Entertainment Tonight recently debuted the teaser trailer to Tyler Perry's 'Why Did I Get Married Too?'

Returning for the sequel are Janet Jackson, Tyler Perry, Jill Scott, Malik Yoba, Sharon Leal, Tasha Smith, Michael Jai White, Lamman Rucker and Richard T. Jones.

Gathered together in the Bahamas for their annual one-week reunion, four close couples eagerly reconnect, sharing news about their lives and relationships. But their intimate week in paradise is disrupted by the unexpected arrival of Mike (Jones), who has crashed the vacation in hopes of winning back his ex-wife, Sheila (Scott).

The others soon realize they, too, are not immune to the challenges of commitment and fidelity. Angela (Smith) doesn't believe her husband, Marcus (White), can be faithful now that he's a celebrity television newscaster. The relationship between Dianne (Leal) and Terry (Perry) is feeling the strain of raising children. And Patricia (Jackson), a successful self-help psychologist, must finally reveal the deep flaws in her seemingly perfect marriage to Gavin (Yoba). With their relationships hanging in the balance when they return home, each couple must choose between blame and forgiveness and doubt and faith, with life-altering consequences.

Released in the 2007, the first film grossed more than $55 million and is the highest non-Madea film that Perry has written, directed and produced.

The sequel will be released April 2, 2010.

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Finally, after months of applause, festivals awards, and early Oscar buzz, director Lee Daniels' most bodacious film, 'Precious: Based on the Novel 'Push' by Sapphire,' is being released in limited theaters before expanding nationwide in the weeks to come.

Featuring amazing performances from an ensemble that includes comedian/ actress Mo'Nique, Paula Patton, Mariah Carey, Sherri Shepherd, and newcomer Gabourey "Gabby" Sidibe, 'Precious,' is a gritty and disturbing drama, but becomes more and more an uplifting, educational and powerful tale that folks will discuss once the impact sets in.

Set in Harlem around 1987, Claireece 'Precious' Jones is an overweight 16-year old African American who gets by in school until her administrators discover she can't read or write. Not only is her education lacking, but she is currently pregnant with her second child. Only her immediate family, which includes her mother and grandmother knows the truth. Her first child, a daughter with down syndrome's and her second, on the way, are the products of incest with her father, who's been abusing her with mommy dearest fully aware of the unlawful acts.

Speaking of her mother, Mary (Mo'Nique) constantly berates Precious for her stupidity, verbally and physically abuses her and takes her welfare checks while never leaving the house. Mary would rather watch television shows (like '227') and pet her cat while commanding Precious to cook and clean the house while pregnant.

Living in a fantasy world where she's white, has a light skinned boyfriend, and is seen walking down a red carpet while gaining fame in the fashion world (as Queen Latifah's music plays in the background) are what Precious imagines to escape her nightmare of a life. Things takes a new turn for the better when she's enrolled in an alternative school called 'Each One Teach One' at Harlem's legendary Hotel Teresa. The class is filled other students whose education level needs improvement and taught by Ms. Rain (Patton), who has the fortitude to stand up to these unruly kids and actually educate them.

With the help of social worker Ms. Weiss (an unrecognizable Mariah Carey), Precious is able to talk about and work through the demons that have haunted her for so many years.

With films like 'Monster's Ball,' in which Halle Berry won the Oscar for Best Actress, 'The Woodsman,' where Kevin Bacon played a reformed pedophile, and 'Shadowboxer,' featuring Oscar winners Cuba Gooding, Jr. and Helen Mirren, Daniels manages to get his actors to give him the best they have to fill a role that's not appealing on paper. This film is a step in the right direction for him as a director. He showed no bounds when it came to pushing the envelope. Mo'Nique, who was also in 'Shadowboxer' but in a smaller role, rose her status in the acting community. Her performance as an unrelenting dominant child abuser will never be forgotten. After this film, leading actresses everywhere will be on alert; Mo'Nique is a player whose game has stepped up big time.

After appearing in the little seen 'Tennessee,' in which Daniels also produced, and shedding her beauty for a small but key role, one can simply say that Carey reinvented herself as an actress. Patton is wonderful as the teacher/ surrogate mother/ angel who guides Precious towards a life of happiness with strength and pride. Aside from Mo'Nique and Carey, the one that stood toe-to-toe with them in her film debut was the new discovery Sidibe.

The other newcomers who are the Each One Teach One students (Chyna Layne, Xosha Roquemore, Angelic Zambrana, Stephanie Andujar and Amina Robinson),provide the comic relief that lessens the deep degradation that movie goers can feel for Precious.

The film was produced independently so that the 1996 bestselling novel by Sapphire would stay true without interference from Hollywood. Normally, one would hear about a story like 'Precious' on a talk show or television shows like 'Law and Order: SVU', but with the help of executive producers Oprah Winfrey and Tyler Perry, the film is getting the exposure it deserves and hopefully will bring out the pain of many who have faced the same emotional and physically abuse as its lead.

The film is dark and depressing, but also uplifting and instrumental to the social problems that are rarely discussed. Incest is a heavy subject and many need to realize that 'Precious' is a testament that it does exist in society and it needs to be dealt with.

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In a matter of days, the film that has captivated festival-goers from Sundance to Cannes will be released in theaters here in the states.

With the backing of Tyler Perry and Oprah Winfrey, 'Precious: Based on the Novel 'Push' will bring out a subject matter rarely confronted in films: incest and illiteracy within the black community.

Perry and Winfrey will support Lionsgate's distribution of the movie through their respective motion picture companies, Harpo Films and 34th Street Films. It will be the first film affiliated with Perry's 34th Street banner.

Starring in the film are Mo'Nique, Paula Patton, Lenny Kravitz, Mariah Carey, Kimberly Russell and Sherri Shepherd. Newcomer Gabourey Sidibe is playing the starring role.

The drama tells the redemptive story of Precious Jones, a young girl in Harlem struggling to overcome tremendous obstacles and discover her own voice.

Black Voices recently caught up with Perry to discuss his involvement in the film, his plans for 'Colored Girls' and reuniting the cast of 'Why Did I Get Married?' for the sequel.

This is one of the first projects you decided to campaign for that isn't one of your own. You've also teamed up with Oprah. How did that all come about? Did you know Lee Daniels before this movie?

Tyler Perry: Never met Lee. I sent my team up to Sundance, and they found the film. I started a new film company, and I wanted to find some new filmmakers and really push them. They found a great film and brought it to me, and I was blown away by it because it was so close to my childhood and how I grew up. Mo'Nique's character was so close to my father. I watched it and called Oprah and asked her if she'd seen it. She said, "I have it in my purse, I haven't watched it." She watched it, and she's like, "Tyler, this is so great. I'm so glad you're doing this because people will get a chance to see it." I said, "More people will get a chance to see it if we did it together," and she said, "Let's do it." That's when it became Oprah Winfrey and Tyler Perry presents.

In addition to promoting the film, what's Oprah's involvement? Promoting it in her magazines?

TP: All of that, as well as pushing it through the Website and asking people to see it. It's what we bring, and I think what Oprah brings more than anything is she makes it not just a movie for black people. She makes it a movie that everybody will be invited to and feel comfortable going to. I can cover the black folks. I can cover us! It is amazing to see what she will be able to do with that, because the film is universal. There are little girls who grew up in trailer parks who went through the exact same thing who are not black. It'll all work out.

When you're introducing this film to your audience, how are you going to present it so they don't think it's your production?

TP: It's starting with a huge warning, saying, first of all, I did not write or direct the film. It is not a Tyler Perry film. It's gonna start with that warning. I know I got the grandmothers and the seniors who will go and see it right away and think it is something I've written and they'll bring all the kids to see it, but I need all of them to understand, and you can help me with this, that this is not a Tyler Perry film, and I would not suggest that they bring their children to see it. Once that is said, my next move is letting them know why I felt the need to get involved, and that is because of my own life story.

You said this movie had a profound effect on you because you saw parts of your life in it. Now that you and Oprah are behind it, is there anything you plan to change or to enhance?

TP: Nothing, not a thing. I think it's all Lee's vision and what he wanted it to be from the very beginning. The only thing I suggested and was a little adamant about was Mary J.'s song being involved, called 'I See Color.' That was still Lee's decision, so that was all Lee.

This film has had a lot of buzz since Sundance, but this is more than just a film. What do you plan to do after it has been released, since it tackles a taboo subject matter. What more can you do that beyond the movie?

TP: I think the film is just that. Oprah and I are both doing this for charity. We're not getting paid. The movie speaks for itself. There's no better way to teach a lesson or share stories or inspire and encourage than film, and there's no better way to tear a person down than film. By supporting the film, I think that's a lot.

There's a lot of new talent in this film. Mo'Nique's getting the best reviews of her career, and Mariah's getting new life in the film business regarding this. What do you make of their performances?

TP: Stunning. Mo'Nique scared the crap out of me. When she first showed up on the screen, I thought it was going to be funny. But the performance and what she embodied was just scary. How she let go in this film and how great she is in it. Mariah...you don't understand what a feat it is for Mariah Carey not to have her own lighting person. That's someone who really was committed, and it showed. Gabbie did a great job. Every one of them did.

When you're working with Lee, as filmmakers, are you learning from each other?

TP: I haven't worked with Lee on set, so I wouldn't know anything about that, but watching the film, what I've learned and understand about him is he's a true artist. He's a true art house director.

This is one of the rare films, with the exception of 'Tyler PerryDreamgirls' and 'Ray,' in the last six or seven years that has gotten worldwide attention. Part of it is because you and Oprah are involved. Without the two of you, this would be a good film, but because the cast members are not as big internationally, who knows how well it would do. What does it take for an all-black production to make a movie that appeals to everyone regardless of race?

TP: Oprah Winfrey. I think she's a key in getting that broader audience to pay attention to it, because people want to feel like they found things and it was introduced to them rather than hit them over the head. So she's inviting them.

Does this movie make you think that there's a lot more you want to do in your films?

TP: Here's the thing, I'm not the kinda guy that's gonna sit here and say, "I'm going to do all kinds of films for all kinds of black people." That's not my gift. I'm in my lane, and I'm very good in my lane. No one can beat me in my lane. But I also can use what I have and my following to champion someone else and lift them up, and that's why I'm doing this for Lee. I've never met him until this whole experience in trying to propel him forward. Then there'll be another Lee, another somebody else, whoever I can help to tell all kinds of stories. I want to tell mine the way I want to tell them, but I want to help people who want to tell theirs as well.

If this takes off financially and critically, are you going to seek out more films to promote through your production company?

TP: Certainly. I'm always looking for films, but it has to be something that resonates with me. There's so much negativity out there already. You can find negativity within two seconds of stepping out of your front door. I'm not gonna be involved in any of that. If there's something that's positive that resonates with me then, absolutely, there'll be a lot more.

TP: Madea's playing all 15 characters. I'm kidding! That would piss some folks off. There is no Madea in the movie.

Are there any males in the movie or is it an all-female cast?

TP: There are males in the movie, and I'm walking a fine line. I'm letting Ntozake Shange's work dictate where the script goes. The movie's a lot like 'Crash' at the beginning. Nobody knows each other, they're just all crossing each other's paths until the end when they all wind up in this colored girls' center where they all go through this 12-step healing program, and it is a way to get every one of Ntozake's points into a movie. The play was all abstract. There was no finite story to it.

If you get your dream cast, how are you planning to write it so everybody gets a chance to shine?

TP: The poems themselves and the script, the way it's written, everybody shines, believe it or not. Even as I'm sitting there writing it, I'm like, "Wow, everybody has a great moment." Some moments are better than others, but everybody has a great moment.

With 'Why Did I Get Married,' you've got the whole cast back. It's your first sequel. How easy was it the second time around?

TP: It was really great. With Michael's death being so tragic, I think it was really great to have Janet in the arms of people she knew, because we really became friends on the first film. This one was really great for everyone to rally around her.

Was it in the middle of shooting?

TP: It was the first day. She was coming into Atlanta to go to work. We scrambled because Jill Scott had just had the baby, so she wasn't ready to go to work. It was so great because Jill stepped up and said, "You know what, I'll come in and go to work early so we won't have to shut down." Everybody made adjustments.

Most people think sequels are a retread of the first one, that there's nothing new being brought in.

TP: People aren't ready for this one. One of these couples is not going make it. That dynamic of relationships is so great. I was in this crazy relationship. I loved this girl so much, man. We had these ridiculous arguments, arguments I didn't understand, which gave me the first 'Why Did I Get Married?' So this one, after being in a much healthier relationship, I started exploring a lot of those situations. As long as there's a man and a woman, you've got stories all your life.

You're in a comfort zone. You've got your own studio, nobody's breathing down your neck, telling you to do this and that. When you have that power, what else can you do? Will you pursue action films? Or sci-fi films?

TP: The thing is, I can't write that stuff, but we're looking for it. If I find a great action flick, a great sci-fi flick, are you kidding me? I'm all over it! 'Alien' is my favorite movie in the world, the first two. If I find something like that, I'm going for it, something I could build a franchise on.

You're also a good actor. Your cameo in 'Star Trek' opened up a number of eyes. You said you don't want to do something that you can do yourself. Have you been approached to be in other people's films?

TP: I've had a few offers. I was gonna do 'Wolverine.' Will.i.am was in that role. I couldn't because I was doing my own work. 'Star Trek' happened to be perfect, because I only had a week, and they only needed a week.

Going back to 'Precious,' what scene struck you the most?

TP: The imagination. Whatever tragic moment she was in, because this is me as a kid, she would leave. I think that's how I got through my childhood, because that Mo'Nique character is my father, man. That's what was so uncomfortable for me and at the same time comfortable knowing that I made it through.

I know Oprah's had her demons as well. When you guys got together did you open up and talk about how it struck both of you?

TP: Yeah, we did. We had a lot of conversation about that. After we saw it, we both kind of sat still and couldn't say anything for a minute on the phone, just quiet, because we both... yeah, it was pretty powerful.

What do you think is going to happen after November? After the movie is released how much are you going to promote it and keep people involved?

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December is still a month away, but 'Disney's A Christmas Carol' is a multi-sensory thrill ride re-envisioned by Academy Award-winning filmmaker Robert Zemeckis, and captures the fantastical essence of the classic Charles Dickens tale in a groundbreaking 3D motion picture event.

Ebenezer Scrooge (Jim Carrey) begins the Christmas holiday with his usual miserly contempt, barking at his faithful clerk (Gary Oldman) and his cheery nephew (Colin Firth). But when the ghosts of Christmas Past, Present and Yet to Come take him on an eye-opening journey revealing truths Old Scrooge is reluctant to face, he must open his heart to undo years of ill will before it's too late.

*****

Out on Blu-ray this week is 'The Taking of Pelham 1 2 3,' in which Denzel Washington stars as New York City subway dispatcher Walter Garber, whose ordinary day is thrown into chaos by an audacious crime: the hijacking of a subway train. John Travolta stars as Ryder, the criminal mastermind who, as leader of a highly-armed gang of four, threatens to execute the train's passengers unless a large ransom is paid within one hour. As the tension mounts beneath his feet, Garber employs his vast knowledge of the subway system in a battle to outwit Ryder and save the hostages. But there's one riddle Garber can't solve: even if the thieves get the money, how can they possibly escape?

*****

'Never Can Say Goodbye' is a short documentary film that shows how Michael Jackson fans are mourning the pop star after his untimely death. The documentary, from director Dianna Dilworth, is a follow-up to the award winning feature, 'We are the Children,' in which Dilworth followed a group of MJ fans during the singer's 2004-2005 trialThe Taking of the Pelham. In the new piece, Dilworth reconnects with Jackson impersonator Sean Vezina, who has been dressing up like the pop singer at Jackson's Hollywood star since 2004. He is a featured character in We are the Children. SEE IT BELOW.

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While casting is still under way, Black Voices has learned that Collins Pennie and Pooch Hall have been cast in the sequel 'Stomp the Yard 2: Homecoming.'

Pennie will play Chance, an aspiring dancer from the rough side of Tallahassee, Florida. After running away from gangsters, he goes to Truth University in Atlanta, where he hopes to put his problems behind him. At college, he joins the Theta Nu Theta fraternity. The Brooklyn native was recently seen opposite Naturi Naughton in the remake of 'Fame,' and in the remake of 'Prom Night.'

Hall plays Dane, Step Master of the Theta Nu Theta fraternity and a seasoned dancer-choreographer who initially regards Chance as a skilled young up-and-comer, and comes to regard him as a challenge to his authority. The Brockton, Massachusetts native is best known for his role as professional football player Derwin Davis on the CW comedy-drama TV series 'The Game.'

The Game Tia MowryAlready cast in the film are Stephen "tWitch" Boss, the footloose runner-up of the fourth season of Fox's 'So You Think You Can Dance.' Boss is slated to star as the antagonist, Taz.

Rainforest Films's Will Packer will produce the film with Rob Hardy as writer-director. Hardy was an executive producer on the original 'Stomp the Yard,' which was released in 2007 and grossed $74 million worldwide.

Columbus Short is rumored to reprise his role as DJ.

The sequel is set to shoot early next month in Atlanta.

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PUSH novel

As powerful and influential as Oprah Winfrey is, it's takes a deep subject matter to get her heavily involved with a project. Such is the case with her latest film, 'Precious: Based on a Novel by Sapphire,' in which she came on board with Tyler Perry as an executive producer.

Directed by Lee Daniels, the film is adapted from author Sapphire's best-selling novel about an overweight, illiterate African American teen from Harlem who discovers an alternate path after she begins attending a new school. Clareece "Precious" Jones is only a teenager, yet she's about to give birth to her second child. Unable to read or write, she shows little prospect for the future until discovering that she has been accepted into an alternative school.

There, with a little help from a sympathetic teacher (Paula Patton) and a kindly nurse (Lenny Kravitz), the young girl receives something that most teens never get -- a chance to start over. Mo'nique co-stars in an inspirational drama featuring the debut performance of newcomer Gabourey "Gabbie" Sidibe.

In speaking with Black Voices, Winfrey revealed her motivation for going beyond her TV show to promote the film.

With as many films as you're asked to promote, how did you choose this one?

Oprah Winfrey: Because Lee personally had sent it to me, and I had been trying to find a way to see it. He sent a real raggedy copy, by the way.

A bootleg version!

OW: Bootleg copy, looked like he made it at home himself. I was not even familiar with what it was. The moment I saw it up on the screen, I thought, "God, this reminds me of 'Push,' the book I had read years ago. I think when I finished watching it, I felt compelled to immediately call him. I'm lucky enough to have the connections that I can find a director anywhere in the world. He happened to be in Sundance getting an award the moment that I called him. I just volunteered my services, and that's how I got to be here today. I don't know what would have happened if he asked me, I would have probably said, "I can't put another thing on my schedule!" But the fact that I called him and said, "Tell me what I can do to help this movie." This was before he had a distributor for this movie.

Aside from promoting the film on your show, why is this different for you?

OW: Well, it's different for me because, first of all, the thing that moved me the most about this film, that really hit the guttural nerve for me, is the end credit that says "For Precious Girls Everywhere." I thought about that, brilliant the way he did it. I thought about every Precious girl. You've seen her on the subway, you seen her standing on the bus stop, you've seen her in the cold, you've seen her coming out of the drugstore, you see her in the grocery line, you see her pushing her babies down the street... and we don't see her. She becomes the invisible woman. She becomes the Ralph Ellison of today. And I thought, "How many times have I seen that woman? That girl? And not seen her. How many times have I looked away because I don't want to get into that, whatever that is." I said, "That won't happen to me again." At least I will acknowledge in spirit, in consciousness, in person if possible, the Preciouses of the world. They will no longer be invisible to me, because what this film does is raises the volume on all of their voices around the world. Raises the volume so that character gets heard, so that we understand the pain behind the backstory of the Preciouses of the word. I don't think there's anything better than that. As an African American, just to see yourself onscreen, on a billboard, in a video... is validating. To see that your story... I remember the very first time, I was probably 14 or 15, I read Maya Angelou's 'I Know Why the Caged Bird Sings,' and that book starts out with an Easter poem, and I grew up doing Easter poems. I couldn't believe that a black girl's story, starting out about reciting poems in a church was worthy of being written in a book! Like, "Oh my God!" The more I read that book the more I thought, "This is my story! This is my story!" So millions of girls and boys around the world are going to see that movie and say, "That's my story. That's my story." That is life changing to have your story validated on screen. It says that somebody, Lee Daniels, Sapphire, Geoffrey Fletcher... somebody thought that my story was worthy of telling. My story is of value, which means that I am of value.

Why do you think it has taken this long for Sapphire's book to be put on screen?

OW: Only 'cause she trusted Lee. Lots of people asked her before, but only because she trusted his vision. She was probably right. I don't know who those people were. You can't trust people with this kind of work. This would be really easy to mess up. Easy to mess up to the point where no studio would want to take it, nobody would really want to put it up on screen. So you had to have somebody who had the vision to take the book, maintain the essence of the book, and create a movie that could actually transpose the book in a way. A book is one thing and a movie is another. You can't try to make them the same.

Lee Daniels mentioned that he initially wanted you to play the role that Mo'Nique is playing, but, obviously, the script didn't get into your hands. As close as you are to the book, could you have played the role?

Oprah: I could've seen myself playing it, but I would have to say that I don't know anybody who could have done a better job than Mo'Nique. I don't know an actress who wouldn't have wanted to try to play that role. That is a meaty, and you get to go all the way there with that role. As divine order would have it, it was meant for Mo'Nique. I think she became transcendent in that role. She does what every actress wants to do, and that means take it all the way there, really meld the two. You use yourself but you lose yourself. She lost herself. You can't tell where Mo'Nique begins and Mary ends. There is no Mo'Nique. Sitting in that office in that last scene, she's gone.

Gabbie did such a phenomenal job. From those who have seen the film, she's getting high marks across the board.

OW: Isn't she wonderful? It's so exciting to hear that. When you look at her, she does it so well. You think she's illiterate. So when you meet her, you think you're going to meet this illiterate girl. It's interesting because I just met her a short time ago. This girl's bright! In order to do that role, the way that role needed to be done, you need to be intelligent enough to play illiterate. You can't be illiterate and do the role, because you wouldn't be able to take it to all the many other levels it needed to go to. The character Precious isn't just illiterate. She grows, there's a growth pattern there. You have to be able to act to show how far she grows in that space of time. It's great. She's the bright young newcomer. People are going to be talking about her. They're going to be talking about Mo'Nique.

Tyler Perry mentioned your name for one of the roles in his new film 'Colored Girls.' Will you do it?

OW: Yeah, I'm one of them. I don't even know what lady I am. I haven't acted in 10 years. We're going to see. He's writing a script, and let's see what happens. I want to see it. I love the idea of getting back to acting. I'm happiest when I'm doing it. Nothing makes me happier than being on set with a movie that I really care about. Acting is fun because you get to move yourself out of your own space and become somebody else. Acting is like a vacation for me. It's a relief.

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With three previous Oscar nominations ('Street Smart,' 'Driving Miss Daisy' and 'The Shawshank Redemption'), Morgan Freeman finally won the gold statue in 2005 for best supporting actor in Clint Eastwood's 'Million Dollar Baby.'

Hoping to capture another gold, the Memphis, Tennessee, native is teaming up once again with Eastwood in 'Invictus,' in which Freeman plays the famous South African President Nelson Mandela.

Co-starring in the film is Matt Damon, who won an Oscar for his screenplay of 'Good Will Hunting,' along with Ben Affleck, in 1997.

'Invictus' tells the inspiring true story of how Mandela joined forces with the captain (Damon) of South Africa's rugby team to help unite the country. Newly elected President Mandela knows his nation remains racially and economically divided in the wake of apartheid. Believing he can bring his people together through the universal language of sports, Mandela rallies South Africa's underdog rugby team as it makes an unlikely run to the 1995 World Cup Championship match.

Warner Bros. will release the film on Dec.11.

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From her breakout role in 'Dirty Pretty Things' to an Oscar nomination for her performance in 'Hotel Rwanda,' followed by an ensemble piece in 'The Secret Life of Bees,' one can say that Hotel Rwanda moviehas been getting quality roles lately.

The London native currently has a film called 'Skin' where once again, she delivers a phenomenal performance.

Skin is one of the most moving stories to emerge from apartheid South Africa. Sandra Laing (Okonedo) is a black child born in the 1950s to white Afrikaners unaware of their black ancestry. Her parents are rural shopkeepers serving the local black community who lovingly bring her up as their white little girl. But at the age of 10, Sandra is driven out of white society. The film follows her 30-year journey from rejection to acceptance, betrayal to reconciliation, as she struggles to define her place in a changing world.

In theaters Oct. 30, the film is directed by Anthony Fabian, and also stars Sam Neill, Alice Krige, Tony Kgoroge and Ella Ramangwane.

Black Voices caught up with Okonedo as she talks about the film and her upcoming role as Winnie Mandela.

What attracted you to this film?

Sophie Okonedo: I just thought the story was so extraordinary. I had not heard about it or Sandra Laing before. When I got the script, I didn't realize it was a real-life story and I was hooked from there.

How much research did you do?

SO: I really didn't do that much research. I actually read most of the story as we got closer to shooting. From reading the scripts lots of times, I tried piecing her journey and be familiar with her. Then I just used my imagination. With this film, there wasn't time to rehearse. We're just trying to get the film made. On a big studio film, there's time for everything, depending on the budget.

Where did you shoot the film?

SO: We shot the film is South Africa, in a place that's about an hour away from Johannesburg.

With your father being Nigerian and mother, an Ashkenazi Jew, how do you think you relate with Sandra?

SO: With all the characters I've played, I think I can relate to all of them. It's just a shorter journey than what the characters have gone through. I'm also from a mixed background, but quite different from Sandra's.

How was working with Sam Neill and Alice Krige?

SO: Sam is so cool and so is Alice. They had a nice time filming. Because the film had a low budget, we spent a lot of together and bonded.

How was working Tony Kgoroge again?

SO: Tony's a lovely person. We worked before on 'Hotel Rwanda,' and he's a very good actor. I think he's doing a lot of films now in America. He's in the new Clint Eastwood film, 'Invictus,' with Morgan Freeman.

What next for you?

SO: I did a piece for BBC where I play Winnie Mandela. It's called 'Mrs. Mandela.' It covers a thirty year span from when she's very young and first meets Mandela, to the last week after he's released from jail in 1990. I think people will be shocked at the story.

Do you like playing real-life characters from Tatiana Rusesabagina in 'Hotel Rwanda,' to these last two films?

SO: I know. I keep on getting these roles, and they are all from Africa. I don't mind at all.

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With Halloween happening this weekend folks might be inclined to see either last week's #1 film, 'Paranormal Activity' or 'Saw V1' to get into the spirit, but if there's one film that will leave you wanting more: 'Michael Jackson's This Is It.'

Directed by 'High School Musical's Kenny Ortega and chronicling the months from April through June 2009, the film is drawn from more than one hundred hours of behind-the-scenes footage, featuring Jackson rehearsing a number of his songs for the show. Audiences will be given a privileged and private look at the late, great "King of Pop" as he has never been seen before. In raw and candid detail, 'This Is It' captures the legendary entertainment icon at work as he creates and perfects his final show.

Having seen the film last night, it's an amazing "almost concert " film. Much credit goes to the editors, who put together some of the best footage of Jackson before his death. From start to finish, Jackson is simply the best at what he did - sing and dance. As frail as he appeared, his dancing mechanics were still as good as any of his younger dancers. For all his fans, this is the best raw footage you will see of "The Gloved One." If this was to be his ultimately swan song of his music career, he certainly gave us one hell of a show that will never be forgotten.

See it now for the film is only in theaters for 2 weeks!

The playlist of song in the film includes 'Wanna Be Starting Something,' 'Jam,' 'They Don't Really Care About Us,' 'Human Nature,' 'Smooth Criminal,' 'The Way You Make Me Feel,' 'I Want You Back,' 'Stop The Love You Save,' 'I'll Be There,' 'Shake Your Body (Down To The Ground),' 'I Just Can't Stop Loving You,' 'Thriller,' 'Beat It,' 'Black or White,' 'Earth Song,' 'Billie Jean,' 'Man in the Mirror,' 'Heal the World' and the newly-released track 'This Is It.'

From Walt Disney comes 'Tinker Bell and the Lost Treasure' on Blu-ray & DVD! This is the highly anticipated second film in the continuing Disney Fairies Franchise and a captivating story that continues the overwhelmingly popular adventures through breathtaking animation, spectacular music and an all-star cast of voice talents.

In 'The Lost Treasure,' Tinker Bell's greatest adventure yet takes place in Autumn, as the fairies are on the mainland changing the colors of the leaves, tending to pumpkin patches, and helping geese fly south for the winter. The rare Blue Moon will rise, and when its light passes through the magical Fall Scepter that Tinker Bell has been summoned to create, Pixie Hollow's supply of pixie dust will be restored. But when Tinker Bell accidentally puts all of Pixie Hollow in jeopardy, she must venture out across the sea on a secret quest to set things right.

Along her journey Tink meets new friends, including Blaze, a cute and courageous firefly that helps Tinker Bell complete her mission. It's a long and dangerous journey, full of astonishing encounters, a few narrow escapes and a daring rescue by Tink's friend Terence. Tinker Bell and the Lost Treasure is an exciting adventure and a once-in-a-blue-moon experience for the entire family.

In 'Pelotero - A Film in Progress,' the documentary focuses on kids who try to make the big leagues as a way for stardom and riches.

In the Dominican Republic, baseball is experiencing a golden age. From the streets to the stadiums, the youth of D.R.Michael Jackson This Is It dream of one day emerging from the dugout onto a Big League field. From the time they can walk, kids practice with rolled up sock balls and broomsticks, waiting for the day they are old enough to sign. That day comes at the age 16 when players are given the chance to try out for professional teams. The best will sign, changing their lives forever as they try to advance through the system.

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Rainforest Films is set to do the sequel 'Stomp the Yard 2: Homecoming,' with Will Packer serving as producer and Rob Hardy as writer-director.

While casting is under way, Columbus Short is rumored to reprise his role as DJ. The sequel is set to shoot early next month in Atlanta.

Hardy was an executive producer on the original 'Stomp the Yard,' which was released in 2007 and grossed $74 million worldwide.

"I think certain films lend themselves to the sequel treatment better than others," Packer told Blackvoices.com. "The interesting backdrop of black colleges that we were able to portray in the first one lends itself to a myriad of storylines. In STY2 we follow a new group of students as they attempt to win the national step competition while navigating the biggest weekend of the year: Homecoming."

Together, Packer and Hardy have worked on 'Chocolate City,' 'Trois,' 'Pandora's Box,' 'Trois 3: The Escort,' 'Motives 2,' 'The Gospel,' and 'Three Can Play That Game.'

Along with 'STY 2,' Rainforest's 'Takers,' which stars Idris Elba, Chris Brown and rapper T.I., will be released through Screen Gems in February.

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On Oct. 28, the entire world will get to see Michael Jackson for the last time as footage from his rehearsals for his comeback tour is put together for the film, 'Michael Jackson's This Is It.'

Since his death on June 25, many have paid respect to the beloved icon with tribute parties, events, and constant airplay of his music, while others are still focusing on what exactly caused his mysterious death and who was responsible.

The one page synopsis states that 'This Is It' will offer Jackson fans and music lovers worldwide a rare, behind-the-scenes look at the performer as he developed, created and rehearsed for his sold-out concerts that would have taken place beginning this summer in London's O2 Arena.

Chronicling the months from April through June, of this year, the film is produced with the full support of the Estate of Michael Jackson and drawn from more than one hundred hours of behind-the-scenes footage, featuring "The King of Pop" rehearsing a number of his songs for the show.

Audiences will be given a privileged and private look at Jackson as he has never been seen before. In raw and candid detail, 'This Is It' captures the singer, dancer, filmmaker, architect, creative genius and great artist at work as he creates and perfects his final show.

One of the individuals working on the big project, also served as editor of the film. His name is Travis Payne, who has worked with both director Kenny Ortega and Jackson since 1990, when his dance video of himself led to his big break (at age 19!) as part of Janet Jackson's 'Rhythm Nation 1814' World Tour.

He was soon working on Jackson's "Dangerous Tour," and began to see the entire creative process close-up. Since then, Payne has worked with hit makers including Madonna, Lenny Kravitz, Jennifer Lopez, Ricky Martin and Beyonce. He was brought back to work with Jackson on the comeback tour and worked everyday with him until his untimely death.

In speaking with Black Voices, Payne talks about the film and the work that Jackson put into the rehearsals.

Did you have any concerns when approached to come back to edit the footage so that a film could be made from what Michael had done while rehearsing?

Travis Payne: I think that it wasn't anything that we had to think twice about. It was a process we began with Michael and we just had to re-purpose our efforts to finish it for Michael.

You were one of the few people who got to see him every day and work with him in the last weeks and months of his life. How was it reconnecting with him?

TP: It was great. We never lost touch and it was just like picking up where we left off. He's always been a dear friend and mentor to me since 1993. It was just wonderful to be back in the role of choreographer as well as associate director of the tour. To be thrust into the responsibility of creating the documentary with Kenny [Ortega], I was associate producer. It was part of my responsibility. We loved Michael and his messages and his artistry and it was just so important to us for the world to be able to share that with us.

What can we expect to see in the film? Is it rehearsals, music, him talking about what he wants to do?

TP: It's all of it! It's conceptual meetings, it's rehearsals, it's wall-to-wall music, it's Michael looking at something amazing. It's Michael relating to his new cast and dancers and band. It's a true genius in the midst of his final creative process. You see him stripped away. It's not glitzy and lit up, like we're used to seeing Michael. It's quite raw and organic, and really beautiful actually to get a peek at this great man's process.

Having worked with him in the past, will there be anything different from the routines his fans had seen before?

TP: You're definitely going to see the quintessential, classic Michael Jackson moves and imagery, but there were a lot of surprises and a lot of new ideas. Michael himself was very passionate about this project because it was his opportunity to have a global stage to remind the world of these messages of peace and hope and humanity that had been woven through his music for years. Now more so than ever because he's a father he was more concerned about the planet and what we were doing and that if we continue down the road we are there will be irreversible damage. Those things were very near and dear to him. You're going to see a lot of the familiar songs and imagery that you loved, but a lot of thought provoking imagery and movement as well, a sort of call-to-action for humanity.

Did you sense that he had the same pop and rhythm?

TP: Oh absolutely! Like a fine wine he had gotten better with time. It was just so wonderful to be in the midst of a great artist that had evolved and had a new set of responsibilities as a father, a new set of priorities and goals as an artist. It was such a blessing to be involved for so long and go on the journey with him. It has clearly had an effect on my life and career and for that I'm eternally grateful.

How was working with Kenny again? You've worked with him in the past but this is clearly something different, something special.

TP: I love Kenny. I was in my very first movie with Kenny when I was 18-years-old. Kenny has been a big brother and mentor with me for many years. To work with two of my heroes together again was just a joy for me. I didn't feel like I was going to work everyday, I just felt like I was doing what I was meant to do.

Are you excited about the fanfare the movie has gotten so far and it hasn't even been show yet?

TP: I'm excited that the movie is coming out and that fans will finally be able to see what Michael had in store for them and get the messages that were so near and dear to his heart. Hopefully they'll leave the film being inspired to try and effect some change in this world individually, which as a collective will benefit us all!

When you think back, how was that first meeting with Michael?

TP: When I first met him in 1992 in preparation for the 'Remember the Time' short film I was just awestruck, but not for long because I always imagined working with Michael Jackson since I was 5-years-old. When it became my reality it felt very comfortable for me because I always wanted it. We even spoke about that this time. I would tell him about times I would sit in front of the TV as a young man watching his music videos and be so, so impressed and inspired by what he did. Loved the dancing and singing, wanted to dance myself. Finally getting to work with him over all these years, and then reconnecting with him on 'This Is It' in the role of Associate Director was that much more meaningful for me because I know how much it has meant to me my entire life. I was able to let him know that, which I am very grateful for.

With the film we're about to see I'm sure there's a lot left out. Do you think you could do another film on this or will it all be on the DVD?

TP: You know I'm not certain. What we did was translate the show that had been planned for the live stage and translate that into the movie. That was Michael's wish, that was Michael's dream. To have 'This Is It' reach the masses. The show that he approved and rehearsed is the process you'll see in the movie. I'm not certain what future releases will be but there is a home video version that is coming out shortly after the release of the movie, but we were very insistent upon staying in line with what Michael's wishes were before he passed.

Was it tough being in the editing room and seeing this again?

TP: Oh, it was immensely tough. The first few days I didn't know if I'd be able to get through it, but I knew that his philosophy was to surround himself with those he felt were the best and inspire them to be greater than they thought they could be. I just kept thinking of that every time I would get emotional or choked up. There's no time for that. It's much more important to get the messages out than to be emotional and balled up in a corner. There was a lot of strength and healing that came from working on the film. The beginning of healing and clarity, and it was just a blessing that I was able to be involved.

Where do you go from here? What's next for you?

TP: Well I'm going to do my part to heal the world. Professionally,Michael Jackson I'm going to remain open and follow my heart, as I always do, but not before enjoying the holidays with my family.

What would you say is the best work you've done with Michael, past or present?

TP: 'This Is It' was my best work, what was to be the stage show. That's what I feel like I have been leading to my entire career.

Here's a clip of Jackson rehearsing 'Human Nature.'

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For most aspiring actresses, landing a part on a film is a difficult task giving the massive competition for auditions.

But for Tanedra Howard, when she won the 2008 VH1 reality TV show 'Scream Queens,' she knew where, and what her first film would be - 'Saw VI.'

The Inglewood, California native, who previously worked as a Hooters waitress, would get a role in a very successful horror franchise that brings back Tobin Bell, Shawnee Smith, alongs with Costas Mandylor, Mark Rolston, and Betsy Russell in the cast.

Special Agent Strahm is dead, and Detective Hoffman has emerged as the unchallenged successor to Jigsaw's legacy. However, when the FBI draws closer to Hoffman, he is forced to set a game into motion, and Jigsaw's grand scheme is finally understood.

Black Voices caught up with Howard as she shared the following thoughts ...

Getting cast in the latest 'Saw' film:

"Actually, to be completely honest when I auditioned for the show, 'cause a roommate of mine found the casting notice on Craigslist, it didn't even say that it was for 'Saw.' We didn't find that out until the first day of taping 'Scream Queens.' It just said that they were looking for an actress to put in one of their horror films that Lionsgate was going to put out this year. So it was like, "OK, Lionsgate, that sounds cool!"

People wanting more and more of 'Saw':

"I think the care they put into writing things. It's not, 'let's just put a movie out there and be done with it.' They actually take their time to come up with these traps and it's well written. 'Saw' is like the horror soap opera. You know how soap operas just keep going and going? It's a horror soap opera, except it's once a year not every day. You keep coming back for more. Jigsaw is a smart killer, he's not just going to come out of a closet and stab you. No one dislikes Jigsaw, but people want to see him live because he's smart. That's the odd thing."

Being a freak for horror:

"I love horror and I'll tell you why: I actually started reading horror before I was watching it, 'cause my mom was a big Stephen King fan. We're all readers, so she had all these books so I wanted to see what they were about. I think that the first one I read was either 'Gerald's Game' or 'Christine.' Then I ventured into the movies. When I saw the movie 'Child's Play,' that was the first horror movie I watched by myself.

Working with some of 'Scream Queens' judges who are also in this film...

"Actually I think that gave all of us some confidence because you're actually getting advice from someone who's done it as opposed to someone who's just observing and talking about it. Shawnee Smith was in 'Saw II' and 'Saw III,' and she had great insight into how to handle yourself on the set whatever goes on and how to make your story believable, and what the "Saw" movies are about. It's not just, 'In that part of the movie I'm gonna go act.' You really need to know what's going on in order to really feel the picture, how it fits into the whole puzzle. James Gunn was my first director, I'd never really done anything before that, a few plays. He trained me on camera cues, hitting my mark, learning the whole lingo on set. Also before "Scream Queens" I had never taken any acting classes. We had an acting teacher on hand, John Homa, and it was a boot camp and it benefited me a lot. I think I was the one there with the least experience and the least training.

Her role in the movie:

"I play a lady named Simone and she is in a lot of trouble. As you may have seen in the commercial I have a trap on my head. It's basically do or die."

Shooting the trap scene:

"It wasn't really scary but it does sort of weigh heavy on your head ... It gets heavy once you find out why you're in the trap, what the trap is about, and the damage it can possibly do if you don't get out of it! You take a little of that with you, like, 'Wow, I wouldn't know what to do in that situation, thank God it's only acting!'

Expanding outside the horror genre"

"I'm always open to doing more television or film, like going from horror to comedy. I love comedy, I love funny things. That would be a shocker to go from 'Saw VI' to 'National Lampoon's...' whatever whatever. I'm pretty flexible... I would love to do something where I was the heroine maybe, where I was a survivor instead of a victim."

Not giving up on 'Hooters':

"I go back every now and then but no, I haven't given that up. MmmMmmmmm, honey. If I get a big movie and get that big paycheck I put that money away. I make investments, I opened up a CD with one, and the rest is just savings. I'll be 30 next year so I need to buy a house. If I need money I go back to work one or two days a week. I'm acting in-between so I still get paid for that."

Lessons learned thus far:

"I've learned more in these 12 months... you really need the hands-on training. I used that knowledge from 'Scream Queens' on the 'Saw' set and then some extra because I was on a reSaw horroral set and not a reality TV show set. I learned a lot of laws, what you can do, what you can't do. The red carpet stuff was easy to adjust to, but you do learn a lot of patience. You learn that a lot of things are rushed and last minute which I hate, but you get used to it. You also learn tolerance, because some people like you and some people don't like you. You have to take the good with the bad."

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On Oct. 22, 1999, a new urban film came out in theaters that introduced a young new director, Malcolm D. Lee, to the scene and jump started the careers of many from its cast members, including Taye Diggs, Nia Long, Morris Chestnut, Terrence Howard and Sanaa Lathan, among others.

When 'The Best Man' opened, it was the #1 film that weekend with over $10 million at the box office. Produced by his cousin Spike Lee's 40 Acres and a Mule Filmworks, the film cost $9 million and went on to make over $34 million overall. It also won the Outstanding Motion Picture at the 2000 NAACP Image Awards.

Ten years later, the film is still is considered a favorite among African Americans and one of the best romantic comedy films in the black community. Additionally, most of its cast members have done considerably well for themselves.

In speaking with Blackvoices.com, Lee commented on the film's impact, while Long and Howard briefly spoke on what they think their characters would be doing now. We also found out the whereabouts of most of the movers and shakers from the film, below.

How were you able to assemble such a talent group for your first film?

Malcolm D. Lee: The thing about the script at the time was that we had no lack of interest from the African American acting community in doing the movie. It was an opportunity to seeing black people being regular. These were characters who were smart anThe Best Man Malcolm Leed had multi-layered issues. They were fully developed characters, which black actors didn't get to play in other films ten years ago. Those scripts were rare. We were three to four deep with actors for every role. Having Spike Lee producing the film was also an enticement as well.

Were would you see your character at this point?

Terrence Howard: I think he was on his way to wisdom because he had a conscious that bothered him. He was discovering himself and he had found truth. He could be in a really Zen place or he could be in a really sinful place. It depends on what Malcolm would do.

Nia Long: She would probably be a talk show host doing very well because I imagine that she remained ambitious. Maybe it worked out that she married the Taye Diggs character.

Will you ever do a sequel?

Malcolm D. Lee: I've been and told a lot about making that. People have begged me to make a sequel and the idea has come up more than once. In the beginning when the movie first came out, there were talks about a sequel and even a television show. I didn't want to have just one story to tell so I was very resistant to that. I have been receptive in the past few years. I would say this; it would be a bit of a darker tone and dealing with different sorts of issues. I personally would like to go in a more dramatic route. I wouldn't rule it out. It's a possibility.

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The latest animation film to hit theaters this week is 'Astro Boy,' which features the voices of Freddie Highmore, Nicolas Cage, Kristen Bell, Nathan Lane, Bill Nighy, Eugene Levy, Matt Lucus, Donald Sutherland and Charlize Theron.

Few characters have made as powerful an impression on international popular culture as Astro Boy. The little robot first appeared in 1951 as a character in the celebrated artist and animator Osamu Tezuka's legendary manga (Japanese comic book) and became an instant icon. He was subsequently featured as the star of his own television series in both black and white and color, eventually airing in more than 40 countries. Astro Boy created the standard for a new form of animation that has become world famous as anime. Now, for the first time, Astro Boy will be brought to life on the big screen.

Created with breathtaking computer animation from Imagi Studios, 'Astro Boy' is a thrilling tale of a true hero. The film will debut in theaters on Oct. 23. Set in futuristic Metro City, the movie follows a young robot with incredible powers created by a brilliant scientist named Dr. Tenma (Nicolas Cage). Powered by positive "blue" energy, Astro Boy (Highmore) is endowed with superstrength, X-ray vision, unbelievable speed and the ability to fly.

Embarking on a journey in search of acceptance, Astro Boy encounters many other colorful characters along the way. Through his adventures, he learns the joys and emotions of being human and gains the strength to embrace his destiny.

When he learns that his friends and family are in danger, Astro Boy marshals his awesome superpowers and returns to Metro City in a valiant effort to save everything he cares about and to understand what it means to be a hero.

On DVD and Blu-ray this week is one of this summer's blockbusters: 'Transformers: Revenge of the Fallen.'

From director Michael Bay and executive producer Steven Spielberg, in association with Hasbro, 'Transformers: Revenge of the Fallen' delivers nonstop action and fun in an all-new adventure that the whole family can enjoy.

Featuring out-of-this-world heroes in the form of the mighty Autobots and a malevolent and powerful villain known as the Fallen, the film boasts sensational and complex visual effects set against the backdrop of spectacular locations around the world.

In addition to audience favorites Optimus Prime and Bumblebee, the film's human stars have returned to help save the world, including Shia LaBeouf, Megan Fox, Josh Duhamel, Tyrese Gibson and John Turturro.

The documentary, 'Hip Hop: The Movement That Was' seeks to explore the evolution of black culture through hip-hop music.

Campus MovieFest (CMF) came from humble beginnings. Seven years ago, a band of friends attending Emory University in Atlanta thought it would be fun to give computers, camcorders and training to students, who would then make their own movies and share the five-minute films. The four Emory students had no idea that the project would change the course of their lives and the lives of countless students across the world as the program grew to become one of the largest student film festivals.

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This past weekend, when folks were flocking to theaters to see 'Where the Wild Things Are,' 'Law Abiding Citizen' and 'Black Dynamite,' one film that was released without much fanfare was Ice Cube's latest, 'Janky Promoters.'

No trailer, one poster and no marketing spells disaster. 'Janky' isn't even listed in this week's top 125 films.

Initially set to be released last March by the Weinstein Co., the film was dropped down to its DVD division company, Third Rail Releasing. It was released in just 22 theaters, where it grossed a dismal $5,300. It averaged $240 per theater.

'Janky' follows the shenanigans of a pair of shady concert promoters (Cube and Mike Epps), who get in over their heads when they get a shot at booking a big-name hip-hop act (Young Jeezy). Complications come in the form of a pot-growing neighborhood nemesis named Mondo and Cube's character's son (Nickelodeon star Little JJ), who is under contract with the old man.

Also starring in the film are Terry Crews, Glenn Plummer and Tamala Jones.

In a call this week to the only theater in New York City where the film is playing, the operator stated that no one had bought tickets for the first two showings.

This is the fourth time that Cube and Epps have worked together. Cube cast Epps to play Day-Day in 1999's 'Next Friday.' Epps then played the bumbling thief to Ice Cube's bounty hunter in the action comedy 'All About the Benjamins' in 2002 and re-teamed with the rapper/actor/filmmaker that same year in 'Friday After Next.' All of these films were released through New Line Cinema.

Although Cube isn't bringing in box office revenues like Tyler Perry, he is still a financial draw. The films he produces are relatively cheap, under $20 million, compared to other studio films. By numbers, in working with Epps, 'Next Friday' grossed a total of $59 million, 'Friday After Next' totaled $33 million and 'All About Benjamins' brought in over $25 million.

Even Tom Cruise got considerable promotion for 'Valkyrie' from MGM after Paramount let him go when the third 'Mission: Impossible' film didn't deliver the numbers the studio was hoping for.

It could be that the Weinstein Co. was looking to get rid of a sinking film.

In the New York Times this past August, Bob Weinstein disavowed his goal of becoming the next king of African American urban comedies, an unlikely ambition for a Jewish guy. He went on to produce 'Long Shots,' with Ice Cube, and 'Soul Men,' with Bernie Mac and Samuel L. Jackson.

"Did like $15 million gross," Weinstein says of 'Soul Men,' "and it was a relatively expensive $20 million movie. And for an African American movie, there's no foreign business. So those were two bad missteps definitely."

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Every good director has at least one bad outing in his career, and with 'Law Abiding Citizen,' F. Gary Gray had the task of trying to salvage a complete mess of a script.

Starring Oscar winner Jamie Foxx and Gerard Butler, with Viola Davis in a pivotal role, the film is filled with plenty of action but also laced with absurdities that make folks who work in law enforcement cry for justice.

Set in Philadelphia, the film starts off violently when Clyde Shelton (Butler) and his family are attacked. His wife and daughter are murdered, but Clyde manages to survive and identity his attackers. The two felons get off with light sentences, thanks to Assistant District Attorney Nick Rice (Foxx) and his penchant for cutting plea bargains to avoid trials.

Ten years later, Clyde is seeking vengeance and coming after everyone involved in the case. Instead of playing a cat-and-mouse chase with the law, he easily gives himself up and is taken into custody. With nothing to lose, he challenges Nick to outwit him within the legal system, while his plans of murder and mayhem are in full effect.

Apparently Gray came in to the production with six weeks to prep. That's sign number one for doomsday.

Besides his performances in 'Ray' and 'The Soloist,' Foxx's dramatic films haven't done him any service. He needs to go back and lighten up with a comedy. He's trying too hard.

Butler plays a role he could probably pull off in his sleep. With his roles in 'Gamer' and this film, it's clear that he needs to find an agent who will get him better material. While Davis is forceful in her few scenes, Regina Hall is stuck playing the ordinary prop-wife role that could have been edited out.

'Citizen' wants to send a message about the justice system and how flawed it is, but the approach here was, at best, poor. I mean, how many criminals can demand a steak dinner before admitting their guilt in a crime?

If you're planning to see 'Citizen,' either go with the flow and check your brain at the door or simply avoid it and catch reruns of 'Law and Order.'

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It seems as if Jamie Foxx is in the news at least once a month. Whether it's a new music video or film or a spot hosting an awards event, one thing is certain: The Terrell, Texas, native has been working hard this year.

After playing a musician who develops schizophrenia and becomes homeless in the 'The Soloist,' Foxx trades in the garment for a suit and tie in his latest film, 'Law Abiding Citizen.'

Directed by F. Gary Gray, the film follows a man (Gerard Butler) who, 10 years after his wife and daughter are brutally murdered, returns to exact justice on the assistant district attorney (Foxx) who prosecuted the case against their killers. His vengeance not only threatens the man who allowed mercy to supersede justice, but also the system and the city that made it so.

While speaking to Black Voices, Foxx talked about his reason for doing the film, bringing his character Shenehneh to the big screen and playing Mike Tyson.

What attracted you to this role?

Jamie Foxx: Gerard Butler. I'm a big fan from '300.' I know he probably thought I was a stalker, because I had the DVD with me all the time. Then we got my man Gary Gray, who's a great friend of mine, on board. He took the project with six weeks to prep. He's an absolute genius, and I just want everyone to know that he's a genius -- to have only have six weeks to prep for this movie and to turn it into what I thought was just a crazy incredible project. I look at Gerard Butler, and this was his first project that he was producing from his own company, and I've always wanted to work with F. Gary Gray, and we're going to work with each other again. So it was perfect for me.

Do you think the decision your character, a lawyer, made in the beginning of the film, which sets Gerard Butler's character off, was the right decision?

JF: Of course it's the right decision, but every right decision might be the wrong decision in distress. You have to look at it like the justice system is the best system that we've got, but our system works when it doesn't have anything to do with you. When you watch television or you read a story and you hear something tragic about someone you go, "Wow. That's what it is." But when it happens to you, it different. How do you react when the justice system seems like it's doing justice but it's not really satisfying that urge inside of you? So this is the right decision for my character, but it was just one of those times where it was wrong for this person, Gerard Butler, who really, really just went off the deep end.

How was shooting in Philly?

JF: Philly was great, man. I had a ball. Shout out to Mayor Nutter. Shout out to my man Charlie Mack, who's the first at the limo. Shout out to Will Smith out there doing his thing. We had a ball. The food was great. We went to this place that had this trout almandine that they turned me onto that was crazy. So it was just great, a great place and very accommodating.

You've been traveling on your last few films. Is there one place that helps you stay grounded?

JF: You mean like the home base. I got a spot in L.A., like a little ranch. It's out of L.A. It's chill. It's quiet. You reboot your computer and then you get back in the fracas when it's time.

What do you like about F. Gary Gray's style of direction?

JF: Listen, man, I'm going to be honest with you, dude. Take this and run with this. That dude right there, from what I witnessed watching him put this movie together, the pressure that he had on him, that dude right there is a genius. I would stack him against all of them right now. I've never seen anybody put it together that quick, and when you talk about F. Gary Gray you can't say, "That's an F. Gary Gray film." You know why, because he shoots in so many different styles. He can give you the style that you want, and that's unheard of, because most directors, they get one style and they stick with it, because that's what keeps them successful. But this dude can grab it all. I'm looking forward to him reaching in the future. He had taken four years, five years, off. So it's going to be great and interesting to see what he does in the future.

What was it like working with the Viola Davis?

JF: She's so much better than everyone else [laughs]. She acts so much better. I remember she was doing this thing, right, and I was so caught up. I couldn't even remember my lines. F. Gary walked up to me and whispered in my ear, "Why don't you just do facial expressions right now because you're killing me." Me and F. have known each other for a while and so we can joke with each other like, but she was just absolutely amazing. When I saw what she did in the film, I immediately came up with an idea, and so hopefully we'll be working together in the future on our own project.

You've have a lot going on with your music career and doing movies. What keeps you balanced and how do you have the time to do both?

JF: I think you have to carve out the time. You definitely have the time. Once a movie is over, you have plenty of free time to get up in the studio. I have a studio in my house, and so I get the music in at my house and we just stay on the plan. We've got a plan, myself and Leon Prescott, as far as our music is concerned. We've got a little plan to just knock all these albums out as soon as we can before I get too old in the game and then we'll just take our time finding the right movies, finding the right television scripts and just trying to do what we do. Hopefully folks will support it. I run everything through the hood. If the hood dig it, then I'm good. If the hood don't dig it, then I throw it away.

You did a great job hosting the BET Awards. Does that ever get old?

JF: Does it get old? I'll tell you what it does, and you know like I know, look at all of our, especially our African American entertainers, the ones who used to do comedy - they sort of like left it alone. I'm waiting on [Chris] Tucker to give me another one. I'm waiting on Eddie [Murphy] to give me something dangerous. I'm waiting on Martin [Lawrence]. Me and Martin are going to get together and do something. So it's like they sort of left the door wide open because when was the last time you've been to a black film and seen a black comedy. So I'm trying to go back and get that, because I went to dramatic roles because everyone else was doing comedy, but now everyone stopped doing comedy and are trying to be dramatic. So I'm going to grab that comedy thing now.

Have you seen anything good that you want to do in comedy?

JF: I've got it. I've got it. Me and Martin Lawrence are doing a Shenehneh and Wanda joint called 'Skank Robbers' and we rob banks from Northern California to Southern California. Can you say wrap? Forget about it. The script is bananas. We shot the trailer already. We got with Screen Gems and they're doing it. Martin Lawrence is a genius and the freakin' best. To see these characters dueling and have a relationship -- 'Thelma & Louise' type joint, it's going to be nuts.

When can we expect to see this?

JF: Next year, man.

JF: I can't speak on that now because there's so much talk about it, and I know that Mike wants me to do it, and I want to do it. I just want to let the dust clear. If we do it, I'm going to reach out to my man Taylor Hackford and try to make it happen.

Any other person out there that you think you could play?

JF: I've always loved the Marvin Gaye story but because we've already done 'Ray' I could never do that.

Why is it that with so many of the top African American pioneers there are so many issues in with who owns the rights to their stories?

JF: Because we live in a capitalistic, greedy society. When you live in a society like that it's tough, especially when it comes to music. Music is like the drug game. Music is like selling dope. These dudes, they play for keeps. If they ain't got what they want out of it, it's not going to happen. Some of the Marvin Gaye story, there are a lot of evil things that went on and people don't want a lot of that stuff to get out.

Whether it's Jackie Robinson, Red Foxx, Richard Pryor, Marvin Gaye, it just doesn't seem like we can't get these stories on the big screen.

JF: Money hungry, brother. Money hungry. We want that money. What I tell people all the time is that I'm not doing it for the money. I'm trying to make history. When I met Martin about Wanda and Shenehneh I said, "Lets make history." We're going to make all the money in the world, but you can't take it with you. But the one thing you can leave is the history of it. They don't get that part of it. All they want is money, man. We've got all these great black iconic figures and we never tell the story because we're so worried about a couple of dollars. But now our kids and kid's kids will never even know these people's stories because we never tell them. So maybe you can keep doing your thing with your interviews and keep bringing it up and maybe they'll loosen up a little bit.

I thought you had great chemistry with Taraji P. Henson in that video 'Just Like Me.' Are we ever going to see you work with her on the big screen?

JF: Oh man, yeah. How great is she, dude? She killed it. Taraji has gone on now to be nominated for Oscars and everything. I can't wait to see what she does next, and I cannot wait to work with her again.

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Coming out this week is 'Black Dynamite,' a hilarious new comedy starring Michael Jai White.

Directed by Scott Sanders, the film also stars Salli Richardson-Whitfield, Obba Babatunde, Kym Whitley, Mykelti Williamson, Bokeem Woodbine, Kevin Chapman, Tommy Davidson, John Salley, Chris Spencer, Phil Morris, Brian McKnight and Arsenio Hall.

The film follows the story of 1970s African American action legend Black Dynamite. When "the Man" kills his brother, pumps heroin into local orphanages and floods the ghetto with malt liquor, Black Dynamite is the one hero willing to fight -- all the way from the blood-soaked city streets to the hallowed halls of the Honky House.

Corporate ambition makes for strange bedfellows when a hard-nosed executive talks her overworked assistant into a marriage of convenience in 'The Proposal,' which is out on Blu-ray and DVD.

Margaret Tate (Sandra Bullock) terrorizes her publishing house co-workers with her abrasive take-no-prisoners management style, especially her overworked assistant Andrew Paxton (Ryan Reynolds). But when Margaret is threatened with deportation to her native Canada because of an immigration technicality, the quick-thinking exec announces that she and Andrew are engaged to be married.

Ambitious Andrew agrees to go along with her scheme if there's a long-awaited promotion in it for him. Everything is going according to Margaret's plan until an overzealous immigration official makes it his business to prove that the couple's engagement is bogus. To demonstrate her commitment to her new fiancé, Margaret agrees to attend a family get-together with her hubby-to-be in Alaska. Margaret's type-A ways put her at odds with her eccentric future in-laws with hilarious consequences until the Paxtons teach her a thing or two about family.

Directed by rising filmmaker Kevin Fitzgerald (aka DJ Organic), 'Freestyle: The Art of Rhyme' documents the freestyle scene from the early 1980s to present day, featuring a who's who of seminal hip-hop figures, including MC Supernatural, Mos Def, Roots members Black Thought and Questlove, Notorious B.I.G., Tupac Shakur, DJ Kool Herc and The Last Poets.

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F. Gary Gray is credited with helming 'Friday,' 'Set it Off,' 'The Negotiator' and 'The Italian Job.' Coming from the music video world, the New York native has achieved success with his films, although his last one, the comedy film 'Be Cool,' didn't exactly do much at the box office, considering it was the sequel to the blockbuster 'Get Shorty.' Now that Gary is back to directing dramatic genres, the outcome of his latest film should be rewarding.

In 'Law Abiding Citizen,' Gary tells the story of a man (Gerard Butler) who, 10 years after his wife and daughter are brutally murdered, returns to exact justice on the assistant district attorney (Jamie Foxx) who prosecuted the case against their killers. His vengeance not only threatens the man who allowed mercy to supersede justice but also the system and the city that made it so.

The film also stars Viola Davis, Bruce McGill, Leslie Bibb, Colm Meaney and Regina Hall.

In speaking with Black Voices, Gray discussed 'Citizen,' getting the Marvin Gaye story to the big screen and walking away from the music world.

What was the most appealing aspect of doing this movie?

F. Gary Gray: The concept. The concept of a man taking an entire city hostage from prison was an incredible to me. That and the script just was really up my alley. If you want to be thoroughly entertained, if you want to sit on the edge of your seat, if you want to watch a movie that keeps you guessing throughout then this is the movie to see.

Was there anything you changed from the initial script to add to your flavor of directing?

FGG: Yeah, absolutely. I made a lot of changes actually, but the gist of the story stayed the same. I just wanted to kind of make it my own. There was a lot of good material to work with. The opening of the movie was somewhat impressionistic, and I wanted to open the movie with a punch in the gut so that people were on notice and realized that this wasn't going to be the average formula revenge thriller. That's what was I going for. That's an example of how I came in and kind of changed it and made it my own.

Did you have anyone as a consultant to advise on what you guys were doing?

FGG: Yeah. I met with the assistant district attorney of Philadelphia who read the script and told us where we needed to make adjustments, police supervision and things like that. We definitely worked with people from the Department of Defense on certain weapons and weaponry and things like that. So there was quite a bit of homework done, but at the same time, it's not a documentary. So we definitely took some liberties in order to get the story into a two-hour movie and hopefully people will end up invested in the characters and follow along in the story we told.

What made you think of the leads for the movie, Jamie Foxx and Gerard Butler?

FGG: They were all on board before me. I got a call from Jamie Foxx, saying, "Hey, listen, I think this material is perfect for us. Read it and tell me what you think. This could be the one." I read it and felt enough that the material was outstanding, and I decided to do it and here we are.

How was it working with the two of them?

FGG: It was great. It was challenging in some instances, but ultimately it was really worth it. Jamie is an amazing guy. I consider him a good friend. Gerard is very, very smart and really focused on making not only his character work but making his story work. So in that regard, I'm really, really impressed with both of them.

Jamie sometimes has a habit of clowning around the set. Did he do that on this movie?

FGG: In some instances, absolutely. I remember on the last day of shooting, we were shooting the last scene in the movie and I'm right in the middle of the take, and he convinces the sound man to play 'Blame it on the Alcohol' and he had 300 extras dancing in the middle of my scene, and it was hilarious. He certainly didn't lose his comedic edge during this film although it was a very serious role.

Your films seem to have in common a cat-and-mouse chase. Is that your style and what gets thrown at you often?

FGG: I don't know if I have a style more so than I love scenes that center around strategy and chess games, smart subject matter that doesn't necessarily fall into the normal kind of common three-act structure. I love the chess game. A good chess game will always attract me to a project, but hopefully people can see that I like to do different things, from comedy to action thrillers. Now I can add psychological thriller to the list. But I try to take risks and try not to do the same thing over and over again.

What's going on with the sequel to 'The Italian Job?'

FGG: Right now I think it's just about making sure the material is good because no one wants to see a sequel that's not better than the first, and that's what's happening right now. They're developing 'The Brazilian Job,' and hopefully it turns out better than the first. If so, we'll all jump in and make it, but I don't think that's something you should rush. That's something that you take your time with and make sure that it's right before you jump the gun.

What's next on your plate?

FGG: I have a few projects, but I'd love to do the Marvin Gaye story. That's something that I'm really passionate about, but there's a lot that has to happen with the music rights because there are a few Marvin Gaye projects that are going on.

It seems like that's a never ending story, the process of getting that film made.

FGG: Well, I think it's a never-ending story because it's a profound story, and I think that just like his life, he had a really difficult life. He had an incredible life. I think that it would be a difficult film to make, but it would be an incredible film. Whether I do it or someone else does it, I think it's a story that should be told, but hopefully it's something that I can get my hands on and really throw up on the screen because I think it's absolutely amazing.

How different are music videos today from the days you were shooting them?

FGG: I don't watch videos today, so I'm not really sure. I focus on movies. I think we had a lot of really big creative in the '90s. I'm not really sure what they're doing today. It's purely a marketing tool, but certainly when I was in it, I enjoyed it because we had the room to do our thing.

What was most challenging aspect of closing out this film?

FGG: Shooting a film in Philadelphia during the winter was challenging. It was really cold. We wanted to make sure that we struck a balance with the storytelling, because it's not an ordinary movie, where you have a good guy and a bad guy and you can pretty much predict what they do. This is a complex story with complex characters and you really have to monitor and measure how far you go with the characters and the storytelling. I think the writing and the rewriting was a challenge and complex. Doing all of that in a cold city was pretty challenging and complex, but there are different times when you struggle through something and good things happens, and that was certainly the case with this movie.

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With Eddie Murphy's box office status on the decline and Marlon Wayan's on the rise, Entertainment Weekly is reporting that Wayans is being tapped to replace Murphy in 'Richard Pryor: Is it Something I Said?' for Adam Sandler's Happy Madison Productions and Sony Pictures.

Directed by Bill Condon ('Dreamgirls'), the movie explores Pryor's controversial brand of comedy and his battle with drugs. The movie is currently budgeted at $20 million.

Chris Rock, Pryor's widow Jennifer Lee Pryor and Mark Gordon will produce the film.

Wayans recently appeared in 'G. I. Joe: The Rise of Cobra,' which grossed $297 million worldwide. In 1999, he turned heads when he played a drug addict opposite Jared Leto in 'Requiem for a Dream.'

Murphy's last film, 'Imagine That,' grossed a dismal $16 million worldwide. Gone are the days when he was the top grossing actor in Hollywood.

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