★★★★★ Directed by: #ShelbyBaldock Written by: #NoahCLekas Starring: #RonGephart Short Film Review by: Corey Bulloch “I’ll be damned if the good Lord didn’t put me here to be more than a notebook” A beautiful fire of a film, a burning passion of art and anger, nihilistic rage manifested into incredible illustration, We Got a Problem with Groundwater is a triumph. Adapted from a poem by Noah C. Lekas, director and illustrator Shelby Baldock brings this hauntingly twisted world to life with a striking surrealist vision. The animation is in constant conflict with itself; harsh streaks of watercolour reds and oranges flood the background, mixing together, always flowing like poisoned water against the still figures. The structures, characters and events of Baldock’s world are designed in a hybrid comic graffiti style, exaggerated shapes and expressions. Mesmerising detail with every new drawing that sinks you deeper into the film and Baldock’s use of movement with the camera has it reminiscent of a comic strip like every cut was taking you to a new panel, a new detail to observe. The art style feels inspired by other surrealist animators like Don Hertzfeldt but We Got a Problem with Groundwater has a powerful voice on its own. Described as “a tale of the working conditions in the American midwest” the themes and vision of the film can easily speak to the larger contexts of what’s wrong with the world. It’s a damnation of the cycle, this inescapable hopelessness that existence has become, all of it consumed by a moral decay of apathy and ignorance. Themes of religion, consumerism, climate change are touched upon but it’s how the film shows human lives to be so mercilessly expendable that makes the film so bleak. Baldock’s artwork may give the film its surrealist and unique style but it doesn’t hide the fact that Lekas’ words speak to our grim reality. It can seem dystopian at first but it becomes quickly clear that this is our world, our failures and neglect that has left it rotten to the core. The narration from Ron Gephart is brilliant, a rich grizzled gravitas that bleeds incredible life into Lekas’ words. You can feel this bitter, defeated anger to his performance mixed with a dry wit, darkly amused by how far society has withered, at how horrible and pathetic it has all become. He speaks of the Midwest, of people and experiences around him, horrifying tales of how men are churned and killed inside the sawmills, fodder to the cycle. Baldock makes this disturbing yet poignant point on how we all become desensitised to the violence around us, that our lives are nothing but expendable commodities, that our fate is nothing more than to serve and die. The power of Gephart’s delivery of the final line has us question if there is anything we can do about it, perfectly capturing that sense of righteous fury lost in the void. Memorable in the most forlorn of ways, We Got a Problem with Groundwater is an unforgettable portrait of the modern world. Baldock and Lekas’ harsh and unforgiving portrayal of society and it’s cruel machinations are mesmerising through animation, performance and score (also done by Baldock). A technical and thematic accomplishment, it accomplishes so much in less than five minutes, having the audience contemplate on all the rot that has poisoned the water around us. Trailer: #CoreyBulloch #shortfilm #animatedfilm

★★★ Directed by #KennethVazquez Written by #ZayRodriguez Starring #ColinGaffney, #AshanDowling Film Review by Lawrence Bennie Nobody likes nuisance phone-calls. They’re intrusive, insensitive and, more often than not, totally irrelevant. But what if the constant cold caller was not just a money-chasing trickster but someone you’d thought was, only just recently, dead and buried? That’s the creepy concept behind filmmaker Kenneth Vazquez’s 2020 Horror Movie Award semi-finalist, A Brother’s Homecoming. Arriving home one night from the funeral of his late brother, Alex (Ashan Dowling) receives a call from a sinister character claiming to be his estranged sibling, allegedly dwelling down in his basement. Confused and enraged, Alex is left with no option but to seek and confront the mysterious imposter. Or, is there a more terrible truth awaiting him in the dark…? Scripted by Zay Rodriguez, A Brother’s Homecoming has an irresistibly spooky premise which, with some skill and polish, has potential to go beyond into a longer piece, or maybe even a feature-length film. At 7 minutes, Vazquez’s modest (if effective enough) short has too little time on its hands to offer any real sustained suspense. Events feel over just as the excitement’s started and no real surprises leap out of the bag. However, the right ingredients are there and, with some more development, this could be further fleshed out fantastically. For the most part, the filmmakers are less distracted by cheap horror movie tricks and more interested in capturing Alex’s isolation from the world outside and his increasing absorption in a realm of darkness and shadow. When the bumps and jumps do come, they work surprisingly well, albeit somewhat predictably. As the hapless Alex, Dowling carries the film virtually single-handedly and, if Colin Gaffney's menacing phone-calls do cross the theatrical line, Dowling at least brings an exasperated believability to proceedings. Certainly, the film’s most interesting idea is the angle of one vengeful demonic brother tormenting the other, the exact complexities of their relationship remaining ambiguous and never explored. One of the film's biggest bests is saved for last. Vazquez's wraps his chilling tale up with a superbly cinematic end credits that leaves one with the creeps even if the film, as a whole, doesn't always hit the horror high notes. A Brother’s Homecoming does have something lurking in its shadows, but its something that, in its current guise anyway, is more promising than sinister. If Vazquez’s film doesn’t quite leave us with enough as it is, it does at least leave us wanting more. #LawrenceBennie

★★★ Written and Directed by: #ToddMontesi Starring: #ToddMontesi, #KenzieKlem and #JosephLewisDixon Short film review by: Brian Penn With a myriad of digital platforms at our fingertips it’s all too easy for hidden gems to slip off the radar. PN and Friends is a classic example of a sleeper that shouldn’t be allowed to get away. It tells the story of eccentric thirty something New Yorker PN (Todd Montesi), making sense of his slightly chaotic existence with friends collected along the way. This particular episode comes from an ongoing YouTube series that began in 2018. A dose of topicality features with the uncertainty, confusion and fear caused by Covid-19. PN struggles with furlough, face covering and social distancing when everyone else around him seems to have it worked out. Worse still, his misfiring virtual romance with Kenzie (Kenzie Klem) hits the rocks when she moves to Massachusetts. Dixon (Joseph Lewis Dixon) is a supportive though critical friend who gives PN a metaphorical slap when needed. PN’s morale sinks even further when he is ‘released’ by Costco as they no longer need samplers. He agrees to meet Dixon in the park hoping to blow the cobwebs away, but it seems his hopes may be dashed? The series is shot in semi documentary format and leans heavily towards reality TV, with hand held cameras to capture a spontaneous one take feel. Todd Montesi manages to fill the space with some weird and wonderful characters that will strike a chord with many viewers. Particularly familiar is the C19 warrior who berates people for the slightest indiscretion. There are some delightfully offbeat conversations about embroidery and shea butter as they try to get through the day. A multiple character format does occasionally turn the piece into a sketch show and the narrative is lost. However, a spin through previous episodes may remedy this anomaly. Overall this series has real potential and is worth checking out. https://youtu.be/NZmplco6RXI

★★ Directed by: #RichMallery Written by: #RichMallery Starring: #NicoleDAngelo, #ChristinaLo, #ChrisSpinelli Indie Film Review by: #TomWilmot Psychological thriller Sinful is the second feature film from writer-director Rich Mallery. Any movie set in one location usually promises something of interest, as directors are forced to be more creative with the limited space around them. Despite an intriguing opening and surreal finale though, the film proves to be a dreary endeavour with an overly-long runtime being filled with a whole load of nothing. Set entirely in one suburban home, the film follows newlyweds Salem (Nicole D’Angelo) and Remy (Christina Lo) who are in hiding after committing a heinous crime. The habitual drug users fall into a state of paranoia as they impatiently wait for Salem’s friend, Tyler, to show up with their new identities. However, as their time in the house drags on, the strain between the couple intensifies as they are threatened by the sudden appearance of a mysterious masked man (Chris Spinelli). Sinful is undoubtedly a great-looking movie. Cinematographer Gregory Hatanaka sets the tone by switching between cold and warm lighting, although the sometimes jarring shift between these two moods can be disorienting. Mallery too proves himself to be a competent director, rarely repeating himself visually in what is a restrictive location. The director manages to make the house feel more claustrophobic as the film goes on, giving the impression that the walls are closing in around our two leads. Worthy of praise also are the performances from Christina Lo and Nicole D’Angelo. The two take up the vast majority of screen time, and, although having little to work with, the actors do their best to put in convincing performances. While it’s difficult at times to really buy into their relationship, this is more an issue with the script than the couple’s on-screen chemistry. Unfortunately, that’s as far as it goes for Sinful in terms of positives, as the rest of the film offers precious little in terms of an engaging or eventful narrative. The interesting concept for the plot is squandered by the severely stretched runtime. There are long periods where nothing of note is happening, with even the few moments of conflict feeling repetitive after a while. As such, it becomes impossible to get swept up in the couple’s troublesome situation, as the film lacks any real intensity; despite how much the overbearing soundtrack may try to inform each scene. This dull turn in the narrative is unfortunate, as the movie’s opening and finale offer so much more in terms of interesting visuals and plot developments. During its climax, the film incorporates some surreal aspects, allowing for a handful of more visually engaging sequences that take the narrative in a more nightmarish direction. However, these elements are brought into play far too late, as, at this point, you’ve all but lost interest in the couple and their plight. Even when the plot feels as though it’s developing in some meaningful way, we’re either greeted with the dreaded ‘it was just a dream’ reveal or sudden tonal shifts that are confusing and contradict the established mood. Paranoid meltdowns, for example, are frequently halted by a quick sex break in the opening act of the film, leaving you unsure of how seriously to take either of the women’s concerns. A confused, meandering and detached narrative mean that, for as great asSinfullooks, it’s not half as entertaining as it could be. Although the performances and some later plot developments are enjoyable, you can’t help but feel that Rich Mallery’s feature would have fared better as a short, as in its current form it’s stretched far too thin.

★★★ Directed by: Nathalie Moreira Film Review by: Jason Knight The 8th of December 2020 will mark the fortieth anniversary of John Lennon's passing. Lennon was an English singer, songwriter and peace activist and known for being the founder, co-lead vocalist and rhythm guitarist of the Beatles, the rock band that is considered to be the most influential band of all time. His murder in 1980 by Mark David Chapman shocked the world. This short documentary consists of archive footage from the time Lennon died. It includes a news presenter announcing the killing and many shots of the busy streets of New York City, showing cars and people moving in slow motion. It also contains shots of the World Trade Center, the Statue of Liberty and breathtaking establishing shots of New York buildings from above. The footage is quite old and damaged and as the viewers watch it, in a way, they are brought back to those days. While the images of this city are shown, they are accompanied by voice-over from two individuals: Lennon and Chapman. Their voices are recordings from interviews. Lennon is answering questions about dying, while Chapman describes the actions he took the day he committed the murder. Listening to Chapman's calm voice as he recounts his terrible deed is rather chilling. The main focus of this interesting documentary is obviously the death of Lennon, although there is no footage of him or Chapman. The only time Lennon is seen is when a picture of him is shown during the news report. However his voice is heard a lot throughout when he talks about himself and when songs he performed are played. The documentary shows a great deal of New York, ostensibly because it is the city where this unforgettable individual breathed his last. With that in mind, Lennon has become a permanent part of this city. This project is a tribute to Lennon. It reveals how the world lost him. At the same time, it gives an insight to the kind of person he was, by making the viewer listen to his answers regarding his mortality. It will likely provide the audience with a thoughtful experience. #JasonKnight

★ Directed by: #JonathanHawes Written by: #JonathanHawes Cast: #MattHawes Film Review by: Amelia Eilertsen Hairball is a strange piece of film. It reminds me of those jarring, edited photographs of the razor in the eye kids would share to group chats in order to spook one another, make them feel uncomfortable. Not quite the unheimlich, not quite body horror, somewhere stuck between the two trying to distinguish itself from the hoard. The twist of the hairball come to life does bring with it a whacky element, but all in all, Hairball doesn’t really hit home with any of the themes it juggles. A touch here and dabble there, but not enough to draw in a crowd of one particular genre. The lighting is clean and the camera work is steady—some amateurish acting, but that is to be expected. As for the plot, there isn’t much of one. Neither is there a reasoning behind why the sudden hairball is so…sudden. Perhaps a manifestation of anxiety personified as something alien in the body—hair that shouldn’t be in your throat. Maybe it’s a direct inspiration of the saying: “A frog in your throat” when you’re nervous or unprepared during a presentation. Either way, Hairball doesn’t offer much in the ways of plot or nuances, but it’s a film that’s on the nose with its title, so what was promised is delivered—even if it is unsightly.

★★★★ Directed by #PietroMarcello Written by #MaurizioBraucci #PietroMarcello #JackLondon Starring #LucaMartinelli #JessicaCressy Film Review by Hope Madden “The world is stronger than me.” So opens documentarian turned feature filmmaker Pietro Marcello’s very Italian reimagining of the Jack London classic, Martin Eden. An avowed Socialist, London’s 9th novel—written long after the working class author had found financial and social success that didn’t sit well with him—trails a penniless young man named Martin. He falls for the beautiful, wealthy Elena (Jessica Cressy) and works to become something worthy of her love. Luca Martinelli, who was so empathetic and wonderful in The Old Guard, astonishes as the tragic hero. All roiling passion and resentment, Martinelli’s is a magnetic screen presence. At first undeniably charming in his sincerity and eagerness, the bruises begin to show as Martin is knocked about by a class of people loath to accept him, and by his own blooming understanding of the bourgeoisie’s cultural and intellectual limitations. More pointedly, Marcello echoes London’s sentiment on organized education as an insidious tool of subjugation. The film’s final position on socialism, capitalism, individualism and liberalism is more of a moving target. Adding to the film’s vagueness is its repurposed setting: Naples of no clear time period. Based on clothing, cars, transportation, and scene the time period could be anywhere from the 40s to the 70s. An abrupt third act time jump—although only Martin seems to have aged—creates an even more ambiguous tone that doesn’t really benefit a film that can’t entirely nail down its political point. Still, Marcello’s vision is vintage and gorgeous, thanks to Francesco Di Giacomo’s 16mm cinematography. Between the dreamy look, Marcello’s cut-aways to home movie style footage evocative of his own documentaries, and Martinelli’s arresting performance, the film develops an atmosphere more than a point. The film settles finally on a character study—a writer who seeks only to channel the world and destroys himself in the process. It’s hardly an uncommon cinematic concept, but thanks to a beautiful picture and a stunning central performance, it still commands attention. #HopeMadden

★★ Directed by: #StevenBrill Written by: #AdamSandler & #TimHerlihy Starring: #AdamSandler, #JulieBowen, #KevinJames, #RayLiotta & #SteveBuscemi Film Review by Connor Slatkoff Sharpe A little over one year ago, Adam Sandler made the ominous statement that were he to be snubbed by the Oscars for his performance in the Safdie brothers’ New York crime thriller Uncut Gems, he would go on to make a movie “that is so bad on purpose just to make you all pay”. We were warned, and we didn’t listen. Uncut Gems shockingly received zero Academy Award nominations, despite its resounding critical and surprising financial success. To add further injury, Sandler didn’t receive any Oscar recognition despite his performance being heralded as a career defining turn for the often over-goofy actor. Now, with the recent release of the Netflix Original film Hubie Halloween, Sandler finally has his revenge. Set in modern-day Salem—the famed epicenter of American witch-hunts in the late 17th Century— (as dramatized in Arthur Miller’s The Crucible), it soon becomes apparent that All Hallows’ Eve is something of an occasion in this small town. Costumes, elaborate decorations and seemingly endless celebrations take place on the days building up to October 31st, culminating in a fire-cracker fueled night of mischief and fright. The film primarily follows mustached man-child Hubie Shubert Dubois (Sandler) as he fights to keep the streets of his hometown safe during these rowdy festivities. Hubie—it soon becomes clear—is generally considered to be a weird and worried member of the community, the punchline to most of the residents’ jokes: the self-titled “Halloween Monitor” entrusted with children’s safety, while himself mentally remaining a child. Bullied, teased and relentlessly pranked, Hubie takes it all on the chin, his heart of gold never tarnishing despite his neighbors’ clear dislike of him. However, when Hubie begins to unwittingly unravel a mystery the horror of which Salem hasn’t seen in centuries, once-bullies must turn to allies in the hopes of solving this case before the fateful night of Halloween. By far the strongest side of the film remains the cast, a who’s who of former Saturday Night Live greats and frequent Sandler collaborators, with a few surprising additions in Ray Liotta and Shaquielle O’Neal. Kevin James, Rob Schneider, Maya Rudolf, Ben Stiller, Julie Bowen, Tim Meadows and the ever-great Steve Buscemi populate this Halloween-obsessed town, with quips and expert comedic timing giving life to what is typically childish humor from Sandler and co-writer Tim Herlihy. This childish humor isn’t helped by what is largely cartoonishly spooky and frighteningly on-the-nose dialogue. An example of this is early on in the film, when Hubie asks Buscemi’s character how old he is. Rather than simply responding in an understandable manner, Buscemi asks “you mean in human years?”. While this answer is eventually justified later on in the movie, it nevertheless removes any form of reality from their conversation, something which plagues the majority of the dialogue in Hubie Halloween. It is worth mentioning that this lack of subtlety is at least clearly a stylized choice from the creative team, as is often the case for most Sandler-lead projects. However, this choice is often highlighted by the fact that not every character acts and responds in this way, giving comedic emphasis to those who do. What audiences are instead given in Hubie Halloween is an over-saturation of this unsubtle style, removing any possible sense of reality from a film that could have greatly benefitted from some. As is the case with nearly all Netflix originals, the film looks great, with high budget set design as well as creative use of color and practical lighting. All this paired with beautiful clarity of image and strong—albeit uninventive—visual storytelling lends the film an undeniably professional, high budget feel. However, attractive cinematography alone cannot rescue largely childish dialogue, uneven narrative pacing and teenage scenes which feel directly taken from later seasons of Riverdale. All of these negative aspects of the film are perfectly emphasized by the finale, which draws on and on, lingering like a rotten pumpkin on a November doorstep. While the world certainly feels in need of a good laugh right about now, the half-hearted relief viewers can expect from a handful of genuinely funny moments is far outweighed by the fact that Hubie Halloween still feels like a vengeful dig from Sandler towards the superiority of the Academy. And while this film is still a more refreshing release than the ever-upcoming Grown Ups 3, this critic hopes that Sandler will eventually continue on the path started with Uncut Gems towards more dramatic and rewarding work in the future. #ConnorSlatkoffSharpe

★★★★ Directed by: #SandeepVarma Written by: #SandeepVarma & #EricNduati Starring: #CeceliaZimmerman & #TiffanyLanders Film Review by: Patrick Foley Wilderness Film Review We’re all being encouraged to spend time outside these days. A walk in the woods is a far healthier way to break lockdown monotony than re-watching ‘The Office’ for the eighth time or unlocking yourself a gold-plated codpiece on whatever ‘Call of Duty’ they’re up to now. But it’s worth remembering that some eerie events can happen in the great outdoors – and the fear of what might be lurking behind the trees is what makes Wilderness so engaging. We follow a young woman (Cecelia Zimmerman) jogging through a serene autumnal forest. Jolted from her focus by the echo of a voice, she decides to investigate its source. As it grows louder, it becomes clearer and clearer that it is someone in distress. Upon discovering that the screaming is that of an apparent hostage tied to a tree, the jogger tries desperately to assist them. But after removing the victim’s hood, she is stunned to find that it is her own face screaming back at her. Wilderness does a wonderful job of placing us in the jogger’s shoes (pun intended). The initial alert she senses upon hearing the scream is framed brilliantly – the audience feels the same uncertainty over the distant sounds as the character does. As the tension ramps up and the shocking revelation of the victim’s identity is made clear, viewers will be left disorientated and confused just as someone who found their own doppelganger tied up in a forest surely would. The panic and distress brought on by the editing is incisive and mesmerising, and makes up for some poor acting in the most frantic scenes. Cecelia Zimmerman does a fine job (particularly in the final, haunting shot in which she expresses so much loss in only a glance), but her performance in pivotal moments do not convince. The forest itself is the star. You can practically feel the crisp breeze that blows the barren trees, and every crinkle of the fallen leaves as the jogger engages on her rescue mission. Sound editing is often overlooked when we discuss perfect setting of a scene – it is impeccable in this film. The camerawork is equally exceptional, simultaneously placing the audience in the place of the individual whilst leaving one feeling like a helpless observer. Viewers will feel the urge to drag the jogger out of the screen to rescue her from the mysterious darkness that threatens her, and be left feeling helpless and powerless by the film’s ending. Powerlessness is the key theme of the film – and it is remarkable how well it represents this theme in the short runtime. The jogger feels small and under threat from an unseen danger throughout, and her capture by this mystery is intolerably brutal. The reveal of exactly what is enslaving her is even more heart-breaking and bleak – a brave but memorable conclusion. In just 6 short minutes, Wilderness has the potential to ruin your entire day – in the most brilliant and haunting way film can. Don’t let it put you off going for that jog – but if you happen to hear a scream whilst you’re out, maybe think twice before veering off of the path you’re on.

★★★★ Directed by #CooperRaiff Written by #CooperRaiff Starring #CooperRAiff #DylanGelula It takes a certain bravery to cast yourself as a leading man who spends more time talking to his mom and stuffed dog than the romantic object of his affection. But Shithouse, the loosely autobiographical festival favorite from writer/director Cooper Raiff, isn’t the typical college comedy. It starts in familiar enough territory. Raiff plays Alex, an awkward college freshman who feels like a fish out of water in Los Angeles and is homesick for his family back in Texas. It’s not clear that Alex has really talked to anyone besides his roommate, until a chance encounter brings him together with Maggie (Dylan Gelula), his dorm RA. There’s an oblique chemistry between Alex and Maggie, a connection that’s undeniably there but blossoms as erratically as their first peripatetic night together wandering campus. So much of the movie starts to take on this collegiate version of Before Sunrise that it’s all the more disarming when their relationship takes a turn. It’s also where Raiff’s script takes Shithouse from standard coming-of-age fare to something far more moving and empathetic. And refreshing: the writing is sensitive to its characters without flattering them. Young people behave terribly, but there’s a measure of grace the film affords them that feels welcome to anyone willing to put in the work to be a better person in a very public social media era. For Alex, that means interrogating what it means to be a so-called nice guy. But it’s Gelula who steals the movie. Maggie has a mix of confidence and world-weariness that almost excuses Alex for being so enchanted. But she’s just as quick to dispel anyone’s entitlement, Alex included. What Raiff captures so well, both in the quiet moments between Alex and Maggie but especially in the spaces where the two are apart, is all the hope and anxiety bound up in relationships—and how much possibility they can contain if you open yourself up to it. #MattWeiner

★★★ Directed by: David Ash Written by: David Ash Starring: Matt Bailey, Clarence Wethern, Katie Willer, Bethany Ford Binkley, Christine Weber Film Review by: Jason Knight Inner struggles, strong emotions, relationships, romance. There are plenty of these elements to be found in David Ash's thoughtful drama. The story explores the lives and relationships of certain individuals. A filmmaker is not in a good position. He has cancer, has a lot pf debt to pay and his unhappy wife is pregnant with a child he is unlikely to see. A scriptwriter is in trouble with some bad people, has unusual perspectives about life and he proceeds to share them with a waitress he meets. And a man and a woman, who work together as actors, begin a romantic relationship. Basically the film is about people. It is about individuals who are trying to find out who they are and what their purpose in life is. It also explores how they get to know each other and how it affects them. The feature gains by strong performances by the main cast. Bailey in particular is great in his portrayal of a troubled man who is facing a crisis. And Binkley is also outstanding as his wife, who isn't getting what she wants out of life. The tone of the film is more or less serious and touching. The scenes where Bailey's character records himself leaving messages to his unborn child are really heartwarming and emotional. The same goes when his wife explains her unhappiness. On the other hand, there are a couple of rather awkward scenes of a sexual nature that are likely to make the viewer a bit uncomfortable! This movie is well acted, with good direction, clever editing, beautiful score and well-written dialogue. The narrative though is not very exciting and therefore unlikely to appeal to a mass audience. That aside this is a well-made piece of work and worthy of recognition. #JasonKnight

★★★ Directed by: Regina King Written by: Kemp Powers Starring: Kingsley Ben-Adir, Leslie Odom Jr, Eli Goree, Aldis Hodge Film Review by Robert Stayte One Night in Miami Film Review Regina King is the latest actor turned director and whilst that might seem like a fast jump, she has been acting for decades, with only a couple of recent acclaimed roles in If Beale Street Could Talk and HBO's Watchmen unearthing her talent. Her newest film is an adaptation of a 2013 play that claims to be “inspired by a true story” that obviously had a lot of relevancy when it came out and has even more relevancy today. After Cassius Clay (Eli Goree) is crowned the new Boxing Heavyweight Champion, he and some of the other men attending the match, those men being Malcolm X (Kingsley Ben-Adir), Sam Cooke (Leslie Odom Jr) and Jim Brown (Aldis Hodge), all head back to a motel room. There they discuss many topics and get into each other’s personal struggles and how they try to handle the systemic racism of the 60’s. The film is at it’s best when it focuses on the central setup, that being the interplay between these four famous individuals in the motel. The opening act before the motel section goes on too long and the placement of the finale is a bit sudden, though neither sections are bad they both are not as strong as the centrepiece. Kemp Powers’s dialogue is strong enough to make the fact that little action happens not a problem and there is a decent amount of humour to alleviate the seriousness of the story, but there is also a lot of complex ideological and character-centric debate. Malcolm X and Sam Cooke have the most prominent conflict, with Malcolm seeing Sam as a sell-out and Sam trying to defend himself. There are also other individual conflicts, almost all revolving around Malcolm in some way. As for the themes of the story, the central one is about how black men in positions of power try to fight against systemic racism. Every character is trying to be empowering towards African Americans through their celebrity status, yet they are all still taking fundamentally different approaches. There are no easy answers given and by the end you are left satisfied yet also wondering if these four men succeeded. Acting-wise, every actor does a fantastic job. Rather than feeling like cosplays or impressions, they all get to the heart of these people and mostly disappear into their roles. It is hard to pick a standout, as they all do well, but Kingsley and Leslie get the biggest spotlight. Kingsley greatly humanises Malcolm and Leslie uses both his singing and acting talents to good effect. Aldis and Eli both do great work as well, as the former is understated whilst the latter has loads of charisma. As for the direction, I do feel like Regina King could have done more to make the film feel cinematic. The cinematography is good, but there are some flourishes missing to make the transition from play to screen more justified. This is most prominent in the opening sequence, as rather than have four establishing scenes be showcased in an interesting manner, the scenes just play out, making them feel very turgid and slow. That is not to say there are no subtle touches, but King’s direction works best when the material goes big in a few key argument scenes. One Night in Miami might not be a masterpiece, but it is a good directorial debut for Regina King with a solid screenplay and a quartet of great performances that make it worth the transition from play to film.