Set years after an event on the planet of Hala in which Carol Danvers destroyed the Supreme Intelligence, the film revolves around a new Kree extremist who has found a bangle that can allow her to create wormholes in the hope of gaining resources from other planets to save Hala after a civil war had left the planet barren while also hoping to destroy Danvers. It is a film that has Danvers deal with not just the consequences of her actions against the Kree but also having to team up with two others in stopping this person from destroying the universe. Even as it also forces her to deal with other things in her life while also making discoveries that would allow her to make some serious changes. The film’s screenplay is largely straightforward as it opens with the new Kree leader Dar-Benn (Zawe Ashton) who had found a Quantum Band as she is confronted by Danvers only for something to happen in which she gets entangled with both Monica Rambeau and Kamala Khan who all switch places for due to Danvers’ encounter with Dar-Benn.
Throughout the script, there is tension hinted between Carol and Monica as it relates to the fact that they hadn’t seen each other in years as well as the fact that Monica is still dealing with the loss of her mother Maria (Lashana Lynch). Yet, it is Kamala that would help them sort their issues out as both Carol and Monica would meet Kamala’s family as does Nick Fury who would take them to the S.A.B.E.R. space station as it would add some humorous moments between Fury and the Khans. For a film that does have some serious stakes as it plays into Dar-Benn’s quest, the script does manage to not take itself seriously as it plays into some of Danvers’ other lives in other planets including one called Aladna where its citizens talk through singing as Carol is very famous in the planet. It is among some of the odd and hilarious moments in the film as the script does try to balance the tone of seriousness and humor though some of it isn’t perfect but there is still a lot of weight into the story.
Nia DaCosta’s direction is stylish as it does blend into many genres such as comedies, drama, action, suspense, hand-drawn animation in a brief sequence by senior animator Josh Janousky and lead animator Nicholas St. Clair, and Bollywood-inspired musicals as it plays into these different worlds that Danvers, Rambeau, and Khan would encounter. Shot largely on various studios in the U.K. as well as additional locations in Tropea, Italy and Los Angeles, DaCosta does create something that feels loose in its presentation as well as otherworldly considering the many places the characters go to. There are some wide and medium shots that play into the scope of the different planets and places these characters go to yet DaCosta grounds the film with its emphasis on family as well as playing to what is at stake. Notably as it involves a flashback in which Dar-Benn witnessed Danvers destroying the building where the Supreme Intelligence is held as it plays into her own legit grudge as it lead to Hala in a barren state with a civil war emerging. Danvers’ actions towards Hala do lead to consequences as well as why she and Monica became estranged where the two and Kamala would go to a Skrull colony where things go wrong due to Danvers’ involvement.
While the film is uneven in its approach to its different genres, DaCosta does however keep things exciting as well as knowing when to be serious as well as not to be serious. Most notably a subplot in which Fury takes the Khans to his space station where something serious does happen as it relates to Goose and the many people at the space station when it gets threatened by Dar-Benn. Its third act does take place around Earth as it relates to what Dar-Benn wants and what she can get with the quantum band that Kamala has gotten from her grandmother. Yet, the eventual confrontation between Dar-Benn and the Marvels has a lot at stake but it comes with an aftermath which forces Carol to confront her mistakes as well as realize what is more important. Even as it would also play for a couple of key events in one post-credits scene and an ending that would involve something big. Overall, DaCosta crafts a compelling and exciting film about a trio of women with superpowers who team up to save the universe from a Kree extremist who wants to save her home planet by any means necessary.
Cinematographer Sean Bobbitt does brilliant work with the film’s cinematography with its vibrant usage of colors in the way scenes on Earth and Aladna are shot along with low-level lighting for the scenes in Hala and parts of outer space. Editors Catrin Hedstrom and Evan Schiff do excellent work with the editing with the usage of split-screens, jump-cuts, and other stylish cuts to play into the humor, action, and suspense. Production designer Cara Brower, along with set decorators Jille Azis, Fergus Clegg, and Naomi Moore plus supervising art directors Andrew Bennett, Ben Collins, and Andrew Palmer, does amazing work with the look of the film from the different planets the characters go to as well as the interiors of the S.A.B.E.R. space station, as well as the home of the Khan family. Costume designer Lindsay Pugh does incredible work with the film’s costumes from the suits that the Marvels wear as well as many clothes that the citizens of Aladna wear including a special dress Danvers wears as well as the uniforms the people at S.A.B.E.R. wear.
Hair/makeup designers Sian Wilson and Wakana Yoshihara, along with special makeup effects designer David White, do fantastic work with the many different looks of the alien creatures including the Kree and Skrulls as well as Carol’s own different hairstyle during her time at Aladna. Special effects supervisor David Watkins, along with visual effects supervisor Tara DeMarco and Sarah Eim, does terrific work with the special effects in the way some of the powers from the Marvels are displayed as well as the look of outer space in other parts of the film along with the design of some of the Flerkens that would appear in one of the most hilarious sequences ever on film. Sound designer Tim Nielsen, along with sound editors Addison Teague and Katy Wood, does superb work with the sound in the way Dar-Benn’s weapon sounds when it lands on the ground as well as other sound effects to play into the action and suspense along with some natural sounds for some of the humorous moments in the film.
The film’s music by Laura Karpman is phenomenal for its mixture of orchestral flourishes with Bollywood-inspired pieces as well as themes that are full of bombast along with some somber pieces and choir pieces in which is a key factor for the scenes in Aladna as it is one of the standout cuts in the film’s music score. Music supervisor Dave Jordan creates a fun music soundtrack as it features a diverse array of music from M.I.A., Skrillex with Missy Elliott and Mr. Oizo, the Beastie Boys, James Murphy, a couple of score pieces by John Ottman, and a hilarious usage of Memory sung by Barbra Streisand.
The casting by Sarah Halley Finn is wonderful as it feature some notable small roles from Leila Farzad and Abraham Popoola as a couple of S.A.B.E.R. officers working directly with Fury, Daniel Ings as the Kree scientist Ty-Rone, Gary Lewis as the Skrull leader Emperor Dro’ge who runs a Skrull colony until he is threatened by Dar-Benn, the cats Nemo and Tango as Carol’s pet Flerken Goose, Lashana Lynch in a flashback scene as Monica’s mother Maria during a memory entanglement with Carol, and Tessa Thompson in a special appearance as Valkyrie who helps Carol out after a serious event involving the Skrulls. The trio of Saagar Shaikh, Mohan Kapur, and Zenobia Shroff as Kamala’s family in their respective roles as her older brother Aamir, father Yusuf, and mother Muneeba are a joy to watch as a family who would have their own dangerous encounter with a couple of Kree soldiers while traveling to space where they help Fury as they add a lot of humor to some of the chaos that occurs in the film. Park Seo-joon is superb in a small role as the Prince of Aladna in Yan as a leader whom Carol knows as he helps out as he provides a lot of charm and humor though it is a very small role that is fun to watch as it needed more of him.
Samuel L. Jackson is great as Nick Fury as the head of S.A.B.E.R. who works closely with Monica while he deals with this new threat to the universe as he also has some funny moments in his encounter with the Khan family as well as Goose where he gets more than he bargains for with what is happening with Goose. Zawe Ashton is excellent as Dar-Benn as the new Kree revolutionary who has a legitimate grudge towards Danvers after witnessing the event that lead to Hala into a civil war as she is determined to save her planet with the help of the Accuser hammer. While it is a character that isn’t fully-fledge in the writing, Ashton does bring in a lot of emotional weight to her performance as someone who is desperate to save her world by destroying other planets.
Finally, there’s the trio of Brie Larson, Teyonah Parris, and Iman Vellani in phenomenal performances in their respective roles as Carol Danvers/Captain Marvel, Monica Rambeau, and Kamala Khan/Ms. Marvel. Vellani’s performance as the 16-year old Pakistani high school student from Jersey City is full of delight and charisma as someone who is a total fangirl of Danvers while also is aware of the seriousness of what is happening as she brings in a sense of joy but also someone who knows how to keep everyone together. Parris’ performance as Rambeau, whose late mother was Danvers’ wing-woman in the air force as Danvers was also considered to be her aunt, is full of complexities as someone that isn’t eager to deal with Danvers over some personal issues while is also still trying to figure out her own powers.
Larson’s performance as Danvers is fascinating as someone still trying to regain lost memories but also has become distant in some ways where she also deals with her actions from the past. Larson also displays some humor and wit into the performance as well as facing revelations of her own faults as it relates to Dar-Benn. Larson, Parris, and Vellani together make this tremendous trio that all bring in the best of each other as they are the highlight of the film.
The Marvels is a marvelous film from Nia DaCosta that features a trio of great performances from Brie Larson, Teyonah Parris, and Iman Vellani as the titular group. Along with its supporting ensemble cast, colorful visuals, high stakes, its humor, and an exhilarating music soundtrack. It is a film that knows when to not take itself seriously and know when to be serious though the overall results aren’t perfect yet DaCosta does manage to craft an entertaining and engaging film about three ladies saving the universe. In the end, The Marvels is a remarkable film from Nia DaCosta.
Nia DaCosta Films: (Little Woods) – (Candyman (2021 film))
Marvel Cinematic Universe: Infinity Saga: Phase One: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers
Phase Two: Iron Man 3 - Thor: The Dark World - Captain America: The Winter Soldier - Guardians of the Galaxy - The Avengers: Age of Ultron - Ant-Man
Phase Three: Captain America: Civil War - Doctor Strange - Guardians of the Galaxy Vol. 2 - Spider-Man: Homecoming - Thor: Ragnarok - Black Panther - Avengers: Infinity War - Ant-Man and the Wasp - Captain Marvel - Avengers: Endgame - Spider-Man: Far from Home
Multiverse Saga: Phase Four: Black Widow (2021 film) - Shang-Chi and the Legend of the Ten Rings - Eternals - Spider-Man: No Way Home - Doctor Strange in the Multiverse of Madness - Thor: Love and Thunder - Werewolf by Night - Black Panther: Wakanda Forever - The Guardians of the Galaxy Holiday Special
Phase Five: Ant-Man & the Wasp: Quantumania - Guardians of the Galaxy Vol. 3 - (Deadpool & Wolverine) - (Captain America: Brave New World) - (Thunderbolts*)
Phase 6: The Fantastic Four: First Steps - (Avengers: Doomsday) - (Avengers: Secret Wars)
© thevoid99 2023
Based on the novel by James Baldwin, If Beale Street Could Talk is the story of a young woman who turns to her family for help in trying to free her lover who is wrongly charged with a crime as she hopes to free him before the birth of their first child. Written for the screen and directed by Barry Jenkins, the film is a period drama set in early 1970s Harlem as it play into a couple who meet and fall in love only for things to go wrong due to a false accusation. Starring KiKi Layne, Stephan James, Colman Domingo, Teyonah Parris, Michael Beach, Dave Franco, Diego Luna, Pedro Pascal, Ed Skrein, Brian Tyree Henry, and Regina King. If Beale Street Could Talk is an evocative and touching film from Barry Jenkins.
Set in early 1970s Harlem, the film revolves around a young couple whose life is in disarray when the man is accused of raping a young woman as those who know him are aware he’s innocent. Adding to the plight for this young man is that his girlfriend is pregnant as her family is trying to get him out of prison and prove he’s innocent in a world that is getting more complicated. It’s a film that play into the plight of two young lovers as they deal with the arrival of a baby as one family is willing to help yet the other, with the exception of the man’s father, chooses not to help. Barry Jenkins’ screenplay aims for a reflective narrative of sorts as it relates to the character of Clementine “Tish” Rivers (KiKi Layne) who looks back on her life with Alonzo “Fonny” Hunt (Stephan James) as well as the moment they conceived their child while cutting back to the present where Fonny is in jail as he just learned Tish is a few months pregnant.
The film moves back and forth to the times when Tish and Fonny were a couple as they knew each other since they were kids although Tish is a few years younger than Fonny. Their relationship is one filled with innocence and dreams as Fonny does whatever he can to learn a trade while also discovering his passion for being a sculptor. The flashback scenes also showcase moments of darkness such as a visit from Fonny’s friend Daniel Cartee (Brian Tyree Henry) who had just been released in prison as he reveals what he had seen as it would play into Fonny’s worries for the future following a terrible encounter with a racist police officer named Bell (Ed Skrein). The present narrative that play into Fonny’s time in prison as well as the impossibility of what had happened to this young woman in Victoria Rogers (Emily Rios) who suddenly returned to her home in Puerto Rico. While the Rivers’ attorney in Hayward (Finn Wittrock) is trying to help the family, there are complications prompting Tish’s mother Sharon (Regina King) to find Rogers herself as it present revelations about the severity of what happened to Rogers.
Jenkins’ direction definitely has this poetic tone to the film as it play into Tish’s recollections of her life with Fonny through voice over narration as well as playing into the ideas of the life she and Fonny could have but also be aware of the dark realities around them. Shot on location in New York City with Harlem being the predominant location as well as additional locations in the Dominican Republic as Puerto Rico. Jenkins does use wide shots to establish the locations but emphasizes more on close-ups and medium shots in carefully crafted compositions to maintain an intimacy between the characters. Most notably the scene where Tish and her family ask Fonny’s family for a drink where Tish’s father Joseph Rivers (Colman Domingo) and her older sister Ernestine (Teyonah Parris) are excited about the news of Tish and Fonny’s baby as is Fonny's father Frank Hunt (Michael Beach). Yet, Fonny’s mother (Aunjanue Ellis) and his sisters Adrienne (Ebony Obsidian) and Sheila (Dominique Thorne) aren’t happy with the news.
It’s among these simple yet tense scenes where Jenkins play into this tension as well as the severity of what Fonny is enduring as well as some of the fallacies into what he’s charged with as it relates to the different parts of New York City. The scenes at the prison where Fonny and Tish meet have Jenkins use some extreme close-ups but also medium shots for the setting as the latter is dealing with her pregnancy while there’s repetitious images of her at the subway. The film’s third act that play into Sharon going to Puerto Rico to find Rogers as it is this poignant sequence that play into Sharon’s desperation to get Rogers to tell the truth about Fonny and prove his innocence but it ends up being an uneasy task with lots of emotional repercussions.
Even as Jenkins reveals that what Fonny and Tish would deal with play into the fates of many others through pictures of African-Americans living in the ghettos during the 1970s and beyond but also show that they would find a way to maintain a sense of hope for their child. No matter how bad the circumstances can be and the injustice that many African-Americans have to suffer in the past and in the present as Jenkins reveals that despite all of these troubles. There is always hope through love. Overall, Jenkins crafts a rapturous and intoxicating film about a young woman hoping to free her lover from prison so he can be proved innocent and be with his family.
Cinematographer James Laxton does incredible work with the film’s cinematography as its usage of lights for some of the daytime/nighttime interiors and nighttime exteriors as well as the usage of natural lighting play into the beauty of the times despite some of its ugliness. Editors Joi McMillon and Nat Sanders do amazing work with the editing with its usage of jump-cuts as well a montage involving Tish dealing with her pregnancy and other stylish cuts that play into the drama. Production designer Mark Friedberg, with set decorators Devynne Lauchner and Kris Moran plus art directors Robert Pyzocha, Oliver Rivas Madera, and Jessica Shorten, does excellent work with the look of the family home of Tish’s parents as well as the home she and Fonny were eager to live as it would be something really special plus the Puerto Rican restaurant they like to go to. Costume designer Caroline Eselin does brilliant work with the costumes in terms of the stylish clothing the characters would wear to play into the times while Fonny’s mother is presented in this very uptight demeanor in her clothing as if she represents this false idea of purity.
Visual effects supervisors John Bair and John Mangia do nice work with the visual effects where it is largely set-dressing for some of the exteriors to help play into the period of the times. Sound designers Odin Benitez and Bryan Parker, along with sound editor/mixer Onnalee Blank, do fantastic work with the sound in capturing the atmosphere of the locations as well as the sound of records being played from a record player and other sparse elements that is key to the film’s sound work. The film’s music by Nicholas Brittell is phenomenal for its rich and intoxicating orchestral score that has elements of lush string arrangements as well as operatic tones and other subtle themes as it is a major highlight of the film while music supervisor Gabe Hilfer creates a soundtrack that is filled with a mixture of blues, jazz, soul, Latin music, and other contemporary pieces of the time.
The casting by Cindy Tolan is wonderful as it feature some notable small roles and appearances from Dave Franco as a landlord who shows Tish and Fonny this big loft home, Diego Luna as a Puerto Rican restauranteur who is a friend of Fonny, Finn Wittrock as the Rivers’ attorney Hayward who does what he can to help them knowing that he’s up for a big legal battle, Pedro Pascal as a local Puerto Rican hood in Pierto Alvarez who meets with Sharon about Rogers, Milanni Mines and Ethan Barrett in their respective roles as the adolescent versions of Tish and Fonny, Ebony Obsidian and Dominique Thorne in their respective roles as Fonny’s sisters Adrienne and Sheila who aren’t excited about the news of Fonny’s new baby, and Emily Rios in a terrific performance as Victoria Rogers as a woman who had been raped and believes that Fonny is the one who raped her.
Michael Beach and Aunjanue Ellis are superb in their respective roles as Fonny’s parents in Frank and Mrs. Hunt with Beach as this man that is ecstatic about the arrival of a grandchild as he is eager to help his son get out of jail while Ellis has this chilling presence as a woman who is convinced her son is in jail because he sinned greatly against God. Ed Skrein is fantastic in his small role as the racist police officer Bell as a man that confronts Fonny one night and tries to get him arrested as he would later play a part in Fonny’s incarceration. Brian Tyree Henry is excellent as Daniel Carty as a friend of Fonny who had been paroled as he talks about his experience in prison as well as what he saw during his time. Colman Domingo and Teyonah Parris are brilliant in their respective roles as Tish’s father Joseph and older sister Ernestine as two people being supportive of Tish as well as do what they can to get Fonny out of jail and prove his innocence. Regina King is incredible as Tish’s mother Sharon as a woman that is supportive of her daughter as well as wanting to prove that Fonny is innocent as it’s an understated yet riveting performance from King who really is a major highlight of the film.
The performances of KiKi Layne and Stephan James are phenomenal in their respective roles as Tish and Fonny. Layne’s performance is one filled with innocence as a 19-year old woman trying to understand what Fonny is going through as well as deal with her pregnancy as it’s a calm yet radiant performance from Layne. James’ performance is one that is full of sensitivity and care but also someone who is aware of the dark aspects of the real world as he does show some anger during a confrontation with a man trying to harass Tish as well as the struggle he is having in prison. Layne and James together just have this natural chemistry in the way they spend time with one another as well as deal with the pain of being apart as they talk together in prison.
If Beale Street Could Talk is a tremendous film from Barry Jenkins. Featuring a great ensemble cast, gorgeous visuals, Nicholas Brittell’s gorgeous score, and themes of love and family trying to help one another. It’s a touching drama that play into the period of racial injustice and unfairness during 1970s Harlem as well as show what some people will do to provide some hope and love in these troubled times. In the end, If Beale Street Could Talk is a spectacular film from Barry Jenkins.
Barry Jenkins Films: Medicine for Melancholy – Moonlight - (The Underground Railroad (2021 Limited TV Series) - (Mufasa: The Lion King)
© thevoid99 2019
Written and directed by Justin Simien, Dear White People is the story of a group of African-American Ivy League college students who deal with escalating racial tension in their school. The film is a dramatic satire that explores the world of racism from the perspective of African-Americans who deal with stereotypes and what is expected from them as a race. Starring Tyler James Williams, Tessa Thompson, Kyle Gallner, Teyonah Parris, Brandon Bell, Malcolm Barrett, and Dennis Haysbert. Dear White People is a provocative yet witty film from Justin Simien.
Set in the fictional Winchester University, the film revolves the life of students at this Ivy League college where a young woman runs a radio show that criticizes racism and related issues at the school as she gets into some trouble following an election that she won to rule one of its houses. It’s a film that depicts the life of various individuals at this prestigious school led by Sam White (Tessa Thompson) who runs a radio program called Dear White People and has published a book. Others include a former boyfriend in Troy (Brandon Bell) who is the dean’s son as he is given opportunities many could dream but feels conflicted as he wants to write jokes while a young woman named Coco (Teyonah Parris) is using her video blog in the hopes to become a TV star. Another student who gets lost in the shuffle in his attempts to find a role is Lionel Higgins (Tyler James Williams) who is a journalist major that is asked to write a story about the racial tension.
The film’s screenplay does revolve into a party that would set things off yet much of the narrative revolves around these events before this infamous party and the brewing tension that emerges. Notably as writer/director Justin Simien also create some contradictions where Sam is someone that is appalled by some of the actions of white people at the school and their claims that they’re not racist yet she is sleeping with a white TA named Gabe (Justin Dobies). Troy is dating the school president’s daughter who is white as she has a brother named Kurt (Kyle Gallner) who runs a fraternity house and a school paper as he is also racist though he denies it. The first act is about Sam winning the election and the trouble it has where some like Coco and Kurt rebel the ruling with the former having issue with Sam who feels is taking up all of the attention from a TV producer that she is trying to hook up with. The second act plays into the brewing tension as well as Troy’s attempt to be part of Kurt’s club as well as Coco getting Kurt ideas for the annual Halloween party.
The third act doesn’t just play into the party but moments where characters ponder where they’re going as well as question themselves as African-Americans with even Sam questioning herself in her activism. Especially as she confronts the school’s dean (Dennis Haysbert) about this upcoming party that Kurt is holding where it plays into the idea of racism. Yet, there are some personal elements that Sam faces which would only add more questions about herself as well as an encounter between Troy and Lionel at another party where it becomes clear that the two are the same despite their social differences.
Simien’s direction is quite simple in terms of the compositions he creates as well as the setting. Yet, it has an edge to it in terms of how it confronts the idea of racism not just from an African-American perspective but also the perspective of other races. Notably as Simien plays into the stereotypes of what African-Americans like and such which includes a scene where Sam and her friends go to a movie theater asking them what is playing aside from films from Tyler Perry, films that feature blatant African-American stereotypes, and films starring rappers. It also play into what African-Americans don’t want to be but they often fall into certain tropes that is expected of them. Simien’s usage of close-ups and medium shots add to the drama as well as some of the humor. Even in some wide shots which is evident in the third act where Troy learns he has to share a room with Lionel who had been shifted from one home to another.
It adds to these dramatic textures where it breaks down the stereotypes while adding some humor as it relates to a lone Asian who is part of the group of African-American activists. While much of the film is shot on location in Minnesota, Simien does make it feel like it is shot in any kind of school which definitely plays into a world where white culture is dominant. The film’s climatic party is the tipping point of what is happening where it questions not just racism but also why this particular theme for the party. Yet, there are those who don’t see things just as it is but are unaware of the consequences of these events as the final credits reveal some of the dark realities of what goes on in the world of college campuses. Overall, Simien creates a very compelling yet humorous film about life at an Ivy League school from the perspective of African-Americans.
Cinematographer Topher Osborn does excellent work with the film‘s cinematography from the low-key yet dark look of some of the daytime interior/exterior scenes as well as some lighting for scenes at night including the party. Editor Phillip J. Bartel does nice work with the editing as it‘s mostly straightforward with some rhythmic cuts to play into the humor and drama. Production designer Bruton Jones, with set decorator Melissa Pritchett and art director Cheri Anderson, does brilliant work with the set design from the school halls, the fraternity houses, and some of the exterior settings where the students frequent.
Costume designer Toye Adedipe does terrific work with the costumes as it range from casual with most of the students to the more stylish look of Sam. Sound designer Glenn T. Morgan does superb work with the sound to play into the atmosphere of the school halls and dining rooms as well as some of the parties that go on at the campus. The film’s music by Kathryn Bostic is wonderful for its mixture of hip-hop and ambient music to play into the world of college while music supervisor Paul Stewart brings in a mix of hip-hop, electronic music, and some classical music to play into some of the humor and drama that occurs in the film.
The casting by Kim Coleman is fantastic as it features some notable small roles from Brandon Alter as one of the school’s newspaper editors in George, Kate Gaulke as George’s aide Annie, Justin Dobies as Sam’s white lover Gabe, Naomi Ko as the Asian activist Sungmi, Brittany Curran as Troy’s white girlfriend Sofia who is wondering what he’s doing in the bathroom, and Peter Syvertsen as the school president who is also the father of Sofia and Kurt. Marque Richardson is terrific as Sam’s fellow activist friend Reggie who has feelings for Sam and is willing to help her. Malcolm Barrett is excellent as Helmut West as a reality TV producer whom Coco is trying to impress as he ponders about making a TV show about the school. Dennis Haysbert is superb as the dean who is also Troy’s father as he deals with the chaos that is happening in the school as well as trying to get his son on the right path.
Kyle Gallner is brilliant as Kurt as the president’s son who runs a fraternity and a publication as he tries to create the ultimate party while making Troy feel uncomfortable and antagonizing Sam. Brandon Bell is amazing as Troy as the dean’s son who was once a campus leader as he copes with the many expectations around him as well as the conflicts to conform as he hides a secret that could threaten his future. Teyonah Parris is wonderful as Coco as a young woman who dislikes Sam’s activism about what it means to be black as she tries to define herself where she gives Kurt an idea that she would later regret. Tyler James Williams is remarkable as Lionel as a gay journalist student who finds himself out of step with everyone as he’s constantly harassed by Kurt and wondering what he should do as a journalist. Finally, there’s Tessa Thompson in an incredible performance as Sam as this young film student who speaks out against everything around her as she later becomes conflicted when things become personal as it’s a very fiery and riveting performance.
Dear White People is a phenomenal film from Justin Simien. With a great cast and themes that manage to be very provoking as well as raise a lot of questions. It’s a film that is very engaging but also has some humor that isn’t afraid to showcase the world of racism and identity. In the end, Dear White People is a sensational film from Justin Simien.
© thevoid99 2016
