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Actor: Ernest R. Dickerson

Ernest R. Dickerson is a highly respected American filmmaker known for his work as a director, cinematographer, and producer. Rising to prominence as the cinematographer for several of Spike Lee’s early films, including “Do the Right Thing” and “Malcolm X,” Dickerson has made significant contributions to the world of cinema. As a director, he has helmed numerous feature films, television episodes, and music videos, showcasing his skill in visual storytelling and his ability to evoke powerful emotions from audiences. Dickerson’s work often explores themes of race, identity, and social justice, earning him praise for his thought-provoking narratives and authentic portrayals of diverse characters. With his talent and passion for filmmaking, Ernest R. Dickerson continues to leave a lasting impact on the industry.

  • The Wire

    The Wire explores the interconnected lives of law enforcement, drug dealers, and residents in Baltimore, shedding light on the complex social and political dynamics that shape the city’s landscape. Through the lens of crime, corruption, and bureaucracy, the series delves into themes of power, morality, and the human condition.

  • The Wire – Episode 1

    Tensions escalate as the police crack down on drug trafficking in the city, leading to a series of high-stakes confrontations between law enforcement and the criminal underworld. Meanwhile, personal and professional conflicts come to a head, putting lives on the line and pushing characters to their limits.

  • The Wire – Episode 2

    The investigation into a major drug operation takes a surprising turn, uncovering corruption within the police force and putting detectives’ lives at risk. As tensions mount, alliances are tested and the line between right and wrong becomes increasingly blurred.

  • The Wire – Episode 3

    The war on drugs intensifies as law enforcement and drug dealers engage in a deadly game of cat and mouse. Amidst rising tensions, personal vendettas and political agendas collide, threatening to unravel the fragile balance of power in Baltimore.

  • The Wire – Episode 4

    The investigation into a high-profile murder exposes deep-seated corruption within the police department, forcing detectives to confront the moral compromises they’ve made in pursuit of justice. Meanwhile, on the streets of Baltimore, alliances shift and betrayals abound as the city’s criminal underworld braces for the fallout.

  • What to Watch in May

    What to Watch in May

    A life lived so vibrantly spotlighted as that of Amy Winehouse’s was ripe for the biographical pickings from the moment of her death, all too soon back in 2011. It’s an indictment of the day and age we live in. Nothing to be proud of. Back to Black is the first dramatisation out of the blocks. It follows, and skulks in the shadow of, Asif Kapadia’s superior 2015 documentary, Amy. Where that film dived deep, upsetting her family in the process, this one’s but a paddle in the shallow end. A superficial and underwhelming entry to the current vogue for jukebox biopics. It’s worse than that though. Back to Black hasn’t the self-awareness to recognise itself as being no better than the then paparazzi it vindicates.

    Many, it is likely, will find the film entirely passable. Courtesy of Winehouse herself, it boasts a terrific soundtrack, allowing Sam Taylor-Johnson ample opportunity for montage. It’s an easy win for the Fifty Shades of Grey director, who shoots with eloquence and style. As for the lead, Marisa Abela certainly looks the part. She makes an impressive stab too at vocal impersonation, going hell for leather with song and script alike. Rote, simplistic writing – from Film Stars Don’t Die in Liverpool’s Matt Greenhalgh – does Abela no favours but her effort and respect for Winehouse are palpable. There’s more to capturing Amy than the donning of a beehive and faux ‘Daddy’s Girl’ tattoo.

    Amy has neither as the film opens. Back to Black joins her story just prior to the completion of Frank, her debut album, in 2003. It was an album born of anachronism, jazz in the age of manufactured pop. Amy is no f*****g Spice Girl and won’t be manufactured for anyone. She’s a family girl through and through, devoutly close to her nan, Lesley Manville’s Cynthia, and the apple of her parents’ respective eyes. Mum, Janis (Juliet Cowan), is unwell, we’re told, but the film has no further insight there.

    More focal is Mitch Winehouse, who is played by a sympathetic Eddie Marsan. The real Mitch hated Kapadia’s documentary – which dared to critique his culpability in Amy’s downfall – but should find Back to Black more palatable. Here, he is a doting, kindly figure. Totally exonerated. True, he’s the man who said no, no, no to rehab but he’s the father that drove her there when she truly needed it. No mention is made of the exploitative documentary he made for Channel 4 just two years before her death.