By Dwight Brown
NNPA Film Critic
(***) Is it possible to admire the artistry of a movie more than the movie itself? Yes!
As a writer/director Ryan Coogler has had a storied career. From his first, well lauded and socially coconscious film Fruitvale Station, to the globally popular Black Panther superhero series and two chapters of the sports drama Creed—he’s cemented his place in film history. He knows how to pick projects, create a winner and garner critical acclaim.
As Coogler digs into the horror genre, he brings an enviable behind-the-camera production crew whose talents are formidable: Cinematographer Autumn Durald Arkapaw (Black Panther: Wakanda Forever), production designer Hannah Beachler (Oscar®-winner Black Panther), composer Ludwig Göransson (Oscar® winner Black Panther) and costume designer Ruth E. Carter (Oscar® winner Black Panther and Black Panther: Wakanda Forever). If you’re going to go into battle and tackling a new genre, captaining this kind of A-team assures that the visuals and sounds will dazzle, and they do. The rest is up to the script, direction and acting.
Twin brothers Smoke and Stack (Michael B. Jordan) return to their rural, southern hometown of Clarksdale, Mississippi after fighting in WWI and living the gangland life in Chicago. They’ve got big ambitions, a truck full of booze, guns and lots of money to spread around. They buy a building from an old white racist man (David Maldonado) to open up a juke joint. As they go about their business, they reconnect with their much younger teen cousin, Sammie (Miles Caton), the son of a preacher man, who fancies himself to be a singer/guitarist. Then the twins convince Delta Slim (Delroy Lindo), a local blues singer legend, to perform at their saloon on the grand opening night. An occasion that will attract the locals who are craving entertainment.
The brothers don’t know that an evil vampire, Remmick (Jack O’Connell, ’71), is out seeking converts he can drag over to the dark side. He starts with a white couple Joan (Lola Kirke) and Bert (Peter Dreimanis). He bites into their necks; sips blood and is ready to infest other souls. His demonic eyes are glaring at the twins’ new party hall, like it’s a coop full of chickens ready for the fox’s slaughter. The brothers aren’t aware: “I ain’t ever seen no demons. No Ghosts. No magic…”
It’s a viable premise for a genre film, but the script and direction have far bigger things in mind than just a run-of-the-mill fright fest. Ambitiously, or over ambitiously, the narrative takes on racism, history, African heritage, Black life in the 1930s segregated South and spiritual aspects, too. In one evocative dance scene in the nightclub, a la Ernie Gaines’ iconic painting “Sugar Shack,” the blues music gets folks dancing in a joyous frenzy. Then it evokes images of Africans dancing, making the connection to the past. Then it adds in funk music masters from the future, similar to a Sly Stone or Rick James, to further the linkage factor. Thought-provoking, or overkill?
A la Quentin Tarantino, there are scenes, especially in the beginning, that drag on long after the point of the moment has been conveyed. Purposeful or indulgent? There are also early sequences in which one of the twins drives a car and Slim and Sammy are passengers. The dialogue reveals things about the characters. There are cutaways, then the footage comes back to them without delivering new information that propels the story forward. That lets viewers’ eyes linger long enough to see that the car may be real, but the scenery passing by is green screen trickery. Editing (editor Michael P. Shawver, Black Panther) out excess and tightening here and there would have given the film a better rhythm.
Ditto when the ever-growing league of vampires approaches the juke joint, and its customers gather for a fight. There’s lots of smack talk and exposition that slows momentum at a time when focused horror films careen towards the climax, take their foot off the brakes and speed into cataclysmic mayhem. It’s a time to make hearts race. And though the entire film is filled with wonderful music and choreography, this may not be the opportune time to interject a Broadwayish song and dance vampire routine. It’s like Coogler is making gumbo and, as some would say, has gone a bit heavy on the salt.
It’s easy to call out the acting prowess of Jordan for tackling two roles. It would be even easier to praise him if the two brothers either had more divergent personalities or a rivalry. Something hostile like Romulus and Remus, or regal and distinct, like Aaron and Moses. Or secondary emotional characteristics that would further distinguish them: e.g., one always laughing and one was always angry. As is, besides their names Stack and Smoke and one having gold crowned teeth, the brothers are way too similar for Jordan to really flaunt his true versatility. That said, watching the twins intermingle is an alluring stunt.
Lindo builds and embodies the spirit of Howlin’ Wolf, Robert Johnson and Muddy Waters very well as Slim. Gotta love the legendary blues guitarist Buddy Guy’s cameo. Yao and Li Jun Li fit in nicely as the store owners Bo and Grace. When Wunmi Mosaku (Deadpool and Wolverine) gives Annie, Smokes ladyfriend, a spiritual, shaman like presence it resonates. As Omar Benson Miller (8 Mile) buffoons his way through the character Cornbread, the security guard, he perfectly blends bumbling idiot and warm-hearted man. If you think Hailee Steinfeld (True Grit), who plays Mary the temptress who confronts Stack the Gigolo, is the chocolate-loving Kim Kardasian of the times, you’re not alone. Miles Caton, with far less experience than other cast members, renders a confident and complex portrayal of the most innocent protagonist in the bunch.
Respect the historical elements, dazzling imagery, audio effects, skilled direction and strong performances. But know that somewhere in this artsy 127-minute supernatural, drama, action, horror, thriller with musical numbers is a more phenomenal 120-minute film. One that might find an even bigger scary-movie-loving audience. Fans who like their horror films lean, completely terrorizing and with enough bloodletting to fill the Mississippi river.
Visit Film Critic Dwight Brown at DwightBrownInk.com.
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