Keith David on his incredible career: ‘I want you to understand Black men as full-scope human beings’

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The hard-working character actor has over 400 screen credits, from The Thing to Platoon to Rick and Morty, and he isn’t slowing down any time soon Keith David’s voice precedes him. Deep and resonant, with mellifluous notes that hark back to his boys’ choir days, it has spent decades inhabiting warriors, gods, rogues, fathers and a welter of cartoon oddballs. Before David appears in a Zoom window from his Los Angeles home office, his voice reverberates through my tinny laptop speakers like a foghorn. “Can you see me now?” he booms once our connection is established after fits and starts. “OK. Outside of technology, you know I’m … OK.” He fizzes about the project he just wrapped: a dark buddy comedy called My Friend Jim, in which he stars opposite Rob Lowe. It’s the latest entry in a seemingly unstinting slew of productions that have kept him booked and busy since the late 1970s, from The Thing to Platoon to There’s Something About Mary to Nope. Continue reading... from Film | The Gua...
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Dance Revolutionaries review – performers dance like nobody’s watching

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This two-part homage to dance greats Robert Cohan and Kenneth MacMillan captures the intimacy of live performance

Here is a two-part documentary that pays homage to dance greats Robert Cohan and Kenneth MacMillan. Directed by David Stewart, Dance Revolutionaries essentially presents two pieces performed by dancers from the Yorke Dance Project and the Royal Ballet, and with the noble intention of making modern dance immersive and accessible.

The first part, Portraits, is choreographed by Cohan (who died in 2021) and aims to “explore life’s private moments” in six solo performances created in collaboration with its cast. In theory, you’d think a dance film would fail to capture the intimacy of a live performance, but somehow Portraits accentuates it; the uninhibited passion of the dancers and lack of direct performance to the camera make it borderline voyeuristic. Each dance is set in a public but desolate place, from office buildings, and a seafront to a graffiti-scrawled tunnel, creating a sense of vulnerability and familiarity. You feel you are peeking in on an individual’s emotional turmoil that can only be expressed through dance, and it’s hard to look away.

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