Daily Archives: December 29, 2019
Gorgeously shot and beautifully realized, The Last Black Man in San Francisco feels like a sacred hymn to a city, a past, a wayward love that is just aching with feeling. The Sundance-winning indie has such an immediate and invigorating sense of lyricism. Jimmie Fails (Jimmie Fails) talks about the meaning his family home has, the same home he hasn’t been living in for a decade but has been returning to touch it up and hopefully take it back. Debut filmmaker Joe Talbot has created a movie on the edge of the surreal where everything feels heightened, more emotional, like a religious experience, without puncturing its core dramatic reality. We touch upon a lot of issues and themes, from gentrification and reclaiming one’s past for pride, to the identities we choose to inhabit, to friendship and the love/hate relationship one can have with their home, and each of these pulsates with meaning and fervent feeling. In many ways, this film reminds me of If Beale Street Could Talk, not just because it’s an ensemble of African-American working class figures, but because there’s a bittersweet tenderness that taps into the profound and universal that reminds me of the kind of knowing, compassionate voice of author James Baldwin. I was often spellbound by this movie, enraptured by its transporting musical score by Emile Mosseri (the best score of the year), awestruck by its dynamic photography by Adam Newport-Berra, smiling from its presentation of bizarre comic flourishes, characters with genuine personality and peculiarities, and charmed by the overall picture the movie was lovingly constructing of a personal San Francisco bursting with meaning. If there is a slight drawback it’s that too many characters remain more as sketches than fully fleshed-out beings, and too much plot emphasis is placed upon whether of not Jimme’s grandfather really built their family home as he ardently holds true. The Last Black Man in San Francisco is a cinematic hymn of love to the emotional stability we designate for our homes. It’s a lovely, beautiful, deeply felt movie that washes over you in waves and is an artistic triumph for Fails, Talbot, and every set of hands that toiled on this uniquely personal ode.
Nate’s Grade: A-
It’s been a couple weeks since I watched Queen & Slim and I can’t get it out of my mind. It’s billed as a modern-day Bonnie and Clyde, and while that description is technically apt, it’s more a frighteningly relevant thriller about police brutality, the skewed criminal justice system, and the hairpin-turning horror of daily life as a black person in America. A first date between Queen (Jodie Turner-Smith) and Slim (Daniel Kaluuya) goes awry when they’re pulled over by a racist trigger-happy cop and, in the ensuring struggle, Slim shoots and kills the officer in self-defense. They go on the run trying to escape one setup after another, all the while during this hellish ordeal the characters are growing closer out of reliance and a budding sense of romance. This is a powerfully intense movie with several supremely suspenseful sequences where I worried deeply whether or not the titular pair would be found out, could escape out of a jam, and all the while the authorities are getting closer and closer. They become folk heroes for a community familiar with the oppressive day-to-day of always being seen as a suspect, as “up to no good,” as presumed guilty and dangerous. There are a couple questionable moments later in the film involving the pair as inspiration where I wish the film had perhaps been a little less ambiguous over what I’m supposed to draw. The screenplay by Lena Waithe (The Chi, Boomerang) is cannily crafted with a strong sense of how to develop its premise, deepen it with larger themes, and throw organic obstacles at the characters. I was impressed with how quickly the movie would crank up the tension of a moment, but these thriller aspects never felt cheap or superfluous. The characters do not get lost to the overall plotting machinations and the performances from Turner-Smith and Kaluuya are terrific. Director Melina Matsoukas (Insecure, the soon-to-be release Y comic adaptation) has such an affecting manner with her camera and, in particular, the moody lighting that can express a range of feelings from anxiety or sensuality. The ending of this tale might be expected but that doesn’t take away any of its inordinate power, an ending that has stayed with me and shaken me for days. Queen & Slim is a character-driven chase film that manages to also touch upon powerful social themes, taking a mythic story and making it personal, relevant, and, in a new manner, timeless.
Nate’s Grade: A-