![]() While Ejogo isn't going to win any Oscar awards anytime soon, she definitely puts the sizzle in sparkle. In fact, the film's real stand-out performances come from Carmen Ejogo and Mike Epps, who are combustible separately but downright explosive together. Her character's big emotional break-through, standing up to mama, feels like Acting 101 with a "B" or "C" grade. ![]() While Sparks certainly has a killer voice and really shines near film's end, she lacks the required emotional vulnerability that would have really sold her character. Having not seen the original 1976 film upon which this is based, I chuckled a bit when I looked up the film following my screening of this Jordin Sparks-led version and realized that Irene Cara, whom I kept thinking would have been much more amazing as Sparkle, actually was Sparkle in the original film. Much like Michael Jackson, until Whitney Houston died she'd become more tabloid fodder than a respected musician/actress and you'd be hard-pressed to find too many folks who were surprised when the news of her tragic death was announced. There's also almost no denying that were Houston still alive, Sparkle would likely be an amusing afterthought with stilted dialogue, hit-and-miss acting and almost achingly bad cinematography that somehow manages to dilute the emotional impact of even the most dramatic scenes in the film. There's almost no denying that Sparkle will add much more of a box-office wallop thanks to Houston's grieving fans, who certainly packed the house during the film's Indianapolis promotional screening and who will likely show up en masse on opening weekend. Houston's last act nearly brilliant cover of "His Eye is On The Sparrow" is a powerful reminder of the talent that once was, but a good majority of Sparkle will likely leave you shaking your head and thinking to yourself "What a waste!" The same is true here, with Houston's pristine vocals a distant memory and her entire being exuding a sort of emotional paralysis that feels like it's a lot more Whitney than Emma. There's more, quite a bit more, but they all pale in comparison to the painful and downright embarrassing cliche' portrayed by Whitney Houston herself, whose appearance here brings to mind that dreadful last turn by John Candy in Wagons East, a film that simultaneously reminded you how brilliant Candy could be and how pitiful it was that it all had to end up the way it did. ![]() Everything is here ranging from the up-and-coming manager who convinces Sparkle to sparkle to Sister's descent into coked out wastoid girlfriend of an abusive comic (a terrific Mike Epps) whose entire career has been built on catering to a white audience. The only thing that saves this pile o' pop cliche's is the outstanding music that fortunately weaves its way through the film and serves to salvage nearly every overwrought and over-written histrionic scene. Dee, on the other hand, is struggling to get to the funding to go to medical school while 19-year-old Sparkle is the good girl of the bunch, a faithful church-goer who writes song after song and is desperate to sing them but who always defers to the seemingly more talented and outgoing Sister. Sister is already headed down the wrong path, the film opening with her having returned home following a failed marriage. Jakes is one of the producers of Sparkle, given the film's Tyler Perry style moralizing and rigid righteousness.Įmma is now the stern, no nonsense mother of three young ladies - Sister (Carmen Ejogo), Dee (Tika Sumpter) and Sparkle (American Idol alum Jordin Sparks). It's not surprising that noted preacher T.D. When the fast life became too much, Emma turned to booze and when that became too much and threatened to destroy her family she turned to Jesus. ![]() Houston plays Emma, a bible totin' former singer whose journey towards success was interrupted by too much fame and too much fortune way too soon. The only thing that sparkles about this remake of a 1976 music melodrama is fool's gold, a deceptive shine on an otherwise dim and uninspired film that will likely garner decent opening weekend box-office thanks largely to the film also serving as a posthumous love song of sorts to the recently deceased Whitney Houston.
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