Evan D. We need to have a conversation about the Black Panthers. It’s past time really. Coming up through the American school system the extent I heard about the Panthers was J. Edgar Hoover’s infamous assessment of the group. Nary a mention of the children’s breakfast programs they instituted, the medical clinics they ran, the social justice causes for which they advocated. Judas and the Black Messiah may actually be many an American’s first introduction to Fred Hampton, portrayed by Get Out star Daniel Kaluuya.
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Evan D. You can’t judge a film on authenticity. Don’t try to judge it on a political level either, especially if you’re a white lady from the LA Times. Over the course of one night Malcolm (John David Washington) gives a laundry list of ways film should not be analyzed. Naturally this begs the question: how should art be analyzed?
If the answer is number of expletives strung together into single insult or amount of classic directors referenced during a marathon rant, then Malcolm & Marie would be a certified masterpiece. Unfortunately, a tired narrative about film criticism is just one of the myriad decisions that make Sam Levinson’s quarantine film utterly insufferable. Evan D. If there has been one silver lining of a massive, life altering pandemic forcing us all to stay home, it may be the other pandemic that it placed on hold. Simply by virtue of schools being closed, the coronavirus pandemic has ushered in the longest period without school shootings in the United States in decades. Although our current torment consumes much of our thought, it’s worthwhile to remember the trauma it temporarily alleviated. Fran Kranz’ Mass is a bruising reminder.
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