Posted in 2020-2029, Film Review, London Film Festival 2021

The Harder They Fall (2021)

© Netflix

The Harder They Fall  – Film Review

Cast: Jonathan Majors, Idris Elba, Zazie Beetz, Regina King, Delroy Lindo, Lakeith Stanfield, RJ Cyler, Danielle Deadwyler, Edi Gathegi, Deon Cole

Director: Jeymes Samuel

Synopsis: When he learns that his bitter enemy has been sprung out of prison, an outlaw re-forms his gang to take his adversary down once and for all…

Review: What is the first thing that comes to mind when someone says the word “Western”? A shot of a rural town in the USA, showdown duels with guns, cowboy hats/boots, and the familiar sounds of the spurs on the boots, or the doors of a saloon opening and closing. Perhaps there’s also a musical number akin to something that you’d hear from The Good, The Bad and the Ugly, is playing in the background, as a Caucasian hero strolls in on horseback to save the day? The Western is a genre that so often has white people at the forefront of the story. Yet too often, black people find themselves on the sidelines when it comes to these types of films. Hence, to see a Western that places the experiences of black people at this point in history at the forefront, with an all-star cast of some of the finest black actors currently working in Hollywood, is extremely refreshing, and long long overdue.

Nat Love (Majors) is an outlaw who has got a burning desire for revenge against Rufus Buck (Elba) after Buck committed an unforgivable crime when Nat was young. Now as an adult, when Nat learns that Buck has been freed from his incarceration as a prisoner, he’s out for revenge. He reforms The Nat Love gang, which includes real-life historical figure Stagecoach Mary (Beetz) and Cuffee (Deadwyler), to take down Buck once and for all. The only problem for Nat Love and his gang, is that Buck has his own gang surrounding him, including Treacherous Trudy Smith (King) and Cherokee Bill (Stanfield), determined to protect him at all costs. With the conflict between the two rival gangs boiling over into an all-out war, the bullets are gonna fly.

When taking one look at the cast that Samuel has assembled, there’s only one word that best describes it: stacked. No matter where you turn, there are actors with glittering careers everywhere you look. The end result is a brilliant cast, all of whom are in scintillating form. This crop of characters are certainly not ones you would want to cross, but that doesn’t mean that they are not extremely compelling and hilarious to watch. Jonathan Majors is someone who has burst onto the scene relatively late, in comparison to some of his cast members. Yet, in the few short years since he rose to prominence, he’s proven himself to be an extremely compelling on-screen presence. This continues with his performance as Nat. It’s quite the unenviable task to take a character like an outlaw, and add an incredible layer of depth and humanity to that role. Yet, with just about every performance he has given in recent years, Majors pulls it off brilliantly.

As Nat’s love interest, the relationship between Nat and Stagecoach Mary could have been very conventional. While the chemistry between the two is most assuredly there, Beetz plays this character as someone who is not subservient to Nat in any capacity, she’s more than capable of kicking Nat’s arse if she wanted to, and likewise for Cuffee. On the other side of this gang war, the character of Rufus Buck is someone who you dare not cross if you value your life, and Elba’s performance is suitably intimidating. Alongside him, Regina King is clearly relishing the opportunity to play an antagonist, and she’s absolutely terrific to watch. However, there’s far more to both their characters than just robbing banks and shooting down anyone in their way. As with Majors’ Nat Love, and indeed every character that you see on screen, there are subtle nuances to these characters that make them far more than just outlaws who are in this business for the money.

It is incredible to think that this is Samuel’s feature film directorial debut. While he has worked on music videos and short films with Jay-Z (who is one of the film’s producers), it’s quite the leap to go from directing short films and music videos, to directing a thrilling Western with some of Hollywood’s finest. Yet when you watch what Samuel, who also wrote the script, has concocted, it’s an absolutely breathtaking achievement. His direction is so confident and stylish, if you had no idea that this was his first feature film, you would be forgiven for thinking that he’s a seasoned director who has been doing this for years. It all translates into an enthralling and compelling story that grabs you from the word go.

Some may well struggle with the thick Texas accents that some of the characters speak with. However, by telling this story from the perspective of people who were not trapped in the brutal institution of slavery, it lends a much-needed new perspective to the people and the lives they led at this point in history. With such a confident and brilliant feature film debut, an exciting new voice has entered the world of filmmaking. No matter what project he chooses to do next, Jeymes Samuel will surely have captured the curiosity and the attention of audiences all over the world, and deservedly so.

The Western genre has been given a much-needed revitalisation. Impeccable performances from its all-star cast, combined with slick and stylish action, and the end result is a breath-taking feature film debut from Jeymes Samuel.

Posted in 2010-2019, Film Review

If Beale Street Could Talk (2019)

Image is property of AnnaPurna Pictures and Plan B

If Beale Street Could Talk – Film Review

Cast: KiKi Layne, Stephan James, Regina King, Ed Skrein, Brian Tyree Henry, Colman Domingo, Teyonah Parris, Michael Beach, Dave Franco, Diego Luna
Pedro Pascal

Director: Barry Jenkins

Synopsis: After finding out she is expecting a baby with her partner, a young woman and her family seek to clear her lover’s name after he is arrested for a crime he did not commit…

Review: What do you do when only your second feature length directorial feature wins you an Academy Award for its screenplay, as well as (eventually) the Academy Award for Best Picture? This was the quandary for Barry Jenkins, the writer/director of Moonlight, having been catapulted him into the spotlight by the film’s incredible success. The answer to that question, is to make something that’s cut from a similar cloth as Moonlight, a story that tells a very human, emotional journey.

Adapted from the novel of the same name by James Baldwin, we are taken back to 1970s Harlem, where we meet Tish (Layne) and Alfonso (or Fonny as Tish affectionately calls him), two beautiful young people who, having been very close as children, have since become a blossoming couple, seemingly made for one another. However, their romantic bubble is burst when when Fonny is arrested and charged with a horrific crime that Tish insists he is innocent of, and Tish and her family must do whatever they can to clear Fonny of these charges.

On the surface, this would appear to be a simple story about the love that two young people have for each other, and the desperate bid to prove her husband-to-be innocent of the crime he is being accused of. And while it is undeniably beautiful and romantic to watch these two fall in love with each other, much like his work with Moonlight Jenkins’s screenplay goes much deeper than that exploring a variety of themes such as racism, family and the brutal horrors of the justice system that can bring such an unfair injustices to Black communities and devastate these families across America, even when people may be innocent of the crimes they are being accused of.

As the main couple, KiKi Layne and Stephan James are both excellent. Their chemistry is just so honest and authentic that you completely buy them as a couple. You revel in their moments of love and affection for one another, and are equally devastated when they are torn away from one another. As Tish’s mother Sharon, Regina King is just utterly marvellous as she leads the fight to win her prospective son-in-law’s freedom, even in the face of extremely long and difficult odds, and indifference from some members of Fonny’s family to Tish’s plight.

The cinematography from James Laxton is once again sumptuous to look out, even when the circumstances may be extremely bleak, his cinematography shines a hopeful light on the situation of this couple. Nicholas Britell also returns to provide the score, and once again, the work he does to add to the romanticism and by contrast, the heartbreak of this story is remarkable. For those who might have had issues with Moonlight’s pacing, they could well run into some issues again here as Jenkins does take his time to slowly build up Tish and Fonny’s relationship. Though some scenes do feel necessary, others do drag on perhaps for a tad longer than they really need to.

For characters depicted in the 1970s, Jenkins’s characters feel very contemporary and the story and the themes are very topical, but the film never gets preachy with the events depicted on screen. It is above all else, a very sweet story about the love two people have for one another, and the challenge that the human spirit faces when facing the going up against the cruel nature of the world and its institutions, Barry Jenkins has once again crafted something that, in these very emotionally charged times, he has made a film that will speak something to everyone who sees it.

Beautiful and melancholic,sometimes in the same shot, with a fantastic ensemble of well realised characters, Jenkins once again crafts a moving tale of love and hope in the face of terrible adversity.