m Brown),” Little Joe’s “Viva la Huelga,” or Joel Rafael’s “El Bracero,” about exploited Mexican migrant farm workers who arrived in the United States in the 1940s and 50s.As part of their overview of the movement for better labor conditions, Alegria and Sanchez portray Chavez as someone attuned to the influence of popular art, passionate about jazz, and an avid dancer. Photographs of the future hero as a young pachuco in a zoot suit give way to anecdotes about how later in life he found joy in collecting records.The point, it seems, isn’t merely to humanize Chavez further but to note his conscious awareness of art as a resource in his non-violent arsenal to enact change in culture and, eventually, in policy.

Chris Willman Music Writer“Tonight is not about Yeezus. It’s about Jesus,” said DeVon Franklin, the TV and film producer, bestselling author and VP of the Motion Picture Academy’s board of governors, introducing a panel at NeueHouse in Hollywood this week.

Kim Kardashian is reportedly furious with ex Kanye West over his new music video, which appears to show an animation of him burying her current boyfriend alive. The music video for the star’s new track Eazy was released hours after Kim was legally declared a single woman, over a year on from when she first filed for divorce. Since her separation has been dating comedian Pete Davidson, something which has been the target of several Instagram rants from the rapper.

st birthday that he’d give away most of his $25 million to anyone who asked — as a gift for the needy, a sign of rich-in-life contentment (he’d just gotten married), and a down payment on more love in a wartorn, unequal world.The largely forgotten story of the “hippie millionaire,” whose Scarsdale home, phone line, and Manhattan business address (all given out freely by Brody) were flooded with recipient hopefuls, is only part of the weird, wonderful, and woeful retelling that is Keith Maitland’s engrossing documentary “Dear Mr. Brody.” Maitland’s previous film “Tower,” which heart-stoppingly recounted the University of Texas campus killings in 1966, remains one of the best documentaries of the past decade, and as another imaginative slice of history, memory, and contemporary applicability, this one is a more than worthy follow-up.Even if you’re unfamiliar with this blip in the timeline of eccentric beneficence, paying attention to the last 50 years would tell you that Brody’s pie-in-the-sky mission to change the world didn’t pan out.

This review of “Page One” was first published on January 24, 2011 after the film’s premiere at the Sundance Film Festival.  It’s kind of weird for me to watch “Page One,” a year-long chronicle of my former colleagues on the media desk of The New York Times and their struggle to produce journalism in this most challenging of times.The film, which starts around the time I started TheWrap in 2009 after having left the paper, is kind of like watching the conversation continue in the room after you’ve walked out.On the one hand, the film directed by Andrew Rossi does an able job of documenting the critically important role that the Times continues to play in news-gathering and dissemination – and why it can be so damn exciting to be there.On the other hand, the film gives a rather superficial assessment of what everybody really wants to know: Will the Times make it, or not? Can the newspaper of record change fast enough, dramatically enough, to adjust to an upside-down business model?That he doesn’t answer.In 2008, the Times cut 100 jobs, borrowed $250 million and re-leased its building. In 2009, it cut another 100 jobs.It is distinctly odd to hear someone say on film exactly what I felt at that tie: “The mood is funereal.” And, I might have added, not conducive to doing great journalism.The team on which he focuses includes heroically smart and dedicated journalists – David Carr, Brian Stelter, Bruce Headlam (proud to say I’ve worked with two of them, hope one day to work with the third) who make up much of the media desk.The challenge of the media desk is even more profound – to chronicle the potential demise of an industry of which you are a part.

get to play her.But the mere representation of addiction does not absolve “No Exit” completely. The film paints recovery as burdensome at best, offering little evidence against its nihilistic protagonist’s perspective. The script even has her relapse in order to withstand her unhinged, nail-gun-wielding adversaries and to save little Jay.

Kanye West and Jamie Foxx recording ‘Slow Jamz’ has been released as part of the second ‘act’ of the documentary jeen-yuhs: A Kanye Trilogy – you can watch a clip below.The second part of the Coodie & Chike-directed trio of films is now streaming on Netflix after the first part premiered on the streaming service on February 16.One scene in ‘Act 2’ of jeen-yuhs sees West talking Foxx through his vocal part on the track ‘Slow Jamz’, which was released in 2004 on both West’s debut album ‘The College Dropout’ and Twista’s ‘Kamikaze’ LP.A clip of the in-the-studio scene, which has been released on Netflix’s social media accounts today (February 23) to promote the latest instalment of jeen-yuhs, also sees Foxx recording his vocal parts for ‘Slow Jamz’ – you can watch the moment below.jeen-yuhs: A Kanye Trilogy Act 2 is now streaming and features footage of Kanye and Jamie Foxx recording Slow Jamz pic.twitter.com/fuQFkYLDjn— Netflix (@netflix) February 23, 2022Speaking to Business Insider earlier this month, jeen-yuhs co-director Chike Ozah spoke about why they denied West’s request to be involved in the editing process.“For us, as filmmakers, the name of our company is Creative Control, so, there are just certain rules in documentary filmmaking for it to be authentic,” he said.“And for it to resonate, people need to see certain things. So sometimes it’s just not best for the filmmaking for the subject, who the film is largely about, to have control over the direction the story goes in.“But, that being said, obviously, the input of Kanye’s team has always been welcome and we’re out to make the best documentary possible.

“The Kids from C.A.P.E.R.” Keyboardist Rami Jaffee either had no problem with, or specifically requested, being portrayed like a horny New Age space-case who can tell you how long a corpse has been dead just by listening to its vibes. The perpetually put-upon Pat Smear doesn’t even get a bedroom as this gigantic house, but he chipperly sleeps in the kitchen because, obviously, it’s closer to the Doritos.And then there’s Dave Grohl, who came up with the story of “Studio 666,” and initially plays himself as a slightly out-of-touch dweeb who loves sconces, and isn’t afraid to tell you about it, but gradually falls prey to the dark-ish side of celebrity and transforms into a selfish meanie who also, if they’re getting in the way of his mojo, murders his bandmates with their own barbecue.

Kanye West documentary jeen-yuhs have opened up about denying the rapper and producer’s demands to have a say in the editing process.The new three-part Netflix film event released its first part last week, with the series following the star’s music career and rise to fame.West – who is now legally known as Ye – previously demanded that he “must get final edit and approval” on the documentary so that he can “be in charge of [his]own image”.Directors Clarence ‘Coodie’ Simmons and Chike Ozah have now spoken on denying the rapper’s request, noting that it is “not best for the filmmaking”.“For us, as filmmakers, the name of our company is Creative Control, so, there are just certain rules in documentary filmmaking for it to be authentic,” Ozah told Business Insider. “And for it to resonate, people need to see certain things.“So sometimes it’s just not best for the filmmaking for the subject, who the film is largely about, to have control over the direction the story goes in.”However, he went on to note: “But, that being said, obviously, the input of Kanye’s team has always been welcome and we’re out to make the best documentary possible.“This documentary, like we said, is a period in creating Kanye’s larger message.

This week saw the premiere of “jeen-yuhs: A Kanye Trilogy”, the three-part Netflix  documentary about Kanye West that has literally been decades in the making.

When you think of the classic movie themes, you can’t help but think of John Williams. He’s a legendary film composer who has worked on a number of iconic scores and themes for films.

Not since Abbott and Costello in Buck Privates in 1941 and Lewis and Martin in At War With the Army in 1950 has a film raised greater concern about who they’re letting into the military these days than does Dog. Although he certainly possesses the requisite physique, Channing Tatum’s Army Ranger Briggs most of the time seems like such a screw-up that you’d definitely want him on the other guy’s team. The power of this Dog lies in its half-canine/half-human buddy comedy, which is genial enough, even if its aim is scatter-shot and its comic tone decidedly hit-and-miss.

Netflix Wednesday. The hip-hop star breaks down his mental-health struggles since the 2007 death of his beloved mother Donda West in “Act III: Awakening” — the third episode of the three-part documentary, which will begin streaming on March 2.

th-century explorers; he grows up to become a bartender and pickpocket after his older brother Sam (Rudy Pankow) abandons him in childhood to avoid arrest. While living vicariously through the postcards Sam sends him from exotic, far-away lands, Nathan gets contacted by Victor “Sully” Sullivan (Wahlberg), a fortune hunter seeking his help to locate a treasure supposedly lost during Magellan’s trip around the world.

Kanye West made a surprise appearance at the premiere of jeen-yuhs, the new Netflix documentary about him, last night (February 11).The film, the first part of which will arrive on the streaming service on Wednesday (February 16), was directed by Coodie and Chike and made over 20 years.The premiere was held at Citizen News in Hollywood yesterday and was attended by numerous celebrities including Migos’ Offset, Usher, Roddy Ricch, and Taraji P. Henson.According to Variety, West arrived 15 minutes after the screening had started and was given a chair in the front corner of the room.