HBO has cast Stephen Dorff in the new season of TRUE DETECTIVE. Dorff will play the role of Roland West, an Arkansas State Investigator whose life and career have been significantly influenced for over 30 years by a mysterious crime.

Dorff joins fellow cast members Mahershala Ali and Carmen Ejogo in the third season of the anthology series. Ali (Oscar® winner for Moonlight) stars as Wayne Hays, a state police detective from Northwest Arkansas, and Ejogo portrays Amelia Reardon, an Arkansas schoolteacher with a connection to two children that went missing in the 1980.

Series creator Nic Pizzolatto, serves as showrunner, director, writer and executive producer of the third season of True Detective.

The Birth of a Nation (Rated C)
Cast: Nate Parker, Armie Hammer, Aja Naomi King, Penelope Ann Miller
Genre: Biography/Historical Drama

It's all about timing!

So many things about the timing of everything surrounding the new film, "The Birth of a Nation", are fascinating and even curious.

For one, after almost 200 years, and after much more than 100 years of motion pictures, it's interesting that other than a few passing references in some other similar films, this is one of the first times -- if not the very first time -- there's been a film narrative about arguably the most famous African slave rebellions in all of North America, and about the man at the center of it all, Nat Turner.

The timing is also interesting because in the last few years, there've been some amazing movies on both the big screen and on television examining slavery, including not one but two versions of what many view as the seminal tale about slavery, the groundbreaking "Roots" TV miniseries in 1977 and this year's spectacular remake (which both mention Nat Turner's rebellion). And since 2013, every production in this genre will forever be compared to the nearly perfect "12 Years a Slave".

Additionally, what a difference less-than-a-year makes. In January, after the Sundance Film Festival, "The Birth of a Nation" was all the rage! Folks were all but declaring it next year's Oscar winner, and one of the greatest films in years. The response is quite different now, however. Since its release in the United States on October 7, it has struggled at the Box Office. The word "flop" has been used.

So what's behind it all?

Nate Parker ("Red Tails") wrote, co-produced, stars and directs. He plays the infamous Turner, the enslaved Baptist preacher who lives on a Virginia plantation owned by Samuel Turner (Armie Hammer). With rumors of insurrection in the air, a cleric convinces Samuel that Nate should sermonize to other slaves, thereby quelling any notions of an uprising. As Nate witnesses the horrific treatment of his fellow man, he realizes that he can no longer just stand by and preach. On August 21, 1831, Turner's quest for justice and freedom leads to a violent and historic rebellion in Southampton County.

With a title that may be seen as a clever attempt to re-appropriate the namesake "classic" 1915 silent film about the Ku Klux Klan and its racist portrayal of black men, this "The Birth of a Nation" is an important story, and desperately needs to be told.

It really is a shame that a true Nat Turner story hasn't been done before now. But there are suggestions that at least one other is being planned, so thankfully, "The Birth of a Nation" will not be the last.

I say "thankfully", because this film, while well produced and acted, has some critical flaws. Some of the liberties taken with the story are perplexing. Great pains have been made to make Turner as sympathetic as possible, portraying him as a sweet, simple, God-fearing man in a most horrible situation. However, history suggests Turner was far more complex.

The creative license likely takes a toll on the flow of the story. We all know the violent encounters are coming, but the shift from the quiet, loving and introspective "Minister Turner" to "Freedom Fighting Warrior Turner" results in an incongruence that almost suggests we're watching at least two films that were patched together. One wonders if the choice to tell the story chronologically was the best way to go.

Parker, who appears in almost every scene, gives a decent enough performance. Aja Naomi King (TV's "How to Get Away With Murder") is also good, and some others in the supporting cast are strong. But that it feels so familiar, so similar to, and begs comparisons to "12 Years a Slave" and this year's "Roots" is its biggest challenge.

And then there's the elephant in the room: Parker's well-publicized legal issues. In the months since the movie's Sundance debut, the story about Parker, while 19 and in college, being one of two men accused of raping another student, has gained widespread publicity. The other man was Jean Celestin, Parker's roommate (who actually has a "story by" credit on "The Birth of a Nation"). That was in 1999. Parker was acquitted, but Celestin was found guilty (with that conviction overturned in 2005). In 2012, the accuser committed suicide.

Many have suggested that this controversy has hurt the film's Box Office performance, and will severely impact its chances during award season. This, in a film world where Director Roman Polanski ("Rosemary's Baby") is still on the run from the United States, since being charged with raping a 13-year old girl in 1977. He continues to avoid countries with extradition treaties with the U.S, yet has been nominated for Oscars and other awards countless times, and actually won the Academy Award for directing "The Pianist" in 2002. (Of course, he didn't attend the ceremony to collect the trophy.)
Some will see this as hypocrisy. Unfortunately, when "The Birth of a Nation" is deservedly left off most awards show nomination lists, it will be because of the flaws in the film itself, and not because of Parker's past troubles.

That brings us to the final issue of timing. After arriving here last week Friday (one week ago), two weeks after its US release, "The Birth of a Nation" is already gone from local theaters. When was the last time a film was here for only one week? Despite its challenges, it deserved to be here for more than just seven days. On the bright side, you still have lots of time to see the important stuff like "Tyler Perry's Boo! A Madea Halloween" and "Ouija: Origin of Evil."

o Dwight Strachan is the host/producer of " Morning Blend" on Guardian Radio. He is a television producer and writer, and an avid TV history and film buff. Email dwight@nasguard.com and follow him on twitter @morningblend969.

BIFF is proud to announce this year’s programmers for the upcoming 13th Bahamas International Film Festival. In Harbour Island, BIFF will take place from December 5th - 8th, 2016 and in Nassau from December 9th - 11th.

BIFF Programmers play a significant role in selecting films and defining cinematic culture on a local and international level. Programmers include Francis Litzinger, Hope Nevins and Donovan Renwick Lynch with Leslie Vanderpool.

Once again, BIFF has an array of captivating films in store for the annual Bahamas International Film Festival. Both Francis Litzinger and Donovan Renwick Lynch agree that many of the entries this year paint pictures of different perspectives around the world. “This year there seems to be lots of uncertainty. People are concerned about our world and I think artists are the first to pick up on that.”, Litzinger comments. Renwick Lynch has his eyes on a film that focuses on the unique struggles faced by a boy and his family which Renwick Lynch says “matches our communities today”. As always, BIFF viewers can expect to see original captivating films, made with the intention of challenging and expanding worldviews.

Leslie Vanderpool

Founder and Co-Executive Director // Head Programmer

In 2004, Vanderpool created the Bahamas International Film Festival (BIFF), which has showcased more than 1000 films from 150 countries and paid tribute to A-List Celebrities such as Johnny Depp, Debra Messing, Danny Glover, Nicholas Cage, Laurence Fishburne, Heather Graham, Alan Arkin, Sean Connery, Roger Corman, Daryl Hannah, Sophie Okonedo, Anna Faris, Naomie Harris, Zoe Kravitz, Sydney T. Poitier, Chaz Ebert, Cicely Tyson and many more. Vanderpool received a Bachelor's Degree in International Relations before going on to pursue her passion for theater & film. She studied at Lee Strasberg Acting Institute & Shakespeare at Balliol College, Oxford University, Oxford, England, where Alan Rickman, Fiona Shaw and many more honed her skills.

Francis Litzinger
Francis Litzinger is a graduate of Ryerson University in Toronto, with a Bachelor of Applied Arts in Motion Picture Studies. As a former Television Programmer, Francis continues to be a voracious consumer of world cinema. He loves film, its power to connect with people and its global accessibility. Francis credits his passion for cinema as his reason for supporting organizations like BIFF that are dedicated to educating communities through the arts.  In his spare time he continues to write short stories and scripts. Francis enjoys smoking Cuban cigars and playing Rock Band with his family.

Hope Nevins
Hope Nevins is entering her final year of the International Baccalaureate program at St. Andrew’s International School in Nassau, The Bahamas.  She is an avid performer in all of her school productions and recently held the lead role of Maria in St Andrew’s rendition of the Sound of Music. Hope has spent summers at Long Lake Camp for the Performing Arts as well as NYU’s Tisch School of the Arts. She will be applying to University in the fall and wishes to pursue a Bachelor of Fine Arts in Musical Theatre and/or Acting. Hope is happy to use her passion for the arts at BIFF.

Donovan Renwick Lynch
Donovan Renwick Lynch currently attends The College of The Bahamas (COB), studying Media Journalism, he hopes to study in the field of television. He is deeply passionate about cinema and television and cannot wait for the public to enjoy this year’s programming. Donovan first joined the BIFF team as a volunteer in 2014. Since then, he has continued to embrace film as a programmer at BIFF.

This summer BIFF welcomes interns: Simone Cambridge and Samia McClain.

Simone Cambridge

Simone Cambridge is a recent 2016 QC graduate and a freshman at McGill University. She is also an ambassador for School of Doodle – an organization dedicated to activating girls’ imaginations through entertainment, education and community, a member of Queens College’s Student Film Association, a visual artist and is deeply passionate about film and the arts. In her senior year, Simone founded her school’s first student publication, The Journal, acting as the Creative Director. This summer she is excited to work with BIFF.

Samia McClain

Samia McClain is a rising twelfth grade student at Queens College. Her life is deeply entwined with the arts. As a Bahamian Ambassador for School of Doodle, Creative Director of The Journal, Student Film Association Vice President, Activities Director of Interact Club, an awarded film maker, photographer and a visual artist, Samia is eager to use her talents working with BIFF this summer.

As BIFF enters its thirteenth year, it continues to empower Bahamian youth. Simone and Samia will work on the forefront and behind the scenes of BIFF. Some of their responsibilities include writing, marketing and event planning. Our summer interns for 2016 are creative, bold young women who are excited to contribute to BIFF’s legacy of artistic and community development. Welcome Samia and Simone!

Source: Bahamas International Film Festival

In this image released by Twentieth Century Fox, Mystique, portrayed by Jennifer Lawrence, appears in a scene from, "X-Men: Apocolypse." (Photo: AP)

X-Men: Apocalypse (Rated T)
Cast: Jennifer Lawrence, James McAvoy, Michael Fassbender, Oscar Isaac
Genre: Fantasy/ Science Fiction
Dwight's Rating: 2.5 Stars

Apparently, there is no X-Men character named "Groundhog."

There's "Wolverine", of course. There's also "Beast". And even a "Maggot". But no "Groundhog" -- not on the comic-book page nor on the silver screen. At least not yet!

Out in the audience, however, and especially at showings of the new film, "X-Men: Apocalypse", there may be quite a few people feeling like "groundhogs". Not because of a superb ability to chuck wood or burrow in deep tunnels, but rather, in reference to the phenomenon known as "Groundhog Day", popularized by the eponymous 1993 film.

You'll recall how Bill Murray's character finds himself reliving the same day over and over and over again; doing the same things, day-in, day-out! Several folks watching "Apocalypse" -- the eighth film in the 16-years-running "X-Men" film franchise (ninth, if you include this year's wonderful "Deadpool") -- may find themselves saying "this seems awfully familiar".

In this edition, we learn that the immortal Apocalypse, worshiped as a god since the dawn of civilization, becomes the first and most powerful mutant. Awakening after thousands of years, he recruits the disheartened Magneto (Michael Fassbender) and other mutants to create a new world order. As the fate of the Earth hangs in the balance, Professor X (James McAvoy) and Raven (Jennifer Lawrence) lead a team of young X-Men to stop their seemingly invincible nemesis from destroying mankind.

So is it just me, or wasn't this, or something to this effect, the premise of the original "X-Men"? -- Something about killing every non-mutant human, or every mutant, or making every human a mutant? Or was that the "X:2" premise? Or maybe, "X:Men: The Last Stand"?

It's hard to keep track of all of the films in the franchise. Some of those were sequels and others were prequels. Some were sequels to prequels. Others were spinoffs and sequels to spinoffs. At least one of the spinoff-sequels was a prequel. "Apocalypse" is a sequel to a prequel, and thus, is itself, also a prequel, to something. Got it?

While some other franchises have done reasonably good jobs of eliminating the need for viewers to have watched all previous iterations, these "X-Men" films seem to require you to have seen at least one, if not all. And to best appreciate "Apocalypse", it just seems that a viewing of at least one of the earliest films, and most of the recent flicks -- the prequels -- "X-Men: First Class" and "Days of Future Past", the immediate predecessor of this film, would be beneficial.

Otherwise, this may largely be a treat for long-time fans and comic book fan-boys. That doesn't mean there's not a lot to like here. As has been a highlight of the prequels, Michael Fassbender is fantastic as always. And Evan Peters as Quicksilver is again a scene-stealer.

Also, as with most of the films in this largely arresting franchise, "X-Men" is always its most fascinating when it explores the themes involving these poor mutants struggling to accept themselves and their differences. Observing them try to hide their mutations and control their powers and live as normal lives as possible, in a cruel human world while facing persecution, has helped these stand out among the many comic book based superhero movies.

But again, we've seen this before. And it is beginning to feel repetitive. Perhaps eight or nine (or wherever we're at) is more than enough.

This edition is nowhere near as energetic as its predecessor. The character Apocalypse, played by Oscar Isaac, is rather uninspiring as the great villain. And as this is a prequel, we pretty much know that almost every single character on the screen is going to be okay. That removes a lot of suspense and tension.

Two years ago in "Days of Future Past", it was great fun seeing Wolverine going back in time to prevent an event from happening that could impact the future. But most of the fun has vanished from this generic-feeling "Apocalypse". And, why is this movie so long? It's a very drawn out 44 minutes (though it feels closer to three hours).

Going back in time to alter history is similar but not quite the same as living the same day over and over. (That sounds a lot like the Tom Cruise flick, "Edge of Tomorrow"). Perhaps that would be quite an interesting mutation for one of the future X-Men, if it hasn't been done before. But for moviegoers to be the groundhogs, that's no bueno! And if this franchise keeps this up, many moviegoers are going to wish they could really go back in time, and actively opt out of watching any more.

o Dwight Strachan is the host/producer of " Morning Blend" on Guardian Radio. He is a television producer and writer, and an avid TV history and film buff. Email dwight@nasguard.com and follow him on twitter @morningblend969.