Wednesday, January 16, 2019

Street Ball: Memphis and Manhattan filmmakers team up to premiere independent film Out of Bounds.

Posted By on Wed, Jan 16, 2019 at 5:11 AM

Deyonte Hunter in Out Of Bounds
  • Deyonte Hunter in Out Of Bounds
There’s nothing quite so easy to identify with as a rock-and-a-hard-place situation. We’ve all been there, robbed Peter to pay Paul, hopped from the frying pan into a blazing fire, hoping against hope that, at the last instant, some third option would materialize. That struggle is at the heart of Out of Bounds, the new film by writer/director S.D. Green. Green was the producer on the short film “Dean’s List,” which was an official selection for the Memphis Film Prize in 2018, and espouses a hard-work ethos that’s right at home in the Bluff City, home of “grit-and-grind.”

In Out of Bounds, New Jersey-based rap artist Deyonte Hunter plays Travis Elliot, a high school basketball player gunning for a spot on a college team and, eventually, the NBA. Travis has talent and drive and a healthy dose of cautionary tale in his older brother, Rico (Tenichi Garner), who waved goodbye to his own promising basketball career when he got tangled up with a criminal element.

Rico is “the bad boy of the film,” Garner says. “He was a basketball player, and the streets took him away from all that.”
Tenichi Garner
  • Tenichi Garner
Rico’s example looms large for Travis, who can’t fail to see the multitude of ways plans can go awry. Still, despite all the warnings, after some serious family trouble at home, Travis finds himself poised to follow in his brother’s footsteps.

But Travis has people in his corner. His girlfriend, Naomi Farsee, played by actress and producer Shalonda “S.J.” Johnson, is well aware of Travis’ potential. “I push him in the right direction,” Johnson says. “She doesn’t want him to fall victim to the streets. She’s kind of bull-headed about him continuing his career and education.” Out of Bounds pivots on the crux of that decision, and there’s not necessarily a shiny prize waiting for Travis if he does the right thing. Even if he manages to stay clear of the pernicious influences of the streets, he might not make it to a college team or to the pros. His career might be derailed, as so many are, by an injury. The only guarantee that awaits Travis is more hard work, both on and off the courts.
Shalonda Johnson
  • Shalonda Johnson
Out of Bounds was filmed in Memphis and features both Memphis- and New York-based talent, such as the film’s associate producer, Winston Hardy. “I’m most excited about the depiction of the city of Memphis,” Hardy says. He goes on to explain that filming in Memphis was important to S.D. Green. Johnson says the collaboration on the film was “sort of like a marriage,” and that Green cared more about the quality of the final product than about who came up with what idea. It’s a team-player ethos that resonates with the subject matter of the film. Whatever decision Travis makes, the cast and crew of Out of Bounds made their shot — and made it count.

Out of Bounds red carpet premiere will be at the Malco Cordova Cinema, on Thursday, January 24th, at 6 p.m.

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Monday, January 14, 2019

Music Video Monday: Bleu Levees

Posted By on Mon, Jan 14, 2019 at 11:13 AM

Today's Music Video Monday is just cruisin'
Rapper Bleu Levees makes his MVM debut with "Michael". Engineered by Memphis' secret studio weapon Alan Hayes, Bleu Levees says the song is a bit of autobiography. "Michael is my real name and I wanted to make a song that channeled what I was feeling at the time, and also shoot a video of how I look at things from my different perspectives."

Featuring vocals by Zephaniah Dixon, and beautifully shot by 35Miles, here's "Michael":

If you'd like to see your music video on Music Video Monday, email 

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Friday, January 11, 2019

Sonic Youth's Daydream Nation "Cinematic Mixtape" Coming to Crosstown Arts Theater

Posted By on Fri, Jan 11, 2019 at 8:43 AM


In October, 1988, a message arrived from another sonic universe. Daydream Nation was a double album that sounded like a communique from beyond, but was actually from New York underground rockers Sonic Youth.

Formed in 1981 by Thurston Moore and Kim Gordon, who emerged from the remnants of the post-punk No Wave scene, and Lee Ranaldo, a member of Glen Branca’s experimental guitar orchestra, Sonic Youth sounded like nothing else in popular (or even not so popular) music.

Daydream Nation
, their fifth album, captured them in the midst of a creative breakthrough. The wailing curtains of noise that filled EVOL and Sister parted to reveal jagged shards of punk, as well as the occasional hippie-jam touch. The organic push and pull of “Teen Age Riot” landed like a spring rain in a year when the pop charts were dominated by Poison and Milli Vanilli, and “We Didn’t Start The Fire." “Trilogy,” which closes the album, is the connective tissue between “Stairway to Heaven” and “Paranoid Android."

Sonic Youth drummer Steve Shelly says, “These days, everybody’s got an opinion, and everybody’s putting it online. When we said we were doing something with Daydream, we got people saying ‘I liked Dirty better.’

"But yes, Daydream has a really interesting resonance with its audience. The stereotypes with musicians is that these albums are like children, and we love each one of them. That’s true to some degree. I have a fondness for Daydream Nation, but I have a fondness for EVOL, which was the first record I did with the group.”

In 2007, two years after Daydream Nation was inducted into the Library of Congress’ National Recording Registry of historically significant cultural works, the band was asked to perform the album for the Don’t Look Back concert series.

“I think we did it 20 times that year," says Shelly. “Most of them were at festivals, like Primavera and Pitchfork. But the concert Lance [Bangs] filmed was at one of the few indoor theater shows we did. It’s a little bit more intimate.”

To celebrate the 30th anniversary of the album, the band scoured their archives for rare footage.

“We’d been playing around in this archive, and we had all this stuff that hadn’t come out on DVD, or on YouTube," Shelly says. "We thought it would be fun to show this stuff in theaters, so people could come together communally. The program has been kind of evolving as we go along, to contain pieces of film that we like from different eras. It is a bit of a cinematic mixtape.”

Shelly and the Sonic Youth video roadshow will be stopping at Crosstown Arts new theater this Friday, Jan. 11th.

“It’s excerpts from several films that we’re going to be showing at Crosstown Arts,” Shelly says.

Bangs’ documentary of the 2007 show in Glasgow, Scotland will anchor the program.

“We’re going to show some vintage Sonic Youth video from when Daydream was actually released," Shelley says. "Then, we’re showing a portion of a documentary called ‘Blood in the Music’ that was filmed around the time of Daydream Nation, that shows the band during that time.”

Shelly stayed in Memphis in 1995 during the recording of Washing Machine, which was tracked at Easley McCain Studios. While here, he and the band got acquainted with Respect Yourself and Best of Enemies author and filmmaker Robert Gordon, who will moderate the discussion.

“We’re really happy that Robert Gordon will be with us there on Friday,” Shelly says.

The ‘cinematic mixtape” has been a hit since its debut in October. Shelly says the next stop is a European tour.

“We’ve been having to add shows because we’ve been selling out so quickly. We’ve been having a blast,” Shelly says. 

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Monday, January 7, 2019

Music Video Monday: Dirty Streets

Posted By on Mon, Jan 7, 2019 at 10:54 AM

Dirty Streets are here to kick your butt into this week on today's Music Video Monday. 
Memphis gunslingers Thomas Storz, Justin Toland, and Andrew Denham have a new album, Distractions. The first video, directed by Waheed Alqawasmi, documents the band working at Sam Phillips Recording.

Here's a little shot of adrenaline called "The Sound."

If you'd like to see your music video on Music Video Monday, email

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Friday, January 4, 2019

If Beale Street Could Talk

Posted By on Fri, Jan 4, 2019 at 12:03 PM

Kiki Layne and Stephan James in If Beale Street Could Talk
  • Kiki Layne and Stephan James in If Beale Street Could Talk
Let’s get this out of the way: If Beale Street Could Talk is not set in Memphis. It’s not about Beale Street or the blues, or loquacious rights-of-way. In fact, in the opening epigraph, author James Baldwin says Beale Street is in New Orleans.

James Baldwin may have been geographically challenged, but he was a stone cold literary genius. When he invoked Beale Street in the opening of his 1974 novel, one of the country’s first black-owned business districts existed to him as a lost world of African-American freedom. The name represented the realization of the kind of personal autonomy American capitalism always promises, but which was ultimately denied to people like Tish Rivers (Kiki Layne) and Fonny Hunt (Stephan James), two young, working-class kids from Harlem, who happen to be black.

Tish and Fonny are in love like only 19-year-olds can be. As soon as Fonny gets a new place — he’s got a crappy cold-water flat, but the budding sculptor is looking at a fixer-upper artist’s loft — he’s going to pop the question. But then Fonny gets in the mildest of street hassles, just a little pushing and shoving over Tish’s honor, and all the sudden he’s in the crosshairs of the prison-industrial complex. The racist cop he pisses off that fateful night soon gets an opportunity to frame him for a brutal rape that happened on the other side the city. With Fonny on trial for his life, it is not a good time for Tish to announce she’s pregnant.

Director Barry Jenkins has broken the rule that mediocre books make the best movies. He takes Baldwin’s dauntingly nonlinear literary structure and makes it smooth and easily understandable. Each jump forward and backward in time reveals a little bit more of the story in a way designed to maximize the emotional impact. The ending, when it comes, reveals characters who are forever changed, but unbroken.

Jenkins color sense is second to no one working today. I think he invented some new, tastefully early-70s hues especially for this movie. The film’s recreation of 1970s Harlem is flawless, and, knowing Jenkins, done efficiently. Jenkins loves to work in close up, or with his camera fixed on an effortlessly flawless composition. When his camera does move, it flows through space.

Every performance on the screen, from Layne’s heartbreakingly naive Tish, interrupted on the edge of lasting happiness, to Colman Doming bringing laughing gravitas to the role of her father, feels fully human. As Tish’s mother, Regina King puts on a one-woman Strasberg-ian acting clinic.
Regina King as Sharon Rivers
  • Regina King as Sharon Rivers
It all comes together in an emotionally epic scene where Tish and Fonny’s families grapple with the reality of a new baby on the way. If my description makes this film sound like a downer, it’s not. Tish’s family’s first reaction is to rejoice at the prospect of a new member. They know Tish and Fonny’s love is real. It’s different with Fonny's family. His religious mother (Aunjanue Ellis, tightly wound) lashes out at the Rivers family, while the two grandads-to-be hatch plots to pay for it all. It’s a deeply humane and instantly recognizable scene that, if removed from the larger context, would be the best short film of the year.

But the tender pas de deux between Tish and Fonny, told intermittently between scenes of fear and despair, is the beating heart of the picture. Is there anyone who does romance better than Jenkins? The couple's wide-eyed innocence, an emotion never available to the brutally repressed Charon Harris in Moonlight, is pure joy to behold. If, as Roger Ebert said, movies are machines to create empathy, then Jenkins is our greatest empathetic engineer.

Together, Baldwin and Jenkins celebrate the love that flourishes in the midst of tragedy and injustice. Jenkins came up from the indie underground, emerging from Miami in 2008 with Medicine for Melancholy and going on to win Best Picture for 2016’s Moonlight. He found the perfect material to adapt in If Beale Street Could Talk. Its examination of the human cost of the carceral state and indictment of institutions of justice that wink at racism as long as the conviction numbers stay high is, sadly, as relevant as ever.

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Monday, December 31, 2018

Music Video Monday: Top 10 Memphis Music Videos of 2018

Posted By on Mon, Dec 31, 2018 at 4:35 PM

Memphis music was vibrant as ever in 2018. Every week, the Memphis Flyer brings you the latest and best video collaborations between Bluff City filmmakers and musicians in our Music Video Monday series. To assemble this list, I rewatched all 34 videos that qualified for 2018's best video and scored them according to song, concept, cinematography, direction and acting, and editing. Then I untangled as many ties as I could and made some arbitrary decisions. Everyone who made the list is #1 in my book!

10. Louise Page "Blue Romance"

Flowers cover everything in this drag-tastic pop gem, directed by Sam Leathers.

9. Harlan T. Bobo "Nadine" / Fuck "Facehole"

Our first tie of the list comes early. First is Harlan T. Bobo's sizzling, intense "Nadine" clip, directed by James Sposto.

I used science to determine that Fuck's Memphis Flyer name drop is equal to "Nadine".

8. Aaron James "Kauri Woods"

The smokey climax of this video by Graham Uhelski is one of the more visually stunning things you'll see this year.

7. Daz Rinko "New Whip, Who Dis?"

Whaddup to rapper Daz Rinko who dropped three videos on MVM this year. This was the best one, thanks to an absolute banger of a track.

6. (tie) McKenna Bray "The Way I Loved You" / Lisa Mac "Change Your Mind"

I couldn't make up my mind between this balletic video from co-directors Kim Lloyd and Susan Marshall...

...and this dark, twisted soundstage fantasy from director Morgan Jon Fox.

5. Brennan Villines "Better Than We've Ever Been"

Andrew Trent Fleming got a great performance out of Brennan Villines in this bloody excellent clip.

4. (tie) Nick Black "One Night Love" / Summer Avenue "Cut It Close"

Nick Black is many things, but as this video by Gabriel DeCarlo proves, a hooper ain't one of 'em.

The kids in Summer Avenue enlisted Laura Jean Hocking for their debut video.

3. Cedric Burnside "Wash My Hands"

Beale Street Caravan's I Listen To Memphis series produced a whole flood of great music videos from director Christian Walker and producer Waheed Al Qawasmi. I could have filled out the top ten with these videos alone, but consider this smoking clip of Cedric Burnside laying down the law representative of them all.

2. Don Lifted "Poplar Pike"

I could have filled out the top five with work from Memphis video auteur Don Lifted, aka Lawrence Matthews, who put three videos on MVM this year. To give everybody else a chance, I picked the transcendent clip for "Poplar Pike" created by Mattews, Kevin Brooks, and Nubia Yasin.

1. Lucero "Long Way Back Home"

Sorry, everybody, but you already knew who was going to be number one this year. It's this mini-movie created by director Jeff Nichols, brother of Lucero frontman Ben Nichols. Starring genuine movie star (and guy who has played Elvis) Michael Shannon, "Long Way Back Home" is the best Memphis music video of 2018 by a country mile.

Thanks to everyone who submitted videos to Music Video Monday in 2018. If you'd like to see your music video appear on Music Video Monday in 2019, email 

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Monday, December 24, 2018

Music Video Monday: Memphis Ukulele Band

Posted By on Mon, Dec 24, 2018 at 10:36 AM

Happy holidays from Music Video Monday!
Mark Edgar Stuart, Kyndle McMahan, Jason Freeman, Logan Hanna, and Jon Hornyak, aka The Memphis Ukulele Band, bring you a very Bluff City Christmas. Director Kim Lloyd mixed live footage of the band playing at Lafayette's with 8mm home movies from the Sam Phillips archive showing the mastermind of Memphis music at home with his family. Lloyd dedicates the video to Becky Phillips and Louise Layton, and we dedicate it to you, our loyal MVM readers, on this holiday season.

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Monday, December 17, 2018

Music Video Monday: DJSteveMagic

Posted By on Mon, Dec 17, 2018 at 11:52 AM

Music Video Monday senses your rising panic.

Today's MVM is a misplaced gem. I made a note to get D.J.SteveMagic's debut video when it killed at Indie Memphis 2016. But until last week, when I got a tip at the Memphis Women In Film holiday party, I was not able to find it online. "Oh Shit" is an absurdist epic of fantasy gaming, luchadores, and kung fu, that speaks to your realization that Christmas is next week, and you're not ready. Get ready, 'cause here it comes.

If you'd like to see your music video featured on Music Video Monday, email

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Wednesday, December 12, 2018

Memphis Filmmakers Take on School-to-Prison Pipeline with Juvenile Documentary

Posted By on Wed, Dec 12, 2018 at 3:10 PM

Memphis documentarians Joann Self-Selvidge and Sarah Fleming are teaming up to produce a documentary examining America's flawed juvenile justice system from the point of view of the people who are affected by it firsthand.

“This is not the first time I’ve addressed the justice system in my documentary work, but it is the first time I’ve taken this deep of a dive,” says Self-Selvidge, whose last film See The Keepers, which she created with Sara Kaye Larson, won the Hometowner award at the Indie Memphis Film Festival in 2015.

Self-Selvidge has been working on Juvenile for three years, after a conversation with  public defender Stephen Bush alerted her to a trend of innovative reforms that were being tried all over the country. Fleming and Self-Selvidge's short film "Viola: A Mother's Story" served as a jumping-off point for the feature project, which the filmmakers say will explore "how brain science, constitutional rights, and smart on crime economics are being used in efforts to disrupt the cradle-to-prison pipeline."

Viola - A Mother's Story of Juvenile Justice from True Story Pictures on Vimeo.

“For the people who get caught up in the system, the narratives that are out there about the “bad kids”…are narratives that have not been constructed by the people who are directly impacted," says Self-Selvidge. “When we have so many narratives that are out there about the mothering of children who are living right down the street from us, we forget. It becomes so easy to vilify the people we aren’t brave enough to listen to."

Self-Selvidge says the film will feature stories of five kids who have been through the juvenile justice system in various parts of the country. “They’re all trying to make sense of what happened to them.”

After more than 30 interviews, three of the five subjects have been chosen in rural Missouri, Atlanta, and Brooklyn. Self-Selvidge and Fleming plan to find additional subjects in the Chicago area and the West Coast. The directors are currently engaged in a crowdfunding campaign on Seed and Spark to complete the three-year preproduction process.

“This is hard stuff to fix," says Self-Selvidge. “The people who have the solutions that are going to work are the people who are closest to the problem...The different points of view in our movie are not politicized. It’s not liberal vs conservative. We have people speaking from the point of view of the victims and survivors of crime, and people speaking from the point of view of the justice-involved. Many times, they’re in the same family, or they’re the same people. People are victimized before they become offenders. Hurt people hurt people. Healed people heal people.”

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Monday, December 10, 2018

Music Video Monday: Jeff Hulett

Posted By on Mon, Dec 10, 2018 at 12:04 PM


Music Video Monday is going solo!

Jeff Hulett has been in a lot of bands: The long-running Memphis orchestral pop Snowglobe, the rocking Jeffery James and the Haul, and the folky duo Me & Leah. But for his new album, Around These Parts, Hulett has decided to go his own way.

You can read about Hulett's road to Around These Parts in this Thursday's issue of the Memphis Flyer. Meanwhile, here's the first video from the record, "This is the Life", directed by Noah Glenn.

This is the Life from Perpetual Motion on Vimeo.

If you'd like to see your music video featured on Music Video Monday, email

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Tuesday, December 4, 2018

This Week At The Cinema: Movie Trivia, Jookin, and White Christmas.

Posted By on Tue, Dec 4, 2018 at 12:38 PM

Memphis Majic
  • Memphis Majic

Tuesday night at Malco Ridgeway, a Memphis Hometowner documentary gets an encore performance. Memphis Majic, directed by Eddie Bailey, tells the story of jookin, the Memphis street dance that took over the world. If you missed it at Indie Memphis, now is your chance to rectify that situation! Tickets are available now at the indie Memphis website.

Across town at Crosstown Arts is Indie Memphis' Annual Holiday Film Trivia Contest. For the first time, I will be co-hosting with the event's longtime master of questions, Commercial Appeal film critic John Beifuss. There will be prizes for the winning teams, complimentary food and beverages, and other surprises. So, come out and test your knowledge of film past and present! Doors open at 6:30 p.m., with trivia smackdown commencing at 7 p.m.


Here's a little hint for all you trivia heads out there:

On Wednesday, December 5th, the Memphis premiere of an acclaimed Japanese anime feature. Mirai is a family story about a boy who is jealous of his new baby sister, until a little time travel intervenes. Director Mamoru Hosoda's seventh film has been wildly successful in Japan, and will probably be on the short list for animation Oscars in America this year. The film premieres at the Paradiso and Malco Collierville at 7 p.m. on Wednesday.

Then on Sunday, Dec. 9th, Turner Classic Movies presents the holiday classic White Christmas. The 1954 film was directed by Casablanca helmer Michael Curtiz, and stars Bing Crosby revisiting his Irving Berlin-penned Christmas song from Holiday Inn, which won the Best Song Oscar in 1942. Rosemary Clooney, Danny Kaye, and Vera Ellen round out the cast. The Crosby version of the title song is the best-selling single of all time, with an estimated 50 million units moved worldwide. Here's a little taste from YouTube, which does not do justice to Paramount's 70 mm VistaVision image.

See you at the movies! 

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Monday, December 3, 2018

Music Video Monday: Black Atticus (Featuring Saniyah X)

Posted By on Mon, Dec 3, 2018 at 11:05 AM


Music Video Monday's been trying to tell you he's no good for you. But did you listen?

You did not listen. Let's hope the person or persons Black Atticus' "Tell You" is directed towards were more receptive to the message. Four34 Creative helmed this video for the pairing of Knoxvillain Atticus and Memphis' Saniyah X, staring  Ryan Andrews, Carlton "STARR" Releford, Jude Carl Vincent, and Olivia Riggins.

You can hear Black Atticus' newest mixtape here, and find Saniya X on Instagram as @saniyahx. Now watch this video, and get some self-respect.

If you're looking to get your video featured on Music Video Monday, email

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Wednesday, November 28, 2018

Ralph Breaks The Internet

Posted By on Wed, Nov 28, 2018 at 9:24 AM


The internet. It’s everywhere. You’re soaking in it, right now. It’s been blamed for a lot of things, but the relevant accusation right now is the decline of the theatrical movie business. But seeing as Ralph Breaks The Internet just helped make last Thanksgiving weekend the most profitable in Hollywood history, maybe the death of the film business has been exaggerated. Again.

Turns out, what was needed in the internet age is more movies about the internet. Legacy media behemoth Disney was poised to deliver with the second stage to a new franchise launch, Ralph Breaks The Internet.

The very first bad decision here was not calling the film "Ralph Wrecks The Internet" instead of adopting fully the Kardashian’s PR firm’s framing with “breaks”. If 2012’s Wreck It Ralph proved anything, it’s that Ralph (John C. Reilly) wrecks stuff. Here, it’s initially not the internet, but his friendship with Princess Vanellope (Sarah Silverman) after the video game villain (whose resemblance to Donkey Kong is a source for sight gags) restored the Princess to her rightful place as ruler of the Sugar Rush game in Litwak’s Family Fun Center and Arcade. Now they hang out nursing frosty brews in Root Beer Tapper, until their paradise is interrupted by the arrival of a wifi router. When the Sugar Rush game’s steering wheel breaks, Venellope and Ralph must travel through the world wide web to eBay to find a replacement before the arcade owner throws her home on the scrap heap.
Ralph Breaks The Internet is the second major film this year to attempt the difficult task of visualizing the internet. What the Internet looks like in real life is a bunch of people staring at screens, thousands of miles of wires, and vast, sterile server farms. You’re not “visiting” a website. You’re just looking at it. To capture the “traveling without moving” vibe of the internet, both Ready Player One and Ralph Breaks The Internet basically go with the avatar model described by Neil Stephenson in his 1992 novel Snow Crash. Spielberg, by way of Earnest Cline, goes with the Stephenson vision of a wildly creative, surreal world populated by a menagerie of weird creatures dredged up from the psyches of millions of users. Directors Phil Johnston and Rich Moore see cyberspace as a vast mall populated by uniformly cute, Funko Pop-headed avatars. If you want a visual metaphor for how the internet has gone from a free-form platform for communication and connectedness to a vector for authoritarian, surveillance capitalism mind control, there it is.

If you want to be even more nerd-outraged, the Ralph-net is not even neutral. They actually go out of their way to make that point. It pissed me off.


Once you look past the subtext, Ralph’s attempt to be www.Who Framed Roger Rabbit is reasonably successful. Reilly's voice work is aces, and Silverman makes Vanellope into a cool girl with a little rasp in her throat. They spend a lot of time in the Disney web properties (complete with a Stormtrooper chase, with the soldiers of the Empire demonstrating their trademark lack of attention to detail). The funniest part is another bit of cross branding, where Vanellope teaches the collected Disney Princesses about the wonders of comfortable clothes, while they show her how to find herself through a musical number. It’s charming and self-aware, but not enough to really elevate Ralph Breaks The Internet beyond a routine (but profitable) kid-pleasing pot boiler.

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Monday, November 26, 2018

Music Video Monday: Daz Rinko

Posted By on Mon, Nov 26, 2018 at 11:18 AM

MVM is back on the hardest Monday of the year with a double shot of Daz Rinko. 
Oh, hi. Didn't see you there. I was just enjoying some delicious ice cream with Music Video Monday fave Daz Rinko. Daz has had a big year, with not one, but two, appearances on this hallowed blog, so he deserves a treat.

In fact, we all deserve a treat. It's been a hard year. Daz and McKenzii Webster and 35Miles have not one but two songs in one video! "Vanilla Ice" and "No Limit (Bigger Picture)" are from the album Black Boy Joy 2: The Bigger Picture. Enjoy!

If you would like to see your music video on Music Video Monday, email

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Monday, November 19, 2018

Music Video Monday: Fingertrick

Posted By on Mon, Nov 19, 2018 at 10:03 AM


Chris Pietrangelo, Patrick Pietrangelo, Alessio Mauro, aka Fingertrick, are not feeling themselves in director Blake Heimbach's video for "All Dawgs Go To Heaven."  Will experimental psycho-medical intervention from a sexy nurse save these young rockers, stricken with insanity before their time? Watch this slick clip to find out!

If you'd like to see your music video featured on Music Video Monday, email

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