SINNERS (2025)

December 8, 2025

Greetings again from the darkness. My apologies for this review posting months after it should have. The tardiness of the post has nothing to do with the quality of the movie, which I found quite entertaining and creative. It might be best described as an innovate storytelling approach to an age-old tale … with some very cool twists and turns. Ryan Coogler previously directed BLACK PANTHER: WAKANDA FOREVER (2022), BLACK PANTHER (2018), CREED (2015), and FRUITVALE STATION (2013); however, this is his first fully original film as writer-director, and it certainly doesn’t lack ambition.

You likely know that Michael B Jordan starred in all of Coogler’s films mentioned above, and he’s back here as both “Smoke” (Elijah) and his twin brother “Stack” (Elias). The boys are fresh from Capone’s gang in Chicago, and intent on setting up a juke joint in their old Mississippi hometown stomping grounds. An abandoned sawmill that has seen its share of slaughters will do just fine (and no, you definitely shouldn’t read any foreshadowing or irony into the setting. Wink. Wink.). Since I mentioned the twins, you should know that the technical aspects are astounding (in addition to Jordan’s terrific performances). An early scene where the brothers share a cigarette amazed me in its execution and detail. This was the first of many.

Young, bloody Sammie (the film debut of Miles Caton) staggers to his preacher father’s alter carrying the neck of a shattered Charley Patton guitar. And this may be the closest Coogler’s film gets to a serene scene. What follows is a unique blend of too many bits to list, but definitely includes horror, monsters, blues music, biblical references, southern racism, historical events (Robert Johnson’s crossroads), mythology, mobsters, Mississippi Delta black culture, and enough violence for a few films. You may think you’ve seen all there is to see about vampire mythology, but Coogler doesn’t shy away from new blood (so to speak). Now, is all that just too much for one movie to tackle? Many will likely think so, however, those that go with it will likely find it as entertaining as I did.

The supporting cast is massive and filled with familiar faces and talented actors – too many to list here, but know that each contribution adds to the overall dynamic. I will mention Hailee Steinfeld, who plays Mary, a “dangerous” multi-racial woman who is the bridge between black and white (and perhaps good and evil). There are at least eleven other actors who excel in their role and have a memorable, and often surprising or shocking impact, but the only other one I’ll call by name is the legendary Buddy Guy who appears in the 1992 Epilogue. From a technical standpoint, acknowledging those who created the Southern Gothic horror atmosphere are Cinematographer Autumn Durald Arkapaw, Editor Michael P Shawver, and Composer Ludwig Goransson (a two-time Oscar winner). Filmmaker Ryan Coogler has established himself as one who combines a strong technical team, a stellar cast, and a sharp script to create films that have broader appeal than one might expect (superheroes, vampires, and culture clashes). His films are now must-see cinema.

WATCH THE TRAILER

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Posted by David Ferguson

THE WOMAN KING (2022)

December 11, 2022

Greetings again from the darkness. I’m a little late on this one as I try to catch up with viewings for year-end lists and voting. From the opening scene, director Gina Prince-Bythewood (LOVE AND BASKETBALL, 2000) establishes the skill and intimidation of the Agojie, an elite force of female soldiers in the Dahomey Kingdom of West Africa. The year is 1823 and the warriors are led by their General, Nanisca (Oscar winner Viola Davis, FENCES, 2016), a fierce leader who also has the ear (figuratively speaking) of Ghezo (John Boyega), the new king.

The film is based on historical facts, but also takes a great deal of dramatic license in its story telling. Actress Maria Bello developed the story, and the screenplay was written by Dana Stevens (FOR LOVE OF THE GAME, 1999). Dahomey’s riches come from its slave trade, and its way of life is being threatened by it’s enemy, the Oyo Empire … for whom Nanisca holds a personal hatred. Nanisca recommends transitioning to the sale of palm oil, while Shante (Jayme Lawson, TILL, 2022), the power-hungry wife of the King, promotes further expanding their successful slave trade.

Nanisca loses many soldiers in that initial battle and must quickly train a new group of recruits. One of these is Nawi (Thuso Mbedu, “The Underground Railroad”), an obstinate young girl who rebels against her father’s wishes and finds herself ‘gifted’ to the kingdom. Izogie (an excellent Lashana Lynch, NO TIME TO DIE, 2021) takes on the role of training and mentoring Nawi, and the two form a strong bond. The trading of slaves plays a part in this version of the story, yet somehow it feels minimized in the interest of playing to the mainstream and ensuring Ms. Davis’s character appears heroic and appealing throughout … even with the twist, that won’t really surprise anyone.

What I find most interesting is that Viola Davis is garnering much attention for another Best Actress Oscar nomination, yet it’s Thuso Mbedu whom I would claim is the lead in the film, and certainly a more interesting character. The King’s Guard (the Agojie) are remarkably fit and the battle scenes are well orchestrated … and Nanisca has one of the best fight/attack yells of all time. The film is large in scale and likely owes a bit of gratitude to the success of the Black Panther movies for the enhanced budget. In the end, we can certainly appreciate Ms. Davis’s strong General, though it’s Ms. Mbedu who looks to be the one to watch in the coming years.

WATCH THE TRAILER

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Posted by David Ferguson

TILL (2022)

October 21, 2022

Greetings again from the darkness. Don’t look away. Whether referring to Mamie Till-Mobley telling family members to look at the disfigured boy in the casket, or to the general counsel to all citizens in this day of division, the sentiment is the same … see with your own eyes so that you understand the injustice. Writer-director Chinonye Chukwu (CLEMENCY, 2019) and her co-writers Michael Reilly and Keith Beauchamp allow us to see the tragic story of Emmett Till through the eyes of his mother, and it’s a powerful approach. It’s Mr. Beauchamp who has diligently researched this story for almost 25 years, and was the driving force behind the 2005 documentary, THE UNTOLD STORY OF EMMETT LOUIS TILL.

The film certainly benefits from the powerhouse performance of Danielle Deadwyler (THE HARDER THEY FALL, 2021) as Mamie Till-Mobley. Mamie’s love and concern for her 14-year-old son Emmett (a terrific Jalyn Hall) is only surpassed by her strength and dignity after his death … and all of this is masterfully portrayed by Ms. Deadwyler in her surefire Oscar contending role. We see just enough of young Emmett to realize he’s a well-raised, considerate, and fun-loving boy who sometimes stutters. He’s so excited for his trip from Chicago to Mississippi to meet some of his relatives, while seeing and doing new things. It’s 1955, and Mamie tries to caution Emmett on the differences between their world at home and the southern world he’s about to enter.

There are varying accounts of what Emmett actually did or didn’t do to Money, Mississippi store clerk Carolyn Bryant (played by Haley Bennett, SWALLOW, 2019), but the shock of seeing Emmett’s disfigured face and body is handled brilliantly here, and though the actual violence occurs off screen, the impact remains. Against all of her motherly protective instincts, Mamie seizes the power of the moment to have a photograph taken and demand an open casket so that the world can witness the result of the atrocity. Her ability to think clearly catapulted the case to national attention, and allowed Emmett Till to become a name and example that is still studied today.

The supporting cast includes Frankie Faison (Mamie’s father), Whoopi Goldberg (Mamie’s mother), Sean Patrick Thomas, Tosin Cole (as Medgar Evers), John Douglas Thompson, and Jayme Lawson. The trial of the men accused of beating and killing Emmett plays a part here, but the only real courtroom drama occurs when Mamie takes the stand. It’s in that moment when Ms. Deadwyler truly shines and allows us to feel a mother’s pain and disgust. Afterwards, we get a taste of her activism … something she continued until her death in 2003 at age 81. Filmmaker Chukwu benefits from the performance of Deadwyler and the years of research by Mr. Beauchamp, and she delivers a film that allows us to experience a dark moment in history from a different perspective – the eyes of a mother.

Opens in theaters on October 21, 2022

WATCH THE TRAILER

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Posted by David Ferguson

FAREWELL AMOR (2020)

December 11, 2020

 Greetings again from the darkness. Awkwardness abounds in the opening scene as Walter, his wife, and their teenage daughter reunite at JFK airport. The Angolan family has been separated for 17 years, and reality hits as the threesome grasp that they don’t even really know each other. The reunion gets more uncomfortable as they try to settle into Walter’s cramped one bedroom apartment. He’s been living and working in New York City as a taxi driver while the paperwork was processed to allow his family to join him.

This is the first feature film from writer-director Ekwa Msangi, and she expands her 2016 short film FAREWELL MEU AMOR. Ntare Gum Mbaho Mwine stars as Walter, the taxi driver and husband/father with a secret. His wife Esther is played by Zainab Jah, and it’s her religious zealousness that complicates things for the reunited family. Their daughter Sylvia is played by newcomer Jayme Lawson, a teenager whose simmering energy and passion for dancing is masked by her quiet demeanor. In fact, it’s dancing that links the three characters and ultimately breaks down barriers.

Ms. Msangi cleverly utilizes individual chapters for the three main characters within the larger story. We quickly get a feel for the difficulties and challenges each is facing during this transition. Walter is struggling with the separation from Linda (Nana Mensah), a nurse he had grown quite fond of. Esther is reacts to her husband’s independence by praying louder and harder and sending money to her church. Sylvia’s story is perhaps the most interesting. As an immigrant, she’s an outcast at school, and only the kindness of classmate DJ (Marcus Scribner) allows her to create her space with a terrific dance off. There is also an interesting interaction between Esther and a neighbor (Joie Lee), one of the few who knows the full story and tries to help.

Cultural upheaval is on display, and there are quite a few touching scenes. Walter and Esther have dinner out at a nice restaurant, and it’s a scene filled with conflicting feelings and emotions … handled extremely well by the actors. There is a gentleness and sincerity to the film, and we find ourselves hoping things will work out well for all three. Perhaps it’s a stretch to think dancing might be the key to a smoother transition, but the way it plays out is quite pleasant to watch. It’s a terrific first feature from Ekwa Msangi.

In Theaters and On Demand December 11

watch the trailer

 

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Posted by David Ferguson