Vincent is amazed by the box-office legs of I Love Boosters, the latest surreal treat from writer-director Boots Riley. The Men of Micheaux debate the biggest flop in the filmographies of Spike Lee, Malcom D. Lee, Barry Jenkins, Antoine Fuqua, and Tyler Perry. In 1987, The Fat Boys vied for the title of "the Next Three Stooges" but failed to deliver the patented eye poke.

BADDD SONIA SANCHEZ @ Bryn Mawr Film Institute | The Be Reel Micheaux Screening Series

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The Men of Micheaux expand on their previous mini-reviews to share their full thoughts on the biggest music biopic of all time. They honor the passing of music impresario "mafioso?" Clive Davis and stack his 'degrees' against those of the equally legendary Quincy Jones. They also stack the filmographies of the Wayans Family and the Tyler Perry Cinematic Universe side by side. The music of John Coltrane and The Chipmunks inspires the Men in special ways, and Vincent goes Six Degrees to a couple of other Michaels in film.

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Vincent and Len ponder the success rate of legacy reboots such as Bad Boys, What’s Happening Now, and King of the Hill. They share a brief glimpse into What They’ve Been Watching and go Six Degrees to 50 Cent and Aaliyah. Then, the Men of Micheaux settle in for separate views on writer-director Melvin Van Peeples’ Don’t Play Us Cheap, which begs the question - WTF?

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We remember Peabo Bryson, Phyllis Hyman, and Chadwick Boseman—all gone too soon, leaving behind legendary work, including Ma Rainey's Black Bottom. We also debate the merits of A Diff'rent World redux, the Philly bona fides of the late Pearl Bailey and Edgar Allan Poe, and the funky jazz of Charlie Brown.

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The Men of Micheaux settle in to review 1993's CB4, marveling at the many gifts of Khandi Alexander on display and underutilized. They also remember what it was like to behold the Charlie Murphy experience for the first time and the understated brilliance of Phil Hartman and Chris Elliott. And then there's the Allen Payne of it all and, of course, Chris Rock. Before he was Chris Rock, he was Chris Rock.

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Vincent and Len debate the merits of a new way to determine the ‘blackness’ of a film, with an old friend coming home. Vincent is dazzled by the talented Kara Young as she burns up the screen in Is God Is and I Love Boosters. The Men of Micheaux try to break down the etymology of ‘LaToya’ (as in Jackson), and then, regretfully, they review 2007’s Who’s Your Caddy, which is perhaps the “Godfather” of the Don Michael Paul filmography.

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The Men of Micheaux are asked to make more content on The Jacksons, and its the American Dream of Vincent’s life. What would the original King Long (1933) tell a traveling alien about our feelings on race and sexuality? Angela Bassett is one of Hollywood’s most acclaimed actors, but Len’s sister ain’t hearing that noise. Was the Roast Of Kevin Hart necessary? And how did Gregory Hines find himself at the EVE OF DESTRUCTION?

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Writer-Director DAVID DYLAN THOMAS brings his horror expertise and stinging curiosity to the Mission to review the “infamous” 1975 film Welcome Home Brother Charles, featuring three afros, two policemen, and one Dick between them. Plus, David has a story to tell about Zombie Slaves and White Meat Buffets in WHITE MEAT: APPETIZER, the prelude to White Meat, The Movie.

Learn all about it and how you can be part of the coming Horror gem at whitemovie.com

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Vincent and Len chat about their ideas for Black sci-fi movie composers, a classic film playlist for the 10-year-old, and compare Frankenstein, Radio, and Harry and the Hendersons to 2009's The Blind Side, which is a really, really, really, really bad Black movie.

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Vincent shares his thoughts on the phenomenon called MICHAEL (in theaters now, as if you didn't know); the Men of Micheaux list the great biopics that got the assignment right and determine the greatest Black animated character of all time. Then, they turn their attention to Destination: Planet Negro and appreciate the indie comedy's reach for the stars (or Mars).

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