Tag Archives: Michael B. Jordan

Coach and Spike Lee Just Released a Dusty, Dreamy Short Film Starring Michael B. Jordan

Michael B. Jordan is keeping busy. Fresh off a trip to the Oscars, the actor is now starring in a new short film directed by none other than Spike Lee. The 90-second clip is called Words Matter, and it’s part of Jordan’s work with Coach as the brand’s global face for menswear. 

The new clip, entitled Words Matter, focuses on replacing negativity with something a little more hopeful.

In it, the Black Panther star hits the desert outside L.A. on a motorcycle (clad, of course, in Coach gear) and discovers a series of rocks with words like “evil” and “bigotry” written on them. He tossed them aside. Then he wanders a little further, towards a lonely swing set that’s appeared for some reason—just go with it, okay?—and replaces the rocks with new ones, this time emblazoned with words like “truth” and “love.” Nary a word is spoken aloud the entire time. It’s all about the vibe.

“Collaborating with the iconic Spike Lee on this short film for Coach was an inspirational experience,” Jordan said in a press release. “Spike’s art has moved the cultural dial for decades. I’m proud of the powerful messaging of this film and to be working alongside a brand that cares about putting that narrative into the world as much as I do.”

Lee also chimed in. “I’m honored to get to collaborate with giants in their respective fields, Michael B. Jordan and Coach,” he said. “It was truly a magical day working, shooting in the desert. Enjoy.”

Michael B. Jordan Discusses Creed II & Getting In Killmonger Shape | Open Late “The Switch Up” LIVE

“Open Late” is switching things up and headed to ComplexCon. Peter Rosenberg sits down with Emmy-nominee Michael B Jordan to chat Black Panther, the upcoming Creed II, and why he’s getting politically active this year. As always, AraabMuzik holds it down on the MPCs.

Sundance 2013 Review: Ryan Coogler’s Lauded ‘Fruitvale’


Fruitvale has become the darling of this year’s Sundance festival, and rightly so. The drama, chronicles the real-life murder of 22-year-old Oscar Grant, who in the early hours of New Year’s Day 2009 was fatally shot in the back by an officer after being detained in the wake of an altercation that he was not involved with. The incident, captured by the camera phones of numerous onlookers at the Fruitvale BART train station in Oakland, prompted national outrage in what was not the first and would certainly not be the last senseless murder of a young black man at the hands of law enforcement.  Helmed by first-time director Ryan Coogler and produced by Academy Award-winning actress Octavia Spencer (who makes a brief but powerful appearance in the film as Grant’s mother), the film puts as much focus on the fatal shooting as it does on what preceded it, painting a picture of Oscar as not only a symbol of police injustice, but as a son, a father to a young daughter (Ariana Neal) and a boyfriend trying to do right by his girl (the wonderful Melonie Diaz). The cast, rounded out by Chad Michael Murray, Kevin Durand, and Ahna O’Reilly are all stellar, but it’s lead actor Michael B. Jordan who truly carries the emotional weight of the film. Jordan has turned in what will most definitely be a career-defining performance. Best known for his work on the TV series Friday Night Lights and more recently the found footage movie Chronicle, the young actor has proven here that he is not only ready but seriously deserving of so-called A-List status. The quiet beauty of the role is that he isn’t perfect – at the top of the film Oscar has only just ended his weed-selling; a flashback later in the film reveals his mother visiting him in prison for an undivulged crime. Still, Coogler takes care to frame his screenplay, no matter Grant’s passed mistakes, as ultimately the story of an extremely decent person. Indeed, the film casts a very sympathetic eye on Oscar, shedding a slightly more ambiguous light on the cops who detained and killed him. Detractors may say that the film wears its agenda too obviously on its sleeve, warping what might or might not be the “truth” for its own convenience. But what is perhaps most interesting about Fruitvale is that it stands at the intersection of cinema and a digital age where sites like YouTube and WorldStarHipHop have complicated the very notion of what the “truth” even is. CONTINUE READING