“One Night In Miami” is a hugely impactful multi-layered character study of some of history’s most important figures. Engaging, urgent, important, and with four of the best performances of the year. Regina King’s debut feature, whilst undoubtedly being labeled a serious awards contender, is also one of the year’s most impactful and important films. Based on the Kemp Powers stage play of the same name (and written for the screen by him) the film follows four of the most impactful voices in the civil rights movement and cultural upheaval of the ’60s, Malcolm X (Kingsley Ben-Adir), Jim Brown (Aldis Hodge), Sam Cooke (Leslie Odom Jr), and Cassius Clay (Eli Goree) as they come together following Clay’s first heavyweight championship victory.
For me the transfer from stage to screen is effortless, King’s direction is a beautiful compliment to Powers’ words, as these titans of history lock horns in all manner of conversation. The lightning-quick and riveting exchanges are added even greater depth by the world created by King that sucks you in and spits you out without you even knowing the two hours have gone by.
These legends are brought to life by this impeccable cast, each bringing their own skillset, and individuality to their respective roles. Hodge as Brown is level-headed and reserved, while Goree as Clay is every bit the swashbuckling superstar he’s portraying, even if he feels he is being torn in two different directions. Leslie Odom Jr (“Hamilton”) would, on any other occasion be the undoubted star of the show as Soul legend Cooke, with his engaging, magnetic turn, however, it’s Ben-Adir as Malcolm X who operates as the beating heart of the story. Ben-Adir has unquestionably arrived after this passionate, tender, and reflective performance as the then nation of Islam leader. His delivery will move you to tears and inspire hope.
Both his words and the message of the film itself reverberate even louder with what we’re currently seeing in society. A beautifully crafted film that may not be many people’s number one of 2020, but it may very well go down as the one with the most to say.
“Kajillionaire” is Miranda July’s funny, charming, quirky, and heartfelt comedy/drama about America’s most low budget crime family proves there is no one quite like July at capturing the wonderful and the irreverent.
Following Robert (Richard Jenkins), Theresa (Debra Winger), and Old Dolio (Evan Rachel Wood) as they attempt to pay their rent through a variety of whacky schemes, Old Dolio finds herself on a journey of immense self-discovery after her parents adopt Melanie (Gina Rodriguez) into the ‘team’.
On the face of it, July’s latest outing could be considered a fantastic comedy, with the brilliance of her writing and direction complemented by the likes of the always excellent Richard Jenkins and the incredible deadpan delivery of Wood as Old Dolio, however, this film is simply so much more. It’s brilliant comedic skin when pulled back, reveals a hugely compelling family drama about intimacy, loneliness, exploitation, and the need for real, unsolicited, human connection.
Even though her monotone style, Wood conveys such pain and emotion, a performance unlike any you’re likely to see this year, proving yet again that Wood is one of the best actors about today. While Rodriguez as Melanie ejects a real surge of electricity through the film, entering at exactly the right moment with a character a world away from the three we’ve been spending time with up until then.
July juggles the differing tones of the story beautifully, its laughter is replaced by sadness, its sadness is replaced by the profound and so on, and so on, right up until the film finishes in the most perfect way for both Old Dolio and Melanie. A carefully crafted, wonderful original story.
Steve McQueen’s “Mangrove,” the first ‘episode’ of his five-feature story “Small Axe” is one of the most important and urgent films of the year. Based on the true story of the Mangrove Nine, a group of British Black activists who were tried for inciting a riot at a protest, in 1970.
What followed was a grueling trial lasting 55 days, and in which the first-ever judicial acknowledgment of behavior motivated by racial hatred was filed against the Metropolitan Police.
Firstly, McQueen’s style is unmistakable, his eye for a compelling, harrowing shot that will stay with you long after you leave the cinema is one of his greatest weapons, and he uses that to immense effect here, to steer you through this incredible ordeal. McQueen is aided by fantastic performances from the likes of Shaun Parkes, the always brilliant Letitia Wright, and a never-better Malachi Kirby.
With nearly half the film’s two-hour runtime being the court case, the story never fails to keep you engaged, from impassioned speeches to even moments of levity.
As with “One Night in Miami” this film (as with the other parts of “Small Axe”) are must watch in 2020.
“Mangrove” seeks to engage, it seeks to thrill and shock, but maybe its most important attribute is the one McQueen is striving to push to its forefront, its aim to educate and to push society into a mode of self-reflection at a time when it’s never needed it more.
This is a significant update for a project that has been stuck in development for years, and comes roughly a year after Brolin said “Sicario 3” was a maybe.