Andre Royo Movies

David Simon's masterful social commentary went back to school, quite literally, in the fourth season, which focuses on Baltimore's crumbling education system. A relevant link to its first three seasons is supplied by Roland "Prez" Pryzbylewski (Jim True-Frost), who left the police department to become a teacher at Edward Tilghman Middle School, a hardscrabble institution on life support that services a low-income, drug-infested neighborhood. (Incidentally, Prez's career path is similar to one of the series' producers, Ed Burns). His eighth-grade math class includes a close-knit quartet of friends -- Randy Wagstaff (Maestro Harrell), Michael Lee (Tristan Wilds), Duquan "Dukie" Weems (Jermaine Crawford) and Namond Brice (Julito McCullum). The wisecracking Brice is ignominiously selected to be part of a university experiment studying at-risk kids, which counts a former police commander, Bunny Colvin (Robert Wisdom), as a consultant. Out on the corners, Marlo Stanfield (Jamie Hector) strengthens his grip on the city's West Side narcotics trade once dominated by the Barksdale gang, and with his cold-blooded lieutenants, Chris (Gbenga Akinnagbe) and Snoop (Felicia Pearson), devises an ingenious method to hide the collateral damage of his ascent from the law. This sleight-of-hand bedevils detectives Freamon (Clarke Peters), Greggs (Sonja Sohn) and Bunk (Wendell Pierce). The trio are flummoxed by the lack of victims that would surely coincide with Marlo's ever-widening domain, a savage power grab that also threatens the relative peace of the New Day Co-Op under East Side pooh-bah Proposition Joe (Robert F. Chew). Meanwhile, the Democratic primary in the city's mayoral campaign pits the entrenched African-American incumbent, Clarence Royce (Glynn Turman), against Councilman Tommy Carcetti (Aidan Gillen), a scrappy politico with a savvy campaign manager in Norman Wilson (Reg E. Cathey), but a long shot to become Charm City's first white chief executive in years. ~ Joe Friedrich, All Movie Guide

Omnibus films attained renewed popularity during the 1990s and 2000s; this particular seven-episode film-a-sketch arrived during that period, and involved several top-tiered international filmmakers including John Woo, Spike Lee, Ridley Scott, Emir Kusturica and three others. Each helmer was asked to shoot a segment of between 16-18 minutes in length, for UNICEF, on the subject of exploited and/or underprivileged children around the world. The package opens with "Tanza," helmed by Algerian novelist-cum-filmmaker Mehdi Charef and shot in Burkina Faso. It concerns the 12-year-old female title character - an adolescent freedom fighter - who trollops through the countryside accompanied by young male guerilla fighters who spout off deliberately nonsensical English-language dialogue. Kusturica takes the reins for the second segment, "Blue Gypsy," an overtly comical episode in the vein of Time of the Gypsies about a precocious young boy who makes the split from his alcoholic father and thieving family and goes to live in a juvenile detention center, finding it preferable to home. The third episode, helmed by co-producer Stefano Veneruso and entitled "Ciro," recalls neorealismo with its Naples-set tale of a young boy unloved and systematically neglected by his mother, who resorts to spending time with other neglected children and stealing watches, and then gets caught in the direst of ways. The fourth segment, Spike Lee's delicately-handled "Jesus Children of America," stars Hannah Hodson as Blanca, a young Brooklynite ostracized by her peers because her parents are junkies; when she learns of her HIV-positive status, her world crumbles. For the 5th episode, "Bilu and Joao," Brazilian director Katia Lund casts child actors Francisco Anawake de Freitas and Vera Fernandes as two impoverished tykes whose days involve walking around the outskirts of Sao Paulo and pulling a wooden cart, into which they pile aluminum and paper - but do so joyously, with the courage and grace of two individuals delighting in subhuman work despite the direst of circumstances. For the sixth segment, "Jonathan," Ridley Scott teams up to co-direct with daughter Jordan Scott; the episode stars David Thewlis (Naked) as an emotionally-traumatized war photographer who encounters a band of Eastern European orphans. And the closer, John Woo's "Song Song and Little Cat," studies the contrast between the lives of two young Asian girls from polar opposite ends of the socioeconomic spectrum: Oi Ruyi is Little Cat, an abjectly impoverished child discovered in the garbage, during infancy, by a homeless man; she grows up helping her discoverer forage for victuals until he dies, leaving her aimless and bereft. Woo cuts between her story and that of Song Song, a wealthy and pampered little girl whose story is equally tragic in its own way, as her parents are undergoing a bitter divorce. Though this film, as indicated, enlisted the support of at least two major Hollywood directors (Scott and Lee) it did encounter extreme difficulty securing U.S. theatrical and ancillary distribution, which effectively kept it out of North America in the years that immediately followed its global release. ~ Nathan Southern, All Movie Guide

Season three of The Wire continues the series' even-handed dissection of the Baltimore "drug wars," as seen through the eyes of both the police investigators and the drug lords. With charismatic hoodlum Stringer Bell (Idris Elba) emerging as the unofficial leader of the Barksdale drug empire, and with narcotics detective James McNulty (Dominic West) allowing his personal demons to catch up with him vis-à-vis an ever-increasing dependence upon booze, a curious dichotomy is established whereby Stringer often comes off as the more mentally stable and morally responsible of the two men. Even so, Stringer and McNulty are but two of the series' 40-plus recurring characters, meaning that their individual travails are never permitted to overwhelm the series' overall narrative thrust. Dictating the direction in which the 12 episodes of season three will follow is a burgeoning political-reform movement in Baltimore, with the ongoing drug investigation becoming a volatile campaign tool. Before long, "body counts" on both sides are being publicly tallied in a manner that dredges up grim memories of Vietnam. And though the story arcs have become more complex and multi-layered, there is still plenty of time to develop such quirky vignettes as the "trading" of drug-free urine from Baltimore's daycare centers. The season's final episode is titled "Mission Accomplished" -- as grotesquely ironic as when those same two words were prematurely applied to war in Iraq. The most startling development of the season-three finale is the sudden demise of one of the series' main players...with his greatest enemy becoming his biggest mourner. ~ All Movie Guide

The Baltimore "drug wars" enter a new phase (with a few diversions along the way) as The Wire launches its second season of 12 hour-long episodes. Although he was instrumental in weakening the Barksdale drug empire during the previous season, narcotics-division detective James McNulty (Dominic West) ruffled too many high-ranking feathers in the process, and has been demoted and reassigned to the Baltimore Police Harbor Unit. Swallowing his pride, McNulty is able to unearth a hotbed of corruption and duplicity within the Dockworker's Union, his investigation sparked by the recovery of a woman's body floating in the harbor -- which in turn leads to the recovery of 13 other corpses, all female. This season, the fly in the ointment vis-à-vis the "negotiations" between the good guys and the bad guys is Ziggy Sobotka (James Ransome), the loose-cannon son of the Union's secretary treasurer, Frank Sobotka (Chris Bauer). These new plot developments do not in any way eclipse the Baltimore PD's ongoing campaign to bring the drug-dealing Barksdale family to its knees. In fact, one of the predominant subplots involves the willingness of the Barksdales' main rival, Omar Little (Michael K. Williams), to testify in court...if he lives that long. The season's final episode is titled "Port in a Storm" -- and be assured that this port will be tragically elusive to several of the main characters. ~ All Movie Guide

Writer-director Christopher Scott Cherot (Hav Plenty) based his second feature, G, on F. Scott Fitzgerald's classic novel, The Great Gatsby. Tre (Andre Royo), a writer for a music magazine, goes out to the Hamptons to interview a wealthy and mysterious rap mogul, Summer G (Richard T. Jones), who's recently bought a home there. Tre first stops in on his cousin, Sky (Chenoa Maxwell, who also starred in Hav Plenty) and her control freak millionaire husband, Chip (Blair Underwood). Tre soon learns that Chip is brazenly cheating on Sky, and he even witnesses Chip smack his girlfriend around. Tre doesn't have much luck getting close to Summer G, until the music impresario finds out that Tre is related to Sky, whom he dated in college. Summer G asks Tre to arrange a meeting with Sky, and Tre, apparently upset with the way Chip has been treating Sky, helps Summer G connect with his old flame. Summer G tells Sky that he still loves her, and she begins an affair with him. The snobby old money Chip, already predisposed to dislike Summer G because of his hip-hop lifestyle, suspects that there's something going on, and plots to have Summer G chased from their exclusive Hamptons neighborhood. G was produced by Andrew Lauren, fashion designer Ralph Lauren's son, who also appears in the film as Adam Gordon, Summer G's manager. G was shown at the 2002 Tribeca Film Festival and at the 2002 Urbanworld Film Festival. ~ Josh Ralske, All Movie Guide