![]() ![]() One of the flaws in the film is that romance that was highlighted in the original between Cara and Thomas is gone in this film. She doesn’t dazzle the audience with her acting, but when she sings, she holds your attention. Making her film debut, Jordin Sparks is okay. Taking nearly half of the storyline out from the source material, this updated version brings more dimensions to each of the characters as opposed to the one-note performances given in the original film. When egos are bruised and the situation in their lives gets intense, will Sparkle’s spirits be lifted or will she wallow in depression? Having seen a lot of ups and downs in her life, Emma doesn’t believe that her girls are ready to be out on their own and strongly advises against their dreams. Fiesty, combative and ready for medical school, she wants to make sure her sisters are taken care of. Headstrong and more like their mom Emma (Houston), Delores is the protector of the three. Sister leaves her boyfriend Levi (Hardwick) for the dangerous comedian Satin (Epps), who in turn, introduces her to a life of domestic violence and drugs. In doing so, the girls succeed but not without some stumbles and sacrifices. With talent scout Stix (Luke) looking for that break that make him a name, he wants Sparkle to get her sisters to trust him to get them to the highest places. Seeing that there are too many girl groups doing the same thing, Sister exposes her sexuality to grab the crowd’s attention. ![]() Set in Detroit during the 60s, a trio of girls, Sparkle (Sparks), Delores (Sumpter), and Sister (Ejogo) are hoping to win some money at a talent show based on songs that Sparkle has written. The film is still formulaic, but there’s enough material to have an enjoyable evening’s entertainment. With a trio of ladies (American Idol winner Jordin Sparks, Tika Sumpter, and Carmen Ejogo) who haven’t had much exposure on the big screen, and the return of the Whitney Houston, who hadn’t appeared in a big film in over 10 years, this ‘Sparkle’ shines for its powerful performances by Houston, Ejogo, and Mike Epps, who nearly steals the entire film. Cut to the 2012 version that Salim Akil directed from a script from his wife Mara Brock Akil and what we have is an improved, but not great, film that adds layers to the film that the original did not have.
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