Cinemablend isn't fibbing when they say the indie house changed once the Weinstein duo deuced. They'll take it even further to call the Weinstein brothers' Miramax the best epitomizer of '90s cinematic kulcha-culture.
And as far as melanin goes before and after the 20th century's end, there are a couple of notable films that earn Miramax a shoutout or quatro. In true Tarantino fashion (he kills me with his awkward 'Blaxploitation' era obsession), there's 'Jackie Brown' starring the still-stuntin' Pam Grier (who I heart!) a conked Samuel L. Jackson, and Robert DeNiro with face fuzz (1997).
There's the all-Salma-Hayek-all-the-time biopic, 'Frida' (2002), which was nominated for 6 Academy Awards that year.
On the international tip, 'City of God' is set in Rio de Janeiro the place, not the tourist attraction (2002), and bypasses mainstream "stars" for story (can you say: chhhhyeeeeeahhhhhboyeeeee!?)
Then there's 'Tsotsi' set in Johannesburg, SA. (It's kinda deep, yo.) Nineteen year old Tsotsi is accustomed to being a badbwoy. He's hijacked a car, as is customary to Tsotsi, but lo and behold, the woman he just shot and the innocence in his backseat is about to change him--living in a shantitown or not. This film is kinda deep, yo. And it's one such flick that may not necessarily characterize Miramax, but moves me to regret its passing, and ponder its potential in this decade.
Otherwise Brownfolk...
Where else would you have found a flick featuring Chewy in drag (Chiwetel Ejiofor in 'Kinky Boots', 2005)?
Vivica Fox dying oh-so-early in 'Kill Bill 1' regretting that she didn't get to be Black Mamba (2003)?
Blair Underwood asking Julia Roberts "Can't a brotha get some looooove?" in 'Full Frontal' before 'Sex and the City's' Miranda gave it to him (2000--and we rolled our eyes, anyways, thanks)?
Nick Cannon as an Iraq War vet to be (Sundance 2008 feature 'American Son', indicative, if I do say so my self, that Weinsteins have left the building)?
