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    ‘The Harder They Fall’ Review: A New Look for the Old West

    Jeymes Samuel’s film is a bloody horse opera with a charismatic cast.A note at the beginning of “The Harder They Fall” asserts that while the story is fictional, “These. People. Existed.” This isn’t about historical accuracy, or even realism; it’s about genre. The movie, directed by Jeymes Samuel (from a screenplay he wrote with Boaz Yakin), is a high-style pop Western, with geysers of blood, winks of nasty, knowing humor and an eclectic, joyfully anachronistic soundtrack featuring cuts from Jay-Z, Fela Kuti and Nina Simone alongside Samuel’s original score.The point is that the vivid assortment of gunslingers, chanteuses, saloonkeepers and train-robbers — all of them Black — who ride through picturesque mountain ranges and frontier towns have as authentic a claim on the mythology of the West as their white counterparts. They exist, in other words, as true archetypes in a primal story of revenge, greed, treachery and courage.Especially revenge. The story begins with a family’s Sunday dinner interrupted by slaughter. Some years later, the young boy whose parents were gunned down in front of him has grown up into an outlaw named Nat Love, played with abundant charm by Jonathan Majors. Nat’s gang — whose most valuable players are a sharpshooter (Edi Gathegi) and a quick-draw specialist (RJ Cyler) — specializes in stealing from other outlaw bands. But that’s just business. The personal concerns that propel Nate and the plot are his love for Stagecoach Mary (Zazie Beetz) and his vendetta against Rufus Buck (Idris Elba).Mary is a singer and entrepreneur with impressive fighting skills. Rufus resembles a villain out of fantasy or science fiction — a nearly superhuman avatar of evil with grandiose ambitions and a grudge against the universe. And also the charisma of Elba, unmatched at playing bad guys with a touch of sadness to them. Rufus’s crew is a mirror-image of Nate’s, though his empire is more extensive. His sharpshooter, Cherokee Bill (Lakieth Stanfield), is a philosophical sociopath, and his main lieutenant is a ruthless killer named Trudy Smith.Speaking of charisma: Regina King! From her first appearance — on horseback, in a blazing blue coat with gold buttons to match her stirrups — Trudy spikes the magnetometer, but King is in good company. Just look at the names in the preceding paragraphs. Add Delroy Lindo as a dour U.S. Marshall with complicated allegiances and Danielle Deadwyler as Mary’s pint-size bouncer, who joins up with Nate’s gang and steals a dozen scenes as well as $35,000 from a white-owned bank.Samuel makes the most of his formidable cast. If anything, he may be overgenerous. The narrative sometimes flags so that everyone can get in a few volleys of the salty, pungent dialogue on the way to the next round of gunplay or fisticuffs. There are imaginative and suspenseful set pieces — Trudy peeling an apple while she tells the captive Mary a story; a bank robbery in a town so white that even the dust on Main Street looks bleached — and plenty of more conventional episodes of shooting and punching.“The Harder They Fall,” nodding to the traditions of blaxploitation and spaghetti Westerns in the Netflix era, opts for sprawl and impact — the eye-popping cinematography is by Mihai Malaimare Jr. — over restraint and coherence. That’s not such a bad thing, though the story sometimes feels glib as well as messy. A late-breaking revelation that is meant to raise the dramatic and emotional stakes has the opposite effect, and the violence walks the line between stylization and sadism. The bodies pile up at the end, but there are enough people still existing to tease a sequel. No complaints here. That’s part of how the West was won.The Harder They FallRated R. Killing and cursing. Running time: 2 hours 10 minutes. Watch on Netflix. More

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    ‘S.N.L.’ Imagines a Victory Lap After Trump’s Acquittal

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main story‘S.N.L.’ Imagines a Victory Lap After Trump’s AcquittalThe opening sketch on “Saturday Night Live” presented satirical remarks from Republican allies like Lindsey Graham, Ted Cruz and Mitch McConnell.Regina King (with Kenan Thompson) hosted “Saturday Night Live” this week.Credit…NBCFeb. 14, 2021Within hours of the Senate’s vote to acquit former President Donald J. Trump on a charge of inciting the Jan. 6 riot at the Capitol, “Saturday Night Live” was imagining how some of Trump’s Republican allies in the Senate might be celebrating in a parody episode of “Tucker Carlson Tonight.”Alex Moffat played that Fox News host, who compared himself to a human White Claw and started his broadcast with what he called “a loose collection of scaremongering non sequiturs.” Among them, “Is AOC hiding in your house right now?” and “Pixar: Is it making our kids depressed or gay? Pick one.”The program’s first guest was Senator Lindsey Graham (Kate McKinnon), who said that it was “a great day for 30 percent of America.”In defense of Trump, McKinnon said, “Just because the rioters were yelling ‘Fight for Trump’ doesn’t mean they meant Donald Trump. Could’ve been some real Tiffany heads. Maybe even some Eric stans, I don’t know. But regardless, the trial is over and now we can move past this and focus on the serious issues. That’s locking up Hillary and freeing beautiful Britney Spears.”McKinnon added that she didn’t understand the contempt directed at Trump. “He is smart, he is nice, he’s in shape,” she said. “Last fall he died of Covid and didn’t even tell nobody.”Playing Senator Ted Cruz, Aidy Bryant discussed the relationship between Republican senators and Trump’s legal counsel. “Like any impartial juror,” she said, “we took it upon ourselves to meet with the defense lawyers, to give them some very simple advice: stop, and don’t.”Inside the Senate chamber, Mikey Day played Trump’s tongue-tied lawyer Bruce L. Castor Jr., who apologized as he misidentified himself as the lead prosecutor, the bailiff and a bridesmaid. Pete Davidson, who played his truculent fellow defense lawyer Michael van der Veen, said he was in a hurry to complete the proceedings because he had “already bought a nonrefundable train ticket back to Phillyvania, Pennsadelphia.”The final guest was the Senate minority leader, Mitch McConnell (Beck Bennett), who, despite denouncing Trump, said that his not guilty vote was justified “because everyone knows you cannot impeach a former president.”“That’s why we should have impeached him before, back when I said we couldn’t,” he said. “I think he’s guilty as hell, and the worst person I ever met and I hope every city, county and state locks his ass up.”Bennett then exhaled a long breath and declared, “God, that felt good. I’ve been holding that inside my neck for four years.”Asked what he would now do in the Senate, Bennett replied, “I plan to reach my hand across the aisle and then yank it back and slide it across my hair and then say, ‘Too slow.’”Fake Commercial of the WeekIf you can afford a trendy Peloton exercise bike but have no interest in the relentlessly upbeat motivational messages from its onscreen product, “S.N.L.” may have a product that’s more your speed. It’s the Pelotaunt, which in this advertisement is billed as “the only exercise bike that provides you with personalized, at-home negative reinforcement and relentless criticism.”Among its many modes of emotional manipulation are snotty disdain, insincere praise and avoidant attachment style. And if none of those settings gets you into shape, why not try a workout accompanied by the theme from “Curb Your Enthusiasm” or video of “an elderly woman who’s like 1,000 times better than you”?Timely Legal Assistance of the WeekWho among us has not required the intervention of a plastic surgeon after using an extremely powerful adhesive as a substitute for hair spray? It happened in real life to Tessica Brown, who became an unfortunate viral sensation when she pasted her pate with Gorilla Glue.Now, should any of us make the same mistake, we have the law firm of Denzel and Latrice Commode (Kenan Thompson and Regina King), who can’t fix our hair but may be able to help us win large cash settlements. As King explained, “Fact: Every day as many as one people fall victim to using Gorilla Glue in place of a beauty product. And they deserve compensation.” She added that, though the odds may be tough, these attorneys understand what they’re up against. “We know it’s going to be hard taking a gorilla to court and suing him over his glue,” she said.Weekend Update Jokes of the WeekOver at the Weekend Update desk, the anchors Colin Jost and Michael Che continued to riff on Trump’s impeachment acquittal.Jost started:Like so many other men living in Florida, Donald Trump has once again escaped from justice. This has to be the dumbest trial I’ve ever seen. Here’s how dumb it was: The jurors, who are deciding the case, were the ones attacked by defendant. The trial took place at the scene of the crime. And then right after the trial ended, one of the jurors who voted to acquit Trump ran out and said, “Someone’s got to prosecute this guy. He did it. This man belongs in jail.” What are you going to do? If you’re going to impeach the president for anything, don’t you think it’s sending a mob to kill the Vice President? I feel bad for Pence — 43 of his work friends were like, oh come on, Mike, they only tried to hang you. Stop being such a drama queen. I think it would be hilarious if Biden now sent rioters back into the Capitol. And he was like, What? You guys said it was fine.Che continued:During Donald Trump’s impeachment, House managers showed security footage of Capitol rioters violently attacking police. But here’s a little Black history lesson for you: Just because there’s video evidence doesn’t mean you’re going to get a conviction.Jost then added:Video evidence of the violence on January 6 showed that Senator Mitt Romney and Vice President Pence both had close calls with rioters. So let me get this straight: You’re a white supremacist mob and you go after these guys? The two whitest guys I could think of? They make me look like Ice-T.Most Valuable Player of the WeekNo one right now would seem to have it easier or better than Tom Brady, the NFL quarterback who won his record-setting seventh Super Bowl last weekend in his first season with the Tampa Bay Buccaneers, after leaving his longtime home with the New England Patriots.But, as portrayed by Bennett at the Weekend Update desk, Brady is a drunken, slurring, Vince Lombardi Trophy-tossing muddle who variously boasts of his successes and taunts his old Patriots head coach, Bill Belichick (“You hear that, Bill? You’re not my dad anymore!”) As Bennett explained in a moment of self-loathing, “My problem is nobody likes me. I don’t know what I did so wrong. All I did was go out and win the Super Bowl. I kept thinking, maybe I get one more trophy and people are going to like me. Nope. They don’t talk about the wins. They just talk about how I kiss my sons.”AdvertisementContinue reading the main story More

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    ‘One Night in Miami’ Review: After the Big Fight, a War of Words

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storycritic’s pick‘One Night in Miami’ Review: After the Big Fight, a War of WordsA 1964 meeting of Malcolm X, Cassius Clay, Sam Cooke and Jim Brown is the subject of Regina King’s riveting directorial debut.A moment in time: A scene from Regina King’s “One Night in Miami.” Kingsley Ben-Adir, left, as Malcolm X, taking a photo of Jim Brown (Aldis Hodge), Cassius Clay (Eli Goree) and Sam Cooke (Leslie Odom Jr.).Credit…Patti Perret/Amazon StudiosJan. 14, 2021, 7:00 a.m. ETOne Night in MiamiNYT Critic’s PickDirected by Regina KingDramaR1h 54mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.On Feb. 25, 1964, at the Convention Hall in Miami Beach, Fla., Cassius Clay — not yet known as Muhammad Ali — defeated Sonny Liston to become the heavyweight champion of the world. That’s hardly a spoiler, and the fight isn’t the main event in “One Night in Miami,” Regina King’s debut feature as a director. The movie is about what happens after the final bell, when Clay and three men who witnessed the fight gather for a low-key after-party that turns into an impromptu seminar on fame, political action and the obligations of Black celebrities in a time of crisis.The host is Malcolm X, played by Kingsley Ben-Adir less as a confident, charismatic orator than as a smart, anxious man facing a crisis of his own. We’re reminded in a few early scenes of the rift opening up between Malcolm and Elijah Muhammad, his mentor and the leader of the Nation of Islam. Frustrated by Muhammad’s autocratic dogmatism and appalled at his sexual predations, Malcolm sees Clay (Eli Goree), who is gravitating toward Islam, as “the ace up my sleeve” — a prominent ally who will help him break away from the Nation.[embedded content]Joining the boxer and the minister in a modest suite at the Hampton House motel are the Cleveland Browns running back Jim Brown (Aldis Hodge) and the singer Sam Cooke (Leslie Odom Jr.). Each is at the peak of his career, and also at something of a crossroads. Brown, increasingly fed up with the ways Black athletes are exploited and commodified, has his eye on Hollywood. Cooke’s most recent effort to attract a white audience — a gig at the Copacabana in New York — was met with a chilly reception.Malcolm tries to push Cooke in another direction, arguing that the job of successful Black artists isn’t to court white approval but to use their fame and talent to advance the cause of their own people. The dramatic nerve center of the film, adapted by Kemp Powers from his own play, is the quarrel between Malcolm and Cooke, who have known each other for a long time and whose intimacy is laced with rivalry and resentment. It’s a complex and subtle debate that implicates Clay and Brown, and that reverberates forward in history and the later actions of all four.Cooke, who drives a red sports car, smokes cigarettes and carries a flask in his jacket, stands in obvious temperamental contrast to Malcolm, who is both the straight arrow and the nerd of the group, offering them vanilla ice cream and showing off his new Rolleiflex camera. Among the pleasures of “One Night in Miami” is how it allows us to imagine we’re glimpsing the private selves of highly public figures, exploring aspects of their personalities that their familiar personas were partly constructed to obscure.This is also, I think, an important argument of Powers’s script: History isn’t made by icons, but by human beings. Fame, which provides each of them with opportunities and temptations, comes with a cost. The fine print of racism is always part of the contract. What Cooke, Brown and Clay share is a desire for freedom — a determination to find independence from the businesses and institutions that seek to control them and profit from their talents.Malcolm, who faces different constraints, urges them to connect their own freedom with something larger, an imperative that each of the others, in his own way, acknowledges. Malcolm’s manner can be didactic, but “One Night in Miami” is anything but. Instead of a group biopic or a ready-made costume drama, it’s an intellectual thriller, crackling with the energy of ideas and emotions as they happen. Who wouldn’t want to be in that room? And there we are.What we witness may not be exactly what happened. I don’t know if Malcolm X really traveled with a copy of “The Freewheelin’ Bob Dylan” in his luggage so that he could make a point about protest music by dropping the needle on “Blowin’ in the Wind.” There are aspects of the characters’ lives that are noted in passing but not really explored — notably Cooke’s and Brown’s treatment of women. Malcolm’s wife, Betty Shabazz (Joaquina Kalukango), appears in a few scenes, as does Barbara Cooke (Nicolette Robinson), but they are marginal to a story that is preoccupied with manhood. Still, there is enough authenticity and coherence in the writing and the performances to make the film a credible representation of its moment, and King’s direction makes it more than that.An actress of singular poise and intensity — see “Watchmen,” “If Beale Street Could Talk” and, going back a little further, “Poetic Justice” — she demonstrates those traits behind the camera as well. There are a few boxing and musical scenes, but most of the action in “One Night in Miami” is talk. King’s attention to it as nimble and unpredictable as the dialogue itself, and creates an atmosphere of restlessness and spontaneity, that nervous, exhilarating feeling that this night could go anywhere.Clay, the youngest of the four, is the one who most vividly embodies that sense of possibility. Goree captures the familiar rasp and melody of the voice, and also the champion’s wit and exuberance. There haven’t been many people who could match his giddy, unapologetic delight in being himself, and Clay can look a bit callow next to Cooke and Brown, who have logged more years and paid more dues in the world of celebrity. But Goree shows that Clay, as playful as he could be, was also serious and brave, qualities that would come to the fore a few years later when he risked his career and his freedom to oppose the Vietnam War.The seeds of that action and others, this movie suggests, were planted that night. The shadows of a complicated, tragic future hover over the motel furniture. Within a year of that night, Sam Cooke and Malcolm X would both be killed, one in a Los Angeles motel, the other in a Harlem ballroom. (Only Malcolm’s death is mentioned in the film). The later chapters in Muhammad Ali’s life, and in Brown’s, are part of the crazy, contentious record of our time.And “One Night in Miami,” at first glance, might be taken as a minor anecdote plucked from that larger narrative. It doesn’t make grand statements about race, politics, sports or music. It’s just a bunch of guys talking — bantering, blustering, dropping their defenses and opening their hearts. But the substance of their talk is fascinating, and their arguments echo powerfully in the present. This is one of the most exciting movies I’ve seen in quite some time.One Night in Miami.Rated R. Smoking and Swearing. Running time: 1 hour 54 minutes. Watch on Amazon.AdvertisementContinue reading the main story More