Writer Commentary: The Big Top

 

The Big Top

Genre: Animation/Family/Adventure

Director: Scott Mosier

Writer: Lon Charles

Producer: Jacob Jones

Voice Cast: Macaulay Culkin, Laura Dern, Zooey Deschanel, Johnny Knoxville, F. Murray Abraham, Brian Tyree Henry, Oliver Platt, Chris Pontius, Will Patton

Plot: In the quaint town of Willowbrook, Zachariah's Traveling Circus Spectacular arrives with a flourish. The year is 1955 and the air around town buzzes with anticipation for this year's circus season. Children cling to their parents, wide-eyed as they enter the circus grounds. Zachariah (voiced by Johnny Knoxville) stands at the entrance to the big top gruffly greeting the townsfolk. [1]

[1] I’ve always been a big fan of carnivals, circuses, and sideshows, but I never really tried hard to delve into that world with my work in LRF. That is, until I scratched that itch just a bit with Believe It or Not! After that, I knew I wanted to do something in that type of environment again, but had trouble with ideas. Finally I had the thought of a family-friendly animated film - something I’m sure seemed shocking to those who follow some of my previous LRF work.

When the show begins, Zachariah warns the audience that they are about to see the greatest show on earth. Vlad the Bear (voiced by Oliver Platt), a hulking brown bear, takes center stage as the audience gasps. He performs wrestling moves on human opponents, as the children watch in awe. [2]

[2] Despite writing a family-friendly animated story here, I admittedly was not very familiar with the genre and format. I tried to watch some Pixar (and other animation studio films) with mixed results for ideas. 

Next up in the show is Frank the Elephant (voiced by Brian Tyree Henry). Frank doesn't need to perform any tricks; his mere size and presence is enough to capture the audience's attention. When he lumbers toward the crowd, the ground trembles. The audience erupts in applause, but Frank is bored with the routine. [3]

[3] One of the biggest hurdles was figuring out the characters. I knew I’d need a big cast of animals for my concept. During this hurdle is around when I reached out to Jacob Jones - who has done more animated films in LRF than any other writer. While I didn’t love all of his projects, I could recognize that he had a knowledge and passion for the format that certainly couldn’t hurt my project here.

Gary the Tiger (voiced by F. Murray Abraham) is next on the program. His orange and black fur now has streaks of grey as he has been part of the circus for decades. He leaps through the regular hoops of fire, but his joints ache. As soon as he gets backstage, he wraps his knees with packs of ice to ease the pain.

Charlotte the Chimpanzee (voiced by Laura Dern) assists the circus' strongman Rick (voiced by Chris Pontius) [4]. She adds weights to his barbell that he lifts high above his head. As soon as the crowd leaves their booth, Rick is unkind to Charlotte. She holds her head down, not knowing what else she can do with her life.

[4] The casting of Johnny Knoxville and Chris Pontius may give away my fandom for the Jackass franchise. Knoxville was on my shortlist for Zachariah pretty early one due to his slow, kind of gravelly voice and comedy abilities. At that point, I just wanted to cast a voice actor for Rick the strongman that could have good chemistry with Knoxville. That narrowed down the list considerably, and Pontius emerged as someone who has worked with Knoxville in and out of Jackass as has good comedic timing - so the choice was made and Pontius was able to make his LRF debut.

Beyond the main tent sit Siamese Twins Gladys and Glora (both voiced by Zooey Deschanel). Conjoined at the hip, they don't really perform. With matching dresses and hair braided together, they are merely there as a sideshow attraction.

Milo the Mouse (voiced by Macaulay Culkin) scurries from tent to tent checking in on the circus animals following the show. Milo isn't a circus employee, just a devoted fan who hitched a ride long ago, small enough to hide from Zachariah. [5] Milo checks in on Vlad, seeing the bear is nursing a scraped paw. Milo tells him that he'll find some honey for him. Next Milo darts over to Frank's stall. Frank is bored and half-asleep. Milo assures Frank that one of these days he'll get to do more than just stand there and audiences will go wild for it. Milo continues his rounds, tending to Gary's tinged fur and Charlotte's sore hands.

[5] As soon as I had the concept figured out, I knew a mouse should be the main character and hero of the story. That immediately clicked the character for me, but figuring out the right voice actor to carry the film was quite a process. I recall Jacob Jones talked me out of a couple of my early ideas, but once I stumbled upon the idea of Mac (as he likes to be called - Macaulay Macaulay Culkin Culkin if you want to go with his legal name) as Milo, it just seemed right. 

Milo continues his nightly rounds, cutting through the accountants' tent to save time. Inside, Zachariah laughs. He proclaims that profit margins are up thanks to paying the animals and Gladys and Gloria less than the rest of the human performers in the circus. Milo's heart sinks. Milo scurries back to the animal wagons, finding Gary. When Milo shares what he overheard from Zachariah, Gary proposes that Milo would be a better circus leader than Zachariah because he actually cares about the performers. A light bulb goes off in Gary's mind, realizing that is the perfect idea... they will start their own circus with Milo as the ringleader. [6]

[6] This seemed like the best way to establish Zachariah as the villain and Milo as the hero - almost a “save the cat” moment for audiences. I know the majority of my films for LRF live in a kind of grey area in terms of characters, but given that this film was aimed at younger audiences I wanted to be way more obvious with the various character elements than I tend to be with my traditionally more adult-oriented projects.

Under the dark of night, the animals gather - the bear, the elephant, the chimp, the tiger, the mouse and even Gladys and Gloria. Together they slip away in the night, leaving Zachariah's circus behind. In a clearing beyond town, the animals set up their own big tent. Gary welcomes them all to Milo's Marvelous Menagerie! Milo is taken aback, but all the performers cheer for their new ringleader. Milo promises that everyone will be equal in their Menagerie - a true circus family. In the morning, Zachariah and Rick storm through their deserted circus grounds. He growls at Rick, proclaiming that all of the animals are traitors.

Milo stands before his group of ragtag performers. Gary, the once-mighty tiger, announces that his days of performing are done but while his body is worn down his mind is still sharp, so he will handle the circus' finances. Vlad the Bear puts on a pair of oversized clown shoes. He tells everyone that he is sick and tired of scaring people. He wants people to laugh as a clown instead. Frank the elephant stands on his hind legs with ease. He announces that he will do tightrope walking now as his balance is perfect. Milo tells everyone that Gladys and Gloria are no longer to be gawked at for their appearance, but instead they will be singing in the show as he learned long ago how beautiful their voices are. Gladys and Gloria give the other performers a sample. Their voices entwine in perfect harmony. Charlotte is restless though. She does not have a talent or skill to help pitch in. Milo comforts Charlotte, assuring her that sometimes finding your passion takes time. [7]

[7] I’ll be the first to admit that The Big Top is a little top heavy with world-building and character set-up - maybe overly so. I tried to stick with a traditional three-act structure here, but Act 1 was probably a bit long in hindsight. I did love getting to show off the character talents in this sequence though. The conjoined twins Gladys and Gloria are some of my favorite characters throughout my filmography with the studio. There’s an innate emotional, visual, and empathetic component to them. And Zooey Deschanel seemed like the perfect to bring them to life.

Under a ratty striped canvas, the small audience of Milo's Marvelous Menagerie's first performance begins to gather - families, children, and some skeptics take their seats as the show begins. Vlad begins the show in clown make-up. He rides a unicycle with his giant shoes as the crowd laughs. Frank tiptoes across the tightrope with ease. Gladys and Gloria sing. Charlotte tries a couple different acts. [8] She tries knife-throwing, but her aim is off. She tries to be a human cannonball, but she soars too high and lands too hard. And being a clown alongside Vlad leaves her feeling empty. At the end of the show, the small but excited audience is thunderous. Milo stands in the shadows, watching as his motley crew take their bows.

[8] The concept of Charlotte’s character came pretty early in the writing process, even before I knew which animals would serve which purpose in the story. I just knew I wanted one of the animals to not have an obvious natural talent like some of the others. An outcast among outcasts.

Milo's Marvelous Menagerie grows more popular around town. Zachariah fumes as his once-packed seats are now empty as the townspeople of Willowbrook have instead flocked to Milo's show, drawn by the promise of a show that is truly extraordinary.

Weeks later, Gary excitedly announces to Milo that their little circus is officially profitable. Milo's eyes sparkle and he announces that they should all go into town to celebrate. And so, they march into the local ice cream parlor - Vlad, Frank, Gladys and Gloria, Charlotte, Gary and Milo. As they savor their scoops of ice cream, Zachariah and Rick barge into the shop. Zachariah immediately confronts Milo, accusing him of stealing his acts. Rick flexes his biceps, ready for a fight. Vlad steps forward, ordering Zachariah and Rick to leave them alone. Zachariah storms out of the ice cream parlor as Rick follows him out. Milo thanks Vlad for standing up for him. Vlad announces that nobody messes with their mouse.

Gary opens the circus' mail, discovering a mailed invitation to perform on live television in front of an audience including U.S. President Dwight Eisenhower and his grandchildren - all avid circus fans. [9]

[9] I wrestled with placing the story in a specific time period. But LRF fans familiar with my work know I tend to lead towards fact-based/true story films. I guess placing this during the Eisenhower administration was something I couldn’t help myself with. Plus it seemed like the right era where circuses were at their height of popularity in America.

As the night begins, the performers for Milo's Marvelous Menagerie huddle backstage of the television performance. President of the United States Dwight Eisenhower (voiced by Will Patton) takes his seat surrounded by all his grandchildren. Charlotte excitedly tells Milo that she thinks she has finally found her talent. Milo is happy for her and asks her to show him. She twirls a flaming baton and breathes flames. Milo is happily stunned.

Beyond the spotlight, Zachariah seethes. Having caught wind of the televised performances, he and Rick sneak backstage and begin to loosen various bolts and cut various ropes.

As the curtain rises, Milo greets the audience and welcomes them all to the show - the greatest show on Earth! Gladys and Gloria open the show with their singing, weaving notes of love and longing. Vlad the clown comes out next, juggling rubber chickens to the audience's delight. Charlotte breathes fire in front of the audience and twirls a flaming baton. The grand finale is set to be Frank walking the tightrope.

Suddenly the tightrope appears sagged and frayed. Frank climbs the steps, unaware. Milo notices the issue and darts toward the rope. With only seconds to spare, he ties knots and secures the line. When Frank steps onto the tightrope, it is tight as can be. In the shadows, Zachariah fumes. His sabotage has failed. Furious, Zachariah emerges. He aims to crush Milo the mouse under his foot. Vlad intervenes with a massive roar. He swipes his paw at Zachariah, sending him flying into the crowd with one motion.

President Eisenhower leans forward in his seat, his grandchildren wide-eyed. Eisenhower orders that Zachariah is arrested. As police drag Zachariah out of the big top, President Eisenhower asks that the show continues. The Menagerie roars back to life. [10]

[10] One thing not entirely common with most of my films is a happy ending. That was a big change for me as a writer as a lot of my earlier films featured more ambiguous or even tragic or sad endings. I had to remind myself here and there with this project overall that families and younger audiences want/demand a certain amount of positive payoff by the end. Sometimes I’ve thought that maybe I leaned too hard into that with the ending here, but it is what it is.

After the show, Milo stands at the center of the big top, thanking the audience for choosing to spend their time and money on their show. [11]

[11] And that’s a wrap on The Big Top. Thanks to everyone who made it through this commentary for my first animated project. It won’t be the last either - but I will say that you all can expect more of my traditional fair going forward, but maybe with an animated family entry here and there. 

A Second Look: Painkiller Jane

 

Welcome back for another edition of A Second Look with Jeff Stockton! In this segment I will take a "second look" at a past LRF release with a fresh set of eyes. 

When Painkiller Jane first debuted in Season 18, I remember being caught off guard by how funny it was. Based on a cult comic and directed by John Wick’s Chad Stahelski, the film follows NYPD detective Jane Vasko (Jessica Chastain), left in a coma after a drug bust gone wrong. Two years later, she wakes up, discovers she can heal from any wound, and sets out on a bullet-riddled revenge spree against the Blanco brothers (Wilmer Valderrama, in dual roles). What could have been grim pulp turns instead into a surprisingly lively mix of action, dark comedy, and character-driven melodrama. The cast seemed to be having a blast—Chastain’s intensity anchored the chaos, Jason Mantzoukas was hilarious as her loyal partner, and even Adam Scott managed to make the “sad fiancé” trope memorable. My biggest complaint at the time was that the movie could have used more action, but I still gave it a strong score for being funnier and more self-aware than expected.

Rewatching it now, I’m less enamored. The film’s tone feels wobblier than I remembered - caught somewhere between revenge thriller, campy superhero flick, and offbeat romantic drama. Stahelski stages a few solid gunfights, but the story never fully exploits its own premise: a sexy, near-invincible cop using her healing powers for vengeance. Chastain remains excellent - cold, fierce, and magnetic - and Mantzoukas is still an absolute delight, but the rest hasn’t aged gracefully. The lesbian subplot between Jane and her nurse feels shoehorned in, well-intentioned but awkwardly handled, and the movie’s sense of humor occasionally undermines its more emotional beats. There’s still a lot to like, but Painkiller Jane ultimately plays like a strong concept never pushed to its full potential.

Original Grade: B+

New Grade: B-

Painkiller Jane Link: https://lrfdatabase.weebly.com/painkiller-jane.html

Release: Assata

 

Assata

Genre: Biography/Crime

Director: Ryan Coogler

Writer: Dawson Edwards

Cast: Teyonah Parris, Brian Tyree Henry, Tessa Thompson, Aldis Hodge, Wood Harris, Janelle Monae

Budget: $27,000,000

Domestic Box Office: $31,330,075

Foreign Box Office: $10,021,777

Total Profit: -$1,100,009

Reaction: Even with the lack of marquee names in this one, it still almost managed to break even at the box office so it's not the worst outcome.

“The strongest thing that Assata has going for it is Coogler’s vision behind the camera, leading to thrilling sequences of both tense dialogue and intense action. The entire film rides on the back of Teyonah Parris, who handles those duties well. In exchange, it felt like the supporting characters were hardly there–although her brief scenes with Bryan Tyree Henry are particularly strong. This is an inherent challenge with telling a story over the course of fifteen years, as some parts felt sped through in favor of the big set-pieces.” - Gregory Fletcher, Los Angeles Times-Journal

"Okay, so I didn’t know who Assata Shakur was before seeing this. Teyonah Parris is fire under direction of Ryan Coogler. Sure, it gets preachy at times, and something tells me it may play a little fast and loose with the facts, but you can’t deny how timely it feels. Whether you think she’s a hero or not, Assata turns the volume up on how we tell stories about power, resistance, and who gets to write the narrative." - Chuckie Smits, MovieCrush Daily 

"Ryan Coogler's Assata is undeniably well-crafted, but the film’s reverence for a convicted cop-killer is troubling. Teyonah Parris shows some star potential in the lead role, but the screenplay veers toward hagiography, glossing over the violence and legal complexities that define Assata Shakur’s real-life legacy. The film romanticizes revolutionary violence with little reflection, and in doing so, walks a morally precarious line. A more balanced take could have had a strong impact, but telling the story so one-sided left me confused by the filmmakers' take." - Brad Quinn, The National Review of Culture

Rated R for violence, language, and thematic material.

Fact to Film: Assata

 

Welcome back to Fact to Film! After just a couple rounds away we are back, this time taking a look at the crime biography Assata. The film centers on controversial Black Power activist, bank robber, convicted murderer, and fugitive Assata Shakur. Ryan Coogler (Fading Nights, The Beat Goes On) directs from a script by Dawson Edwards (Blade, Heist Society).

Now Showing: Assata

 

Assata

Genre: Biography/Crime

Director: Ryan Coogler

Writer: Dawson Edwards

Cast: Teyonah Parris, Brian Tyree Henry, Tessa Thompson, Aldis Hodge, Wood Harris, Janelle Monae

Plot: The screen fades from black to a dimly lit highway, the stillness broken by the flashing red and blue lights of a police cruiser. The opening scene is harrowing: a confrontation on the New Jersey Turnpike in 1973. Assata Shakur (Teyonah Parris) is slumped against a car, bleeding profusely. Her comrades, Zayd Malik Shakur (Aldis Hodge) and Sundiata Acoli (Wood Harris), are amidst chaos. Gunfire erupts, and the air fills with shouting officers and the wails of approaching sirens. Zayd lies lifeless on the asphalt. The camera lingers on Assata’s face, her eyes heavy with pain and defiance.

As the sounds fade, we go back to Assata’s childhood in Wilmington, North Carolina. Young JoAnne Deborah Byron—her birth name—is seen playing in her grandparents’ yard. Her grandmother’s stern but loving voice overlays the scene: “You hold your head high, JoAnne. Don’t let anyone walk over you.” The world is bright, filled with warm family gatherings, but the shadow of systemic racism looms.

In another flashback, teenage JoAnne navigates the bustling streets of New York City after moving to live with her mother. Here, she begins to see the stark inequalities of her world. Segregation isn’t confined to the South; it’s alive in the slums of Harlem and the underfunded schools she attends. Her sharp intelligence and questioning nature mark her as different, as someone destined to challenge the status quo.

The film transitions to Assata as a college student at the City College of New York. The scene opens in a packed lecture hall, where her professor, a bespectacled man with a stern demeanor, writes "Civil Rights Act of 1964" on the chalkboard. "This legislation marked a turning point," he says. Assata raises her hand, her expression sharp and unyielding.

"Professor, isn’t it true that economic disparities for Black people have grown worse despite these laws? And what about Black women? Where is their voice in this history?" Her voice is steady but charged, drawing the attention of her peers.

The professor stammers, clearly unprepared for her pointed questions. "Well, Miss Shakur, these are... complex issues."

The room buzzes with whispers as Assata leans back in her seat, her eyes scanning the room. A young man sitting beside her whispers, "Damn, you really shook him up."

Cut to Assata outside the classroom, her fist raised as she marches alongside a group of students in a campus protest. Signs reading "Justice Now" and "Equal Pay for Black Women" bob in the air. The chants echo: "No justice, no peace!"

Later, the camera pans through her small dorm room, a cluttered yet vibrant space. Dog-eared books by Malcolm X, Frantz Fanon, and Angela Davis are stacked precariously on a desk. A bulletin board adorned with protest flyers and newspaper clippings dominates the wall. Assata sits cross-legged on her bed, engrossed in a book, the faint sounds of a distant rally filtering in through the open window. Her resolve is palpable, her transformation taking root.

Her transformation accelerates as she joins the Black Panther Party. The scene opens with Assata entering a bustling Panther headquarters, the air electric with activity. She is introduced to Afeni Shakur (Janelle Monae), a fierce and articulate organizer. Afeni’s piercing eyes meet Assata’s. "Sister, welcome to the fight," Afeni says, clasping her hand firmly. The camera lingers on their handshake, symbolic of the bond they are about to forge.

Moments later, Mutulu Shakur (Brian Tyree Henry) enters, a calm yet commanding presence. He spreads blueprints on a table, outlining a new community health clinic initiative. "We’re not just here to survive," he says. "We’re here to build."

The montage that follows is vibrant and kinetic: children receiving free breakfast, women and men learning to read, medical supplies being delivered under the cover of night. The debates, however, are as fiery as the actions. In a dimly lit meeting room, Assata sits at the center of a group of Panthers, her voice firm and unwavering. “We can’t just react. We need a strategy that’s sustainable,” she declares, pounding her fist on the table for emphasis.

Mutulu Shakur leans forward, his tone measured but resolute. “Sustainable?” he counters. “Sister, we’re fighting a war. When they come for our people, we don’t have time to debate. Action saves lives.”

Assata’s eyes flash. “And then what? We save a life today and lose a hundred tomorrow because we didn’t think it through?” She gestures to a map pinned to the wall, marked with red circles. “Look at their reach. We’re outnumbered, outgunned. If we don’t build a foundation, this house will crumble.”

A murmur ripples through the room. Another Panther interjects, “She’s right, Mutulu. We need both—immediate action and long-term vision.”

Mutulu exhales sharply but nods. “All right. What do you propose?”

Assata steps to the front, her movements deliberate. She outlines a plan to strengthen community networks, ensure safehouses, and create a system of coded communication. The room listens intently, the tension giving way to a shared sense of purpose. The camera lingers on their faces, resolute and united, as the debate concludes with a mix of grudging respect and collective resolve.

The tension rises as the FBI’s COINTELPRO tactics close in. One evening, as Assata leaves the headquarters, the camera cuts to a dark sedan parked across the street. Inside, two agents speak into a wire recorder. "She’s gaining influence. We need to neutralize her," one says, his voice cold and methodical. The next scene shows a midnight raid, chaos erupting as documents are seized and members are arrested. Assata narrowly escapes, the tension in her face underscored by the flickering of red and blue lights reflected in her rearview mirror.

By day, the weight of party conflicts becomes apparent. The strain shows in Assata’s private moments, her hands shaking as she holds a cup of tea. A quiet scene shows her writing in a journal: "If we can’t unite, how can we win?"

Joining the Black Liberation Army (BLA) signals a decisive shift in Assata’s revolutionary path. It is no longer just about organizing or protesting—it is about active resistance, often in secrecy and always with calculated risks. The scene opens with Assata entering a dimly lit basement, the air heavy with tension and purpose. A bare bulb swings slightly, casting flickering shadows over the faces of a small group gathered around a table strewn with maps, radios, and tactical blueprints.

“We’re not just reacting,” says one member, his voice low and gravelly. “We’re building a network, a structure that can strike back and protect our people.”

Assata leans forward, her eyes scanning the plans. The tasks laid out are daring and precise: organizing safehouses, intercepting communications, and securing resources for survival. The stakes are clear, as every step they take places them deeper in the FBI’s crosshairs.

Cut to a montage of BLA activities: Assata, wearing a wig and sunglasses, slips into a crowded subway station, her movements quick and deliberate as she delivers coded messages. Another scene depicts her standing outside a suburban bank, her breath visible in the cold air as she scans the street for signs of trouble. Inside, masked comrades coordinate a bank robbery with precision, their voices sharp but controlled. The camera focuses on Assata’s tense grip on the getaway car’s steering wheel, her eyes darting between the bank entrance and the rearview mirror. Tires screech as they speed away, the wail of police sirens chasing them into the distance.

The tension escalates as the montage shifts to the ensuing manhunt. Federal agents swarm abandoned buildings, their flashlights cutting through darkness as they search for any trace of the BLA. Assata, now moving from safehouse to safehouse, burns documents in a trash can, her face illuminated by the flickering flames. Another scene shows her narrowly escaping a raid, leaping over fences and sprinting through alleyways as floodlights sweep the area. Her breath comes in sharp bursts, the sound underscored by the relentless shouts of pursuing officers.

Late one night, she sits with another member dismantling a radio, her fingers deftly assembling a frequency scanner to intercept police transmissions. The radio crackles to life, and the voice of an officer details their next move. Assata exchanges a grim look with her comrade, the weight of their fight pressing down but failing to extinguish her determination.

The constant threat of danger is palpable. The camera pans to a clandestine meeting in a remote park. Assata and her Brothers discuss plans in hushed tones, their breath visible in the cold air. The sound of rustling leaves snaps everyone to attention. “We need to move,” Assata whispers, her hand instinctively brushing against a concealed weapon.

Her resolve is hardened by the haunting memories of leaders like Fred Hampton, brutally assassinated. In a private moment, she reflects on the growing list of casualties in their fight for liberation. “Every name,” she murmurs, writing in her notebook, “is a promise. We carry them forward.” The camera lingers on her face, a mix of grief and determination as she prepares for the road ahead.

She sits alone in a sparsely furnished room. The distant hum of the city filters in through the cracked window. She holds a worn photograph of her mother and sister, her fingers tracing the edges as tears brim in her eyes. Her voiceover begins, soft yet resolute: “To fight for freedom means giving up pieces of yourself. Every step forward costs something—a friend, a family, a moment of peace. But what choice do we have when the cost of silence is so much greater?” The camera lingers as she places the photo gently back into her pocket, her expression a mix of sorrow and unyielding determination.

The scene flashes back to the New Jersey Turnpike in 1973, with a lone vehicle, a beige Pontiac, traveling down the darkened highway. Inside, Assata Shakur sits in the backseat with Zayd Malik Shakur at her side, while Sundiata Acoli drives with tense precision. A quiet yet charged conversation fills the car, their words betraying a mix of camaraderie and apprehension.

"We’ve been watched for weeks," Zayd says, his voice low. "We need to lay low after this drop."

Assata nods, her gaze steady but distant. "We’ve got no choice but to keep moving," she replies.

Suddenly, the ominous glow of red and blue lights bathes the car’s interior. "Shit," Sundiata mutters, pulling the car to the shoulder. The camera captures their rising tension as a state trooper approaches, flashlight beam slicing through the darkness.

"License and registration," the trooper demands, his tone clipped. Before Sundiata can comply, a second trooper arrives, his hand hovering near his holster.

“Step out of the vehicle,” the second officer orders, his voice tinged with aggression. Zayd’s eyes meet Assata’s in the rearview mirror, an unspoken message passing between them.

The moment fractures as Zayd’s door opens and chaos explodes. A shot rings out—who fired first is unclear. Zayd slumps to the ground, blood pooling beneath him. Assata scrambles out of the car, clutching her side as a bullet tears into her arm. Sundiata bolts into the woods, the camera following his frantic movements before cutting back to Assata.

The scene is frenetic, the sound of gunfire mingling with shouts and the wail of sirens approaching in the distance. Assata falls to the asphalt, her breaths shallow, her blood streaking the pavement. The troopers, now shouting incoherently, drag her roughly to the ground. One presses a knee into her back, his gun aimed at her head.

"Which way did he go?" the officer snarls. Assata, her face etched with pain, whispers, “I don’t know.”

“Finish her off,” one trooper mutters, but another waves him off. The camera lingers on Assata’s face, her defiance unbroken despite the agony.

The screen fades to the fluorescent glare of a hospital, where Assata’s body is manhandled as detectives pepper her with questions. The camera captures every indignity: the clumsy removal of her blood-soaked clothes, the sneering interrogations, and the whispered debates over whether she’ll survive the night.

This visceral sequence transitions to her trial, where Assata’s fiery cross-examinations contrast sharply with the cold indifference of the jury. Evelyn Williams (Tessa Thompson), her aunt and attorney, stands as a pillar of strength, countering the prosecution’s narrative with tenacity. The day Assata was arrested on the turnpike, Evelyn quit her job at New York University Law School to become her lawyer. "This is not justice, this is a travesty of malpractice at every conceivable level. This court has tried to convict her twice before. You failed then, and you will fail now. YOU WILL STOP TARGETING ASSATA SHAKUR! " Evelyn declares in a packed courtroom, her voice resonating. The scene concludes with Assata’s piercing gaze locking onto the jury, her resolve undimmed despite the biased system stacked against her. Evidence of racial bias be damned, a jury finally found her guilty.

A harrowing sequence depicts Assata’s time in prison. The audience feels her isolation as she’s subjected to physical abuse and psychological torment. Her bond with other incarcerated women, however, becomes a lifeline. These scenes are tender and raw, showing solidarity and resilience in the face of dehumanization. Assata’s determination to fight—both legally and spiritually—is palpable.

After a guilty verdict, Assata is serving time in New Jersey.Assata Shakur sat on the edge of her cot, her heartbeat steady but strong, her mind sharpened to a singular purpose. Her comrades had assured her the plan was foolproof, but doubt lingered like a shadow in the corners of her cell. She clenched her fists, willing herself to stay focused.

The signal came just after the last rounds of the guards' shift change. A sharp knock on the metal pipes outside—three quick raps, a pause, then two more. Assata rose, slipping into the guard uniform that had been smuggled to her in pieces over the weeks. Every seam, every thread of the disguise felt like a lifeline as she smoothed the fabric and adjusted the cap.

Down the corridor, a commotion broke the silence. A diversion. Two women posing as visitors had drawn the guards’ attention, one producing a concealed weapon and demanding the guards step back. The confrontation escalated as another accomplice brandished a smuggled firearm, the glint of metal sending shockwaves through the room. Shouts erupted, and in the chaos, Assata moved.

Her movements were deliberate, carrying the practiced ease of someone who belonged. She passed one guard—a young man whose trembling hand hovered near his radio—but the urgency of the standoff kept his attention elsewhere. The stairwell loomed ahead, and she moved swiftly, descending into the lower levels where the service exits were located.

In the dim light of the basement, two of her brothers waited, their faces taut with determination. One handed her a set of keys, his voice barely above a whisper. "This is the hard part. Stay low, stay fast."

Assata nodded, the gravity of the moment heavy in her chest. She crouched low as they unlocked the door to a utility corridor, the metal hinges groaning slightly. Beyond it was the final barrier—a steel exit door leading to the outer perimeter. One comrade kept his weapon trained on the entryway, his knuckles white against the grip. "If anyone comes, we handle it," he said, his tone flat.

Her people inside the van exchange anxious glances as they spot her silhouette emerging from the shadows. "You’re late, my Sister. You’re making my plan look bad." Mutulu says with forced humor, his voice betraying his relief. Assata climbs in, and the van speeds off, its tires screeching against the asphalt.

As they navigate through side streets and evade roadblocks, the tension inside the van is palpable. Assata peers out the window, her reflection merging with the blurred lights of the city.

The scene ends as the van disappears into the night, the prison receding into the distance. Assata’s relief is muted, her gaze heavy with the weight of those she left behind. The camera lingers on her face, capturing the mixture of freedom and loss that defines her escape.

It's in Cuba where Assata finds asylum. The vibrant streets of Havana contrast sharply with the gray cells of her past. Assata’s life in exile is bittersweet. The audience sees her teaching local children, writing her autobiography, and reflecting on the movement she left behind. Her monologue to the camera is poignant: “I am free, but my people are not. This is not an end, but a continuation.”

The film closes with a montage of modern-day protests, echoing Assata’s words and legacy. Her final words of her autobiography appear on the screen:

“Everyday out in the street, I remind myself that Black people in Amerika are oppressed. It’s necessary that I do that. People get used to anything. The less you think about your oppression, the more your tolerance for it grows. After a while, people just think oppression is the normal state of things. But to become free, you have to be acutely aware of being a slave.”

The credits roll to a powerful soundtrack blending revolutionary anthems with Afro-Cuban rhythms.

In Development

 

Police Story: Retribution: The returning stars of the Police Story franchise will have company in the form of some new faces to the franchise with the additions of Karl Urban (The Lone Gunman, The Betrothed), Hiroyuki Sanada (Gamera, Among Us), and Jessica Henwick (Photographs, Mortal Kombat II) set to complete the cast. Mathieu Kassovitz is directing this entry from a script once again by Meirad Tako.

Coriolanus: Also officially completing its casting process now is the latest Shakespeare adaptation from writer Jimmy Ellis. Stephen McHattie (Amityville, My Animal), Damian Lewis (Camp Manhood, The Crucible), and Rene Russo (The World: Done to Death, The Raven) will be those final additions to the soon-to-be-released film. David Lowery directs.

Ruby Ridge: The film detailing the true story of the Ruby Ridge siege has added Matt Jones (Swamp Thing 2, Free the Chicago Seven!), Marc Menchaca (The Champ, Justice League Dark), Ki Hong Lee (Standing Back, Looks That Kill), and Don Johnson (Blood on the Moon, The Hulk 2) to its cast. Jones will play a friend of the Weaver family, Menchaca will play a DEA informant, Lee will play a sniper, and Johnson as Bo Gritz - a famed soldier, lawyer, and political figure who became part of the ordeal. Kathryn Bigelow is directing the film from a script by Lon Charles and Dwight Gallo.

Superman: Doomsday: A lot of faces familiar to the Superman franchise are set to return for Superman: Doomsday, with Frances McDormand (The Driftwood Populace, Superman: Exile) as Martha Kent, Bradley Whitford (Superman: Exile, Good Marriage) as Perry White, Hugh Laurie (Superman: The Last Son of Krypton, Haunted) as Emil Hamilton, and Noel Fisher (The Producer, Superman: Exile) as Jimmy Olsen as the latest returnees. Jeff Nichols is once again directing the DC film from a script by John Malone.

ThunderCats: Jack Reynor (The Avengers, Sins of the Father) finally has his wish as the development package he brought to the studio for an adaptation of the famed Thundercats cartoon is finally on the way to the big screen. Reynor will play the lead role of Lion-O. He will be joined in the film by Yahya Abdul-Mateen II (The Long Way Home, Man Made Machine) as Tygra, Dave Bautista (Batman: Knightfall, Man Made Machine) as Panthro, Eiza Gonzalez (The Fall Guy: Trouble in Tahiti, Mexican Gothic) as Cheetara, and Bill Skarsgard (The Lights, Supercrooks) as the villainous Mumm-Ra. Jonathan Liebesman (Battle: Los Angles, Wrath of the Titans) has been hired to direct the film from a script by Joshua Collins (Tethered, Punch Buggy).

Tara's Wrath: Victoria Pedretti (Songbird, Sexual Paradise) is set to return for a third time is Tara Maritato, the femme fatale at the center of Tara's Web and Tara's World. This third film will not be written by the series' original writer Jacob Jones though, as Roy Horne (Hideaway, Scarlet Witch) has taken over for the trilogy capper. Jacob Elordi (The Lone Ranger, American Gigolo) will be returning as Andrew Miller from the first film, a young man who had his future ruined by Tara, after sitting out the sequel. Lynne Ramsay (Tara's World, Rock Paper Scissors) is returning to direct.

PREMIERE MAGAZINE #338