Review: ‘Highest 2 Lowest,’ starring Denzel Washington

August 15, 2025

by Carla Hay

Denzel Washington in “Highest 2 Lowest” (Photo by David Lee/Apple Studios and A24)

“Highest 2 Lowest”

Directed by Spike Lee

Culture Representation: Taking place in New York City in 2025, the dramatic film “Highest 2 Lowest” (a re-imagining of the 1963 movie “High and Low”) features a predominantly African American cast of characters (with some white people, Latin people and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: A wealthy music industry executive, who is trying to buy back the record company that he sold years ago, has to decide whether or not to pay $17.5 million in ransom for a kidnapping involving his son’s best friend.

Culture Audience: “Highest 2 Lowest” will appeal primarily to people who are fans of the movie’s headliners, filmmaker Spike Lee, and crime thrillers about moral dilemmas.

Aubrey Joseph and Elijah Wright in “Highest 2 Lowest” (Photo by David Lee/Apple Studios and A24)

“Highest 2 Lowest” is an uneven but watchable mix of riveting performances, a mismatched music score, stylish visuals, and unrealistic crime thriller scenes. Denzel Washington shines as a music executive caught in a kidnapping dilemma. This re-imagining of writer/director Akira Kurosawa’s 1963 film “High and Low” (which was loosely based on Evan Hunter’s 1959 novel “King’s Ransom”) isn’t as cinematically artistic as “High and Low.” However, “Highest 2 Lowest” gets many aspects right in telling this story that’s mostly from the perspectives of urban music culture in the 2020s. “Highest 2 Lowest” falls short when its protagonist (an affluent and elderly music industry executive) suddenly morphs into acting like an action hero detective in scenes that don’t look entirely believable.

Directed by Spike Lee and written by Alan Fox, “Highest 2 Lowest” had its world premiere at the 2025 Cannes Film Festival. “Highest 2 Lowest” is the first feature-film screenplay for Fox. The movie takes place in 2025 in New York City, where “Highest 2 Lowest” was filmed on location. It’s in contrast to “High and Low,” which take place in the 1960s, in Yokohama, Japan.

In “Highest 2 Lowest,” David King (played by Denzel Washington) is the millionaire founder of Stackin’ Hits Records. David, who is also a music producer, is a Grammy-winning legend in the music industry, where he’s had major hits with several artists for the past 30 years. However, Stackin’ Hits has recently been in a sales slump. The record company hasn’t had a hot streak like it did about 25 years ago. (In “High and Low,” the protagonist is an executive at a shoe company.)

David lives in the penthouse of a luxury Brooklyn condominium with his socialite wife Pam King (played by Ilfenesh Hadera) and their only child: a son named Trey King (played by Aubrey Joseph), who’s about 17 years old. David (who prides himself on being an ethical business person) and Trey have a fairly good relationship, but David thinks Trey spends too much time on Trey’s phone and lectures Trey about it. Trey is an aspiring music executive who recommends unknown artists to audition for David.

Stackin’ Hits was sold five years ago to an unnamed corporation that kept David as the CEO of the company and appointed him as chair of the board of directors. With Stackin’ Hits currently in a revenue rut, Stackin’ Hits has been put up for sale again. David regrets selling Stackin’ Hits and wants to buy back the company through a leveraged buyout. In the beginning of “Highest 2 Lowest,” David is preoccupied with this business deal, which needs the board of directors’ approval.

In the meantime, David has convinced another board member named Patrick Bethea (played by Michael Potts) to sell Patrick’s shares in the company to David, so that David can have a controlling interest in Stackin’ Hits. David assures Patrick that he has the money to buy Patrick’s shares. It’s a verbal agreement that won’t be official until the legal documents are signed. David’s plan is to have a controlling interest in Stackin’ Hits and then raise enough capital to buy back the entire company.

Near the beginning of the movie, David asks Pam (who is a loyal and supportive wife) to give a reduced donation from the usual $500,000 annual donation that they usually give to the recording studio museum where Pam is chairperson of the board of directors. David tells Pam that they need to tighten their personal budgets so he can start buying back Stackin’ Hits. Pam somewhat reluctantly goes along with this plan because it’s not what David had promised her.

David had originally promised to scale back his work schedule and reduce his Stackin’ Hits responsibilities, in order to spend more time with his family. David freely admits that he changed his mind and still wants to be fully in charge of Stackin’ Hits. There’s not much Pam can do about David’s changing his mind and backing out of his promise to her. The movie shows many examples of David being accustomed to being in charge and getting his way.

David is admired by his work colleagues, including his attorney Gabe (played by Wendell Pierce), who delivers some upsetting news to David later on in the movie. Even though David is highly respected in the music industry, several conversations in the movie reveal that David has lost his passion for music (especially discovering new artists), and he only seems to care about the business part of the music business. Pam is one of the first people to point out this change in David. It’s why she doesn’t think it’s a great idea for David to continue to have a time-consuming commitment to Stackin’ Hits.

David’s closest friend is someone he’s known for decades: his driver Paul Christopher (played by Jeffrey Wright), who isn’t afraid to tell David his honest opinions. David and Paul (who is a widower) knew each other before David hit it big in the music business. David is the godfather to Paul’s only child: a son named Kyle Christopher (played by Elijah White, who is Jeffrey Wright’s real-life son), who is a classmate and best friend of David’s son Trey. All of the performances in “Highest 2 Lowest” are skillful, but David’s character is the most complex, which is why Washington largely carries the movie with his talent and charisma.

The lives of the Knight and Christopher families get turned upside down when David receives a phone call from a kidnapper who tells him that Trey is being held captive and will be released if David pays a $17.5 million ransom in Swiss francs. Three detectives are the main investigators of this kidnapping: Detective Higgins (played by Dean Winters), who is bossy and rude; Detective Bell (played by LaChanze), who is logical and sarcastic; and Detective Earl Bridges (played by John Douglas Thompson), who has a “regular guy” personality.

Detective Bell figures out that the kidnapper or kidnappers want the ransom money in Swiss francs because the cash would weigh in the 100-pound range, compared to $17.5 million in American cash dollars, which would weigh more than 300 pounds. While David frantically scrambles to get the money, Trey is found safe and sound. However, it’s soon discovered that Kyle was the one who was actually kidnapped.

The kidnapper caller admits this mistake but insists that David still has to pay the ransom money. David now hesitates because he needs the money for his plan to buy back Stackin’ Hits. He is torn about what he should do. None of this is spoiler information because it’s the essential plot of the film. Who is behind the kidnapping is spoiler information that has already been revealed in the movie’s trailer but won’t be revealed in this review.

“Highest 2 Lowest” has some gripping and suspenseful scenes, but some of these scenes wrap up too neatly, like a “Law & Order” episode. In addition, the movie occasionally gets too enamored with showing off how many celebrities have cameos as themselves. Former NBA player Rick Fox portrays himself as the co-ed basketball coach of the high school where Trey and Kyle are students.

One of the movie’s biggest action sequences takes place during the annual Puerto Rican Day Parade in New York City. And so, there are extensive shots of the Eddie Palmieri Salsa Orchestra performing, as the action sequence cuts back and forth between the parade and chase scenes happening on the streets and on a subway. Rosie Perez and Anthony Ramos are two other celebrities who appear as themselves on stage at the Puerto Rican Day Parade.

For a movie where the protagonist is a powerful and famous executive in the music business, it’s somewhat baffling that there aren’t any scenes of David interacting with any superstars. Instead, the movie’s only visual indications that David is a celebrity and a “legend” are some quick glimpses of magazines (such as Time and Rolling Stone) that had David on the cover back in the 1990s or 2000s, and those magazines are framed and hanging on the walls of his home or office. David’s musical affections seem rooted in the past, since he name drops old hits from artists such as Stevie Wonder.

Two real-life hip-hop stars have roles in the movie, where they do not portray themselves: A$AP Rocky plays an aspiring rapper named Yung Felon, while Isis “Ice Spice” Gaston has the role of Yung Felon’s live-in girlfriend Marisol Cepeda. Yung Felon’s on-camera scenes are mostly in the last third of the movie. Marisol’s screen time is less than five minutes.

David is also shown politely interacting with a few female singers, who are awed to be in his presence when they audition for him. Jensen McCrae portrays a guitar-playing pop singer named June York. Aiyana-Lee has an impressive scene toward of the film as R&B singer Sula Janie Zimmie, whose stage name is Sula C. Sings. Sula tells David that the “c” in her stage name stands for the word “can.”

“Highest 2 Lowest” has some pointed observations about classism when it’s shown that law enforcement officials give preferential treatment when a crime victim is affluent versus working-class. The investigating officials have a noticeable shift in attitude when it’s discovered that Kyle, not Levi, has been kidnapped. Paul has an arrest record (he finished his parole years ago), but this arrest record causes an obvious bias against him, especially with Detective Higgins, who acts like he’s the alpha male who can be the one to solve this case.

Although the classism issues are accurately presented in “Highest 2 Lowest,” the movie fumbles when it comes to how this kidnapping investigation is depicted. It’s very unrealistic that only three detectives would be assigned to a certain sting operation that’s shown in the movie. Likewise, some of the things that David does to chase after the villain or villains are ludicrous and would not go unnoticed by law enforcement.

“Highest 2 Lowest” also has a very distracting music score by Howard Drossin. Much of the movie is supposed to be an intense thriller, but the movie’s pop-jazzy score music sounds like something that belongs in a romantic melodrama. There’s also an imaginary Yung Felon music video that looks awkwardly inserted in the movie, just to show someone (in this case, A$AP Rocky) performing hip-hop in the movie. And in this movie where there’s a lot of talk about certain characters discovering new music talent, not once is anyone in “Highest 2 Lowest” actually shown going to any live performances to scout for talent.

“Highest 2 Lowest” (which has excellent cinematography from Matthew Libatique) could have used tighter editing. The movie’s 133-minute runtime is a little too long for what the story ends up being. Even with these flaws, “Highest 2 Lowest” is worth seeing for Washington’s standout performance and if you’re curious to see what happens in this kidnapping mystery. “Highest 2 Lowest” is a gripping crime drama about the intersections of legacies and loyalties. There’s a lot that’s entertaining about the movie, but just don’t expect it to be a masterpiece.

Apple Studios and A24 released “Highest 2 Lowest” in select U.S. cinemas on August 15, 2025. Apple TV+ will premiere the movie on September 5, 2025.

UPDATE: “Highest 2 Lowest” will be re-released in U.S. cinemas for one night only on December 6, 2025.

Review: ‘The Piano Lesson’ (2024), starring Samuel L. Jackson, John David Washington, Ray Fisher, Skylar Aleece Smith, Danielle Deadwyler and Corey Hawkins

December 6, 2024

by Carla Hay

John David Washington and Skylar Aleece Smith in “The Piano Lesson” (Photo courtesy of Netflix)

“The Piano Lesson” (2024)

Directed by Malcolm Washington

Culture Representation: Taking place in Mississippi and in Pittsburgh (mostly in 1936, with some flashbacks to 1911 and the 1800s), the dramatic film “The Piano Lesson” (based on August Wilson’s Pulitzer Prize-winning play of the same name) features a predominantly African American cast of characters (with some white people) representing the working-class, middle-class and wealthy.

Culture Clash: A brother and a sister have a family feud because the brother wants to sell the family’s antique piano, but the sister does not want to sell the piano, and her house appears to be haunted because of the piano.

Culture Audience: “The Piano Lesson” will appeal primarily to fans of August Wilson, the movie’s headliners, and dramas about family tensions and generational legacies.

Michael Potts, Danielle Deadwyler, Samuel L. Jackson, John David Washington and Ray Fisher “The Piano Lesson” (Photo courtesy of Netflix)

The 2024 version of “The Piano Lesson” gives a well-acted and dynamic cinematic retelling of August Wilson’s Pulitzer Prize-winning play. This solidly made drama effectively conveys the story’s themes of how family legacies can haunt or inspire people. It’s the type of movie that enriches the stage version of the play with very good artistic choices in cinematography and production design. “The Piano Lesson” had its world premiere at the 2024 Telluride Film Festival and its Canadian premiere at the 2024 Toronto International Film Festival.

“The Piano Lesson” is the feature-film directorial debut of Malcolm Washington, the youngest son of Oscar-winning actor Denzel Washington. Malcolm Washington and Virgil Williams co-wrote the adapted screenplay for “The Piano Lesson,” which is based on August Wilson’s 1990 Pulitzer Prize-winning play of the same name. Denzel Washington is one of the movie’s producers. John David Washington (Denzel’s eldest child) is the main star of the movie. Katia Washington (Denzel’s second-eldest child) is one of the movie’s executive producers. In a movie about a family, the production of “The Piano Lesson” was obviously a family affair too.

This isn’t the first movie version of “The Piano Lesson.” There was a 1995 TV-movie of “The Piano Lesson” (starring Charles S. Dutton and Alfre Woodard) that was part of CBS’s Hallmark Hall of Fame and was nominated for nine Primetime Emmy Awards. Netflix’s 2024 version of “The Piano Lesson” movie clearly has a larger budget that went into making the world in the story feel more expansive with several locations.

The 2024 version of “The Piano Lesson” begins on July 4, 1911, in an unnamed city in Mississippi. It’s during a time in U.S. history when slavery was outlawed but Jim Crow racial segregation laws still existed. (The U.S. Civil Rights Act of 1964 made these segregation laws illegal in the United States.) The effects of racism against black people in America are seen and heard throughout the movie.

In this opening scene of “The Piano Lesson,” a group of white people in the community are gathered to watch fireworks. Meanwhile, a 31-year-old man named Boy Charles (played by Stephan James) has decided that he’s going to take a family heirloom that he thinks is rightfully his: a piano, which has images of many of his ancestors that are carved on the piano. The piano is in the possession of the wealthy Sutter family, a white clan who enslaved Boy Charles’ ancestors. Boy Charles works for the Sutter family as a farmhand and handyman.

The members of the Sutter family are not at home because they are attending a Fourth of July celebration. Boy Charles has brought his son Boy Willie (played by Isaiah Gunn), who’s about 10 years old, to be the lookout for this reclaiming of the piano. Boy Charles has two accomplices—his brother Doaker Charles and their friend Wining Boy (played by Tony Fox)—who are both with Boy Willie in the truck that transports the piano away.

Boy Charles decides to stay behind near the house. It turns out to be a fatal mistake because he dies that night. The details of Boy Charles’ death are revealed later in the movie. However, it’s easy to predict what happened to Boy Charles as soon as horse-riding men with torches race through a field to look for Boy Charles, who is an obvious suspect for this theft.

“The Piano Lesson” then fast-forwards 25 years later to 1936. Boy Willie (played by John David Washington) is still living in Mississippi and is a farm worker. Boy Willie’s mother has been deceased for an unnamed number of years. He notices that the Sutter family has put up for sale the farm land where Boy Willie’s ancestors used to work. Boy Willie has decided that he wants to buy this farm. The Sutter family’s patriarch James Sutter (played by Jay Peterson) has recently died by falling down a well.

Boy Willie thinks the only way he can get the money to buy this farm land is to sell the family’s antique piano. The piano is currently thousands of miles away in the Pittsburgh home of his sister Berniece (played by Danielle Deadwyler), who has been estranged from Boy Willie for a number of years. Berniece, who is a single mother, lives in the house with her 11-year-old daughter Maretha (played by Skylar Aleece Smith) and Doaker (played by Samuel L. Jackson), who tries to keep the peace when Boy Willie and Berniece quarrel. (Jackson played the role of Doaker in the 2022 Broadway revival of “The Piano Lesson.”)

Boy Willie travels to Pittsburgh with his close friend Lymon Jackson (played by Ray Fisher) so that they can sell watermelons and hopefully take back the piano. Boy Willie (who is talkative and cocky) and Lymon (who is friendly and a bit slow-witted) arrive at Berniece’s home at around 5 a.m. without telling any of the people in house in advance that they would be visiting. Not surprisingly, Berniece isn’t happy about this unannounced arrival. (Fisher played the role of Lymon in the Broadway revival of “The Piano Lesson.”)

At first, Boy Willie is optimistic and overconfident that he can convince Berniece to sell the piano when he tells her what he is going to do with the money from selling the piano. However, Boy Willie soon finds out that Berniece is just as stubborn and strong-willed as he is because she refuses to sell the piano. Berniece was very attached to her mother, who treasured the piano, which is why Berniece believes that selling the piano would disrespect her mother the family’s legacy. Wining Boy (played by Michael Potts) has some survivor’s guilt that he and Doaker got away with taking the piano, while Boy Charles lost his life over it.

At one point in the movie, Doaker tells the piano’s origin story of how it became connected to the Charles family: James Sutter’s grandfather Robert Sutter (played by David Atkinson, in flashbacks), nicknamed Old Man Sutter, was the “slave master” of the Sutter family who got the piano by trading some of his enslaved people for the piano. Those enslaved people were ancestors of Boy Willie, Berniece, and Doaker. Boy Charles’ grandfather Willie Boy (played by Malik J. Ali) was a carpenter who was hired to carve the images of these family members in the piano because Robert’s wife Ophelia missed seeing the enslaved people who left because of the trade.

Adding to the family tensions, superstitious Berniece thinks that Boy Willie has brought some bad omens with him when she hears that Boy Willie is a person of interest in the death of a Mississippi man named Crawley (played by Matrell Smith), who also died from falling down a well, just like James Sutter. Were these deaths accidents or murders? It’s a mystery that doesn’t get necessarily solved by the end of the story. Soon after Boy Willie and Lymon arrive at the house, Berniece is convinced that the ghost of Old Man Sutter is haunting the house because of the piano. She claims to have seen this ghost.

“The Piano Lesson” has a subplot about Berniece being courted by an ambitious preacher named Avery (played by Corey Hawkins), who tells her that he loves her but he also admits he’s more likely to get his own church if he’s a married man. Avery barely interacts with Maretha, which is an indication that Avery probably doesn’t love Berniece as much as he says he does because he doesn’t seem too interested in being a caring parental figure to her child. Avery appeals to Berniece’s religiousness, but she’s not entirely convinced it would be right for her to marry Avery. Meanwhile, Lymon shows a romantic interest n Berniece too.

“The Piano Lesson” might frustrate some viewers who are expecting more ghostly action in the story, which tends to get repetitive in showing arguments between Boy Willie and Berniece. Erykah Badu has a memorable cameo as a singer named Lucille, who performs at a nightclub/bar where the men in the story like to carouse. However, the nightclub scenes could have been taken out of the movie and would not have any effect on the story’s outcome.

What makes this version of “The Piano Lesson” noteworthy are the performances from the talented ensemble cast, although the character of Maretha could have been developed better. John David Washington and Deadwyler have sheer magnetism in their scenes as feuding siblings, who both have convincing motivations for what they want to do with the piano. Jackson and Fisher also have notable scenes where their characters have various effects on the tumultuous relationship between Berniece and Boy Willie. The movie’s screenplay is a little jumbled in telling the story in a non-chronological timeline, but it shouldn’t be too confusing if viewers are paying full attention.

“The Piano Lesson” is not about learning how to play this musical instrument. It’s about a life lesson of learning how much of the past can or cannot affect the future. “The Piano Lesson” excels when showing that “family legacy” can mean different things within a family. For Berniece, her definition about famly legacy is about honoring the past. For Boy Willie, his definition of family legacy is about securing a better future. What “The Piano Lesson” wants to teach (and do so very well) is to not take loved ones for granted in the present.

Netflix released “The Piano Lesson” in select U.S. cinemas on November 8, 2024. The movie premiered on Netflix on November 22, 2024.

Review: ‘Rustin’ (2023), starring Colman Domingo, Chris Rock, Jeffrey Wright and Audra McDonald

January 15, 2024

by Carla Hay

Jeffrey Mackenzie Jordan and Colman Domingo in “Rustin” (Photo by Parrish Lewis/Netflix)

“Rustin” (2023)

Directed by George C. Wolfe

Culture Representation: Taking place in the United States, from 1960 to 1963, the dramatic film “Rustin” (based on real events) features a predominantly African American cast of characters (with some white people) representing the working-class and middle-class.

Culture Clash: Openly gay activist Bayard Rustin battles people inside and outside the civil rights movement in his plans for a large-scale peaceful protest in Washington, D.C., while his personal life has various entanglements.

Culture Audience: “Rustin” will appeal primarily to people who are interested in watching a compelling but somewhat formulaic biography about an influential civil rights activist who has historically been overshadowed by more famous people.

Aml Ameen in “Rustin” (Photo by Parrish Lewis/Netflix)

Colman Domingo gives a commanding and charismatic performance in “Rustin,” a briskly paced drama that tells the story of underrated civil rights leader Bayard Rustin, who fought several public and private battles against racism and homophobia. It’s the type of movie that never lets you forget that you’re watching a drama, because the main characters often talk as if they’re giving speeches and lectures instead of having normal conversations. The movie delivers plenty of inspiration and heartfelt moments, but it zips around so much, some viewers will think that “Rustin” is a bit shallow and formulaic.

Directed by George C. Wolfe, “Rustin” had its world premiere at the 2023 Toronto International Film Festival. Dustin Lance Black (the Oscar-winning screenwriter of 2008’s “Milk”) and Julian Breece co-wrote the screenplay for “Rustin.” The “Rustin” screenplay isn’t Oscar-worthy, but it has many memorable moments because of the way that the cast members interpret the dialogue. For the purposes of this review, the real Bayard Rustin (who died in 1987, at the age of 75) will be referred to by his last name, while the movie character of Bayard Rustin will be referred to by his first name.

“Rustin” is not a comprehensive biopic, since the story takes place only during the years 1960 to 1963. However, the movie capably shows how Rustin is an often-overlooked influence in the U.S. civil rights movement and was a driving force in the historic 1963 March on Washington. Not all of the movie’s dialogue and scenarios are believable, such as the way that Dr. Martin Luther King Jr. (played by Aml Ameen) becomes almost like a sidekick character whenever Bayard (played by Domingo) goes on rants about how Bayard wants things to be.

Although “Rustin” shows Bayard experiencing violent racism (shown mostly in quick flashbacks), the biggest conflicts he has in the movie is with other civil rights officials. “Rustin” takes a realistic look at how internal power struggles and feuds within the U.S. civil rights movement often caused damage to the movement and/or slowed down progress. And in case it isn’t obvious to viewers, Bayard points it out in a preachy comment after preachy comment that racism isn’t the only enemy to the civil rights movement.

Early on in the movie (which is told in chronological order), Adam Clayton Powell (played by Jeffrey Wright) tries to ruin Bayard’s reputation by spreading stories that Bayard (an openly gay bachelor with no children) and Martin (a married father) are secret lovers. Bayard vehemently denies this accusation and puts in his resignation notice with the National Association for the Advancement of Colored People (NAACP), because he thinks that Martin will back up Bayard and publicly urge him not to leave the NAACP.

However, Bayard (who was based in New York City during this time) doesn’t get Martin’s support, and the NAACP accepts Bayard’s resignation. It leads to a period of estrangement between Martin and Bayard, who becomes disillusioned with the NAACP and other aspects of the civil rights movement. Congressman Powell is portrayed as a power-hungry liar, but he isn’t the only person who becomes an enemy of Bayard.

Bayard’s main adversary in the movie is NAACP executive secretary Roy Wilkins (played by Chris Rock), who disagrees with Bayard on almost everything. When Bayard comes up with the idea of having a massive protest that would bus in at least 100,000 people from around the United States, Roy tells anyone who’ll listen that it’s a terrible idea because Roy thinks the event would be too expensive and too hard to manage. The 1963 March on Washington ended up getting a crowd of about 250,000 people.

Roy (who is portrayed as egotistical and stubborn) also puts up a lot of resistance to Bayard’s plan to make it a two-day event, because Roy thinks a one-day event is more realistic. Bayard’s most loyal ally in these conflicts is union organizer A. Philip Randolph (played by Glynn Turman), who is like a father figure to Bayard. Bayard’s biological family is not part of the story. (It can be assumed he’s estranged from his family members because they disapprove of his sexuality.)

Meanwhile, although Bayard is open about his sexuality to the people who are closest to him, he struggles with finding a life partner because he’s a workaholic who’s afraid of committing himself to one person. In real life, Rustin often blurred his personal and professional lives, by hiring his lovers as his assistants. He also frequently dated younger men, many who were white. In the movie, the character of Tom (played by Gus Halper), a white worker for the NAACP who becomes Bayard’s assistant, isn’t based on anyone specific but is a composite of these types of men who would be sexually involved with Bayard.

Tom’s on-again/off-again relationship with Bayard gets sidelined in the story when Bayard has a deeper emotional connection with a closeted Christian preacher named Elias Taylor (played by Johnny Ramey), whose wife Claudia Taylor (played by Adrienne Warren) expects Elias to be the heir to her pastor father’s church. “Rustin” gives glimpses into Bayard’s nightlife activities, such as Bayard going to gay bars or cruising for sex partners on the street, but these are very fleeting glimpses. During this time when it was illegal in the U.S. to be homosexual or queer, the movie has one scene showing law enforcement raiding a gay bar that Bayard frequented. Bayard luckily avoids getting arrested in this raid because he wasn’t in the bar at the time.

“Rustin” gives only a very short acknowledgement that although women were valuable members of the civil rights movement, women were often overlooked and underappreciated when it came to who got the most power and the most glory in the movement. Dr. Anna Hedgeman (played by CCH Pounder) is depicted as the character who is the most outspoken about this sexism. Bayard temporarily appeases her by having her be a mid-level manager in the activities that he plans.

Although Bayard shows empathy and support for the women closest to him—including civil rights activist Ella Baker (played by Audra McDonald)—in the end, he doesn’t place a high priority on elevating qualified women into the highest positions of power. The movie has numerous scenes of meetings with African American civil rights leaders, and there are no women in the room. Almost all of the people whom Bayard personally mentors are other men, including an eager young activist named Courtney (played by Jeffrey Mackenzie Jordan), who has a platonic relationship with Bayard.

Meanwhile, most of the female actors in the movie are portraying characters who don’t have names and mostly do the work of assistants and secretaries. Martin’s wife Coretta Scott King (played by Carra Patterson), who doesn’t have much screen time in “Rustin,” is shown in the movie only as a housewife, which is what her husband wanted her to be. In real life, she had a college education and her own accomplishments outside of being a wife and mother. Da’Vine Joy Randolph makes a cameo as Mahalia Jackson performing at a rally led by Martin, but this scene-stealing appearance gives no further insight into Jackson’s involvement in the civil rights movement.

Because “Rustin” tends to make Bayard a forceful and dominating presence in every scene that he’s in, other important civil rights leaders are reduced to a handful of soundbites. They include John Lewis (played by Maxwell Whittington-Cooper), Medger Evers (played by Rashad Demond Edwards), Cleve Robinson (played by Michael Potts), Whitney Young (played by Kevin Mambo) and James “Jim” Farmer (played by Frank Harts). The obvious intention is to make Bayard look larger-than-life, but it’s often to the detriment of realism and development of other characters in the story that should have been depicted in a more meaningful way.

Some of the movie’s dialogue is a little hokey. For example, in a scene with Tom and Bayard in Bayard’s home, Tom is getting ready to smoke a marijuana joint. Bayard mildly scolds him by saying about smoking marijuana: “Last time I checked, that was illegal.” Tom replies, “Last time I checked, we were illegal.”

But the movie also delivers some memorable zingers, such as a scene where Bayard confronts Martin about homophobia among civil rights officials: “On the day I was born black, I was also born homosexual. They either believe in freedom and justice for all, or they do not.”

“Rustin” has a very talented cast, but it’s less of an ensemble movie and more of a showcase for Colman, who admirably brings a lot of soul and vigor to the role. Ameen is very good in the role of Dr. King, but the movie makes the Dr. King character become secondary to Bayard’s outspoken presence whenever they’re in the same room together. It’s a little hard to believe that Dr. King, who had his own strong personality, would be this subdued around someone with less power and less authority in making decisions for the civil rights movement. The movie gives credit to Rustin for influencing Dr. King to follow the non-violent philosophies of Mahatma Ghandi.

“Rustin” wants to make a point of how the real Rustin didn’t get enough credit for things he did behind the scenes in the civil rights movement. But by making him such a big personality who put himself at the center of conflicts, “Rustin” somewhat contradicts this movie’s message that the real Rustin was easily overlooked because he wanted to “fly under the radar.” It’s not until near the end of the movie that the character of Bayard shows humility in not seeking the spotlight for himself in the civil rights movement. A few more of these humble moments would have made the character more interesting and the movie more convincing in its premise that Rustin didn’t really want the widespread public recognition that he deserved.

Netflix released “Rustin” in select U.S. cinemas on November 3, 2023. The movie premiered on Netflix on November 17, 2023.

Review: ‘Rounding,’ starring Namir Smallwood, Sidney Flanigan and Michael Potts

June 10, 2022

by Carla Hay

Namir Smallwood in “Rounding” (Photo by Nate Hurtsellers)

“Rounding”

Directed by Alex Thompson

Culture Representation: Taking place in unnamed U.S. cities, the dramatic film “Rounding” features a cast of African American and white characters representing the working-class and the middle-class.

Culture Clash: A fairly new doctor, who has a history of mental illness, starts working at a rural hospital, where he becomes fixated on a 19-year-old woman with serious respiratory problems.

Culture Audience: “Rounding” will appeal primarily to people who don’t mind watching unrealisitic and incoherent medical dramas.

Sidney Flanigan in “Rounding” (Photo courtesy of Doppelgänger Releasing)

Although the medical drama “Rounding” has a very talented cast, this rambling and pointless movie is an insult to the medical profession and to viewers’ intelligence. The movie’s horror elements are time-wasting, repetitive distractions that are used as borderline tacky ways to represent mental illness. And the “medical mystery” in “Rounding” is terribly mishandled in a story about a mentally ill doctor who is convinced that something sinister is going on with one of his patients at the hospital where he works.

It’s all so disappointing, because “Rounding” director Alex Thompson made such a memorable and appealing feature-film debut with 2020’s “Saint Frances,” a comedy/drama about a nanny who experiences an unplanned and unwanted pregnancy while caring for a precocious 6-year-old girl named Frances. Thompson should be commended for taking the risk of having his second feature film as a drastic departure from his first feature film, but “Rounding” is most definitely a “sophomore slump.” “Rounding” is almost a direct opposite movie to “Saint Frances” in every way, including the quality of the filmmaking.

“Saint Frances” was written by Kelly O’Sullivan, who starred as the nanny in the movie. She also has a supporting role in “Rounding” as a hospital doctor. “Rounding” (which had its world premiere at the 2022 Tribeca Film Festival in New York City) was written by Alex Thompson and Christopher Thompson, and it’s a far inferior screenplay to “Saint Frances.” “Rounding” is as dull as “Saint Frances” is lively.

One of the biggest strengths of “Saint Frances” was the authentic-sounding and witty dialogue, as well as characters that were written as people with believable personalities. By contrast, “Rounding” looks and sounds very phony, with empty characters acting out unrealistic scenarios. It’s also very hard to care about any of the characters in “Rounding,” because they (and the rest of this movie) are written as incomplete sketches.

The title of “Rounding” refers to the word used for medical professionals making the rounds to visit patients, usually at a hospital. In the production notes for “Rounding,” Alex Thompson makes a statement that reads, in part: “I grew up in a family of medical professionals. Dinner conversations often included black lung and bronchoscopies, and when asked how his day went, my father can be relied upon to reply, ‘I didn’t kill anyone.’ At the start of the [COVID-19 pandemic] lockdown in Kentucky, he told me about a patient he’d seen frequently as a young resident whose story was strange and who he thought about often.”

It’s astonishing that Alex Thompson says he comes from a family of medical professionals, because “Rounding” is so full of plot holes and ridiculous nonsense, it looks like it was made by a director who didn’t bother consulting with any medical professionals. Adding to the movie’s problems, it seems like Alex Thompson couldn’t decide if he wanted to make a medical mystery drama, a psychological thriller or a horror movie. “Rounding” has elements of all three genres, but it’s mostly a medical drama with some psychological and horror scenes thrown into the mix in redundant ways.

“Rounding” begins with a scene showing the death of an elderly hospital patient named Vivian Spurlock (played by Cheryl Lynn Bruce), who has an unnamed respiratory condition, because she needs to breathe through a tube in her throat. Vivian is being attended to by Dr. James Hayman (played by Namir Smallwood), who’s a resident at this unnamed hospital in this unnamed U.S. city with a large urban population. Before going into Vivian’s hospital room, where she is the only patient, James stopped by a medication supply room to get a liquid drug that viewers find out later is potassium chloride. He’s seen by a security guard named Bart (played by Alex Wilson), and they exchange pleasant small talk.

James is very calm and measured when he goes into Vivian’s room. They talk for a little bit before he says to her: “I found that poem you remembered. Are you sure this is what you want?” Vivian replies, “I’m sure.” James removes the tube from Vivan’s throat and puts the potassium chloride in Vivian’s intravenous fluid bag. At this point, it’s easy for viewers to see that James is about to kill Vivian with a lethal dose. But is it euthanasia, or is it murder?

As the potassium chloride starts to flow through Vivian’s body, James reads her the poem that she requested. It’s implied that she asked James to help her commit euthanasia, and her request included that he would read this poem as she lay dying on the hospital bed. But something goes terribly wrong.

Vivian changes her mind about dying, and she begs James to help her live. But it’s too late. The overdose has already been administered. Vivian dies. James calls for help, and several hospital workers rush into the room. James is seen running out of the room and collapsing in a hospital hallway.

The next scene takes place two months later. James is in an office meeting with a supervisor named Dr. Justin Groff (played by Ed Kross), who is unhappy with what James has just told him: James has decided to accept a job offer at a rural hospital named Greenville, which is in an unnamed part of the United States. It’s mentioned (but never shown in the movie) that James had a nervous breakdown after Vivian’s death and was in a psychiatric facility for it. Because of this breakdown, James was on a leave of absence from this hospital job that he’s about to quit.

James has been released from the facility, but he’s supposed to be in ongoing therapy for his mental health. Justin thinks that it’s too early for James to start working again, but James disagrees. “You barely started counseling,” Justin tells James. “You don’t strike me as a country mouse,” he adds of James moving to a rural area to work at a hospital with less resources than the hospital that James is leaving. However, James is undeterred. He’s going to work at Greenville Hospital.

This meeting with James and Justin is the scene where “Rounding” immediately starts to go downhill. First of all, a medical examination would reveal that Vivian’s cause of death was a potassium chloride overdose. Therefore, Vivian’s death would be investigated as suspicious and probable homicide. It’s no mystery who was the last person to see Vivian alive. And that same person was seen in the medical supply room, where some potassium chloride has gone missing.

In real life, most hospitals in large urban areas have strict ways of making sure that employees don’t steal medication from the supply room. And even if this hospital didn’t have those policies in place, James was still seen taking medication from the supply room, and then Vivian died shortly after he visited her room, and he was the last person to see her alive. At the very least, James would have to undergo an investigation, which is never mentioned in the movie.

But “Rounding” wants viewers to be too ignorant to think about or know about all of these real-life facts. Not only does James never undergo an investigation over Vivian’s death, it’s mentioned later in the movie that he also got a recommendation letter from his supervisor (presumably Dr. Groff) to take this new job at Greenville Hospital. The entire flimsy premise of “Rounding” is reliant on viewers believing that James experienced no consequences or scrutiny for a patient dying of a potassium chloride overdose while under his watch.

James is a doctor, but apparently he’s not making enough money to afford more than being able to rent a room in a non-descript house when he moves to this unnamed rural area. (He might be heavily in debt from student loans.) His middle-aged landlord Mrs. Watts (played by Meighan Gerachis) is disheveled and world-weary. She tells James that the room he’s renting used to be her son’s room, which is why it still has a lot of his belongings from his childhood. Mrs. Watts also mentions that her son didn’t approve of renting out the room, but now her son has been “dead for a few years. He was struggling with depression.”

And what a coincidence: Another young doctor at Greenville Hospital is also renting a room in Mrs. Watts’ home. His name is Carol Hontolas (played by Max Lipchitz), and his only purpose in the movie is to be a co-worker who has the ability to see how James acts when James is at home. Carol is a friendly and upbeat person who seems to want the best for an obviously troubled James.

If people start watching “Rounding” by thinking it will be a horror movie, they might mistakenly believe that this house will be a source of mystery and intrigue. It’s not. In fact, there was really no point in even having the scene where Mrs. Watts had to mention that James is now living in a room where her dead son once lived. It’s one of many examples of pointless scenes in the movie.

James’ supervisor at Greenville Hospital is Dr. Emil Harrison (played by Michael Potts), whose actions and words become increasingly odd and unprofessional as the story continues. But when Emil first meets James, he’s warm, welcoming and seems to care a great deal about providing empathetic medical treatment. He even gives James a tour of Greenville, which he describes as a hospital that prides itself on having a personal touch with its patients.

Emil is vaguely aware that James had some problems at the hospital where James previously worked, but Emil assumes it was burnout from working in a large urban hospital. He also knows that Emil has some mental health issues, but Emil doesn’t really know all the details. The movie shows whether or not Emil finds out the truth about James’ background.

Emil explains to James why Greenville is open to giving inexperienced doctors who are second-year residents (such as James) a chance to work there: “We’re such a flexible program.” Emil also tells James that Greenville will give James a “fresh start” and a “rural patient experience.” Emil adds, “There’s a real ability to make an impact here.”

At Greenville, James works closely with Carol and two other young doctors, who all go on rounds with him: Dr. Kayla Matthews (played by O’Sullivan) and Dr. Mac MacLauren (played by Bradley Grant Smith), who are ultimately fairly useless characters. Kayla is completely generic and forgettable and a waste of O’Sullivan’s actor talent. At first, Mac seems to be an antagonist to James, because he acts superior to James and seems to be waiting for James to do something wrong. However, whatever storyline that could’ve been developed for this Mac/James rivalry goes nowhere. James ultimately proves to be his own worst enemy.

There’s a scene that reveals that Mac and James attended the same middle school and hadn’t seen each other in years until James came back to his rural area to work for Greenville Hospital. It’s the movie’s first mention that James spent at least part of his childhood in this rural area, but then “Rounding” completely ignores this important information. When Mac sees James for the first time in years, it’s outside of a bar where some of the hospital doctors are hanging out. Mac says to James: “I hear you’ve been having a rough time.” James defensively brushes off this comment by abruptly saying, “I’m fine.”

However, whatever problems James was having before he moved to this rural area are not going away just because he’s changed where he lives. James predictably continues to have whatever mental illness that he probably had before Vivian’s death. Expect to see James have numerous hallucinations involving some shadowy monsters in murky locations. These “horror” scenes aren’t very scary and are fairly short. Sometimes, James has these hallucinations on the job, so he’s shown freaking out in a hospital hallway or cowering in fear in a back room.

James also has blackouts on the job. Some of these blackouts last for hours. He wakes up to find a co-worker saying that people were looking for him, and he was expected to be somewhere hours ago. What kind of hospital employee or medical worker could get away with this incompetence? Only in a dumb movie like “Rounding.”

Even when he’s clearly unfit to do his job, James is never really held accountable. He’s just told to stay away from a certain patient after this patient becomes his obsession. That patient is 19-year-old Helen Adso (played by Sidney Flanigan), who is bedridden in the hospital after having a series of respiratory problems.

When James sees Helen in the hospital for the first time, he’s startled, because a number of days earlier, he saw Helen shoplifting candy in a grocery store. During this shoplifting incident (another pointless scene), Helen and James made eye contact with each other. She knew he saw her shoplifting, but Helen and James didn’t say anything to each other.

Helen has asthma, but she’s been in this hospital for symptoms that are definitely not asthmatic. Doctors can’t seem to diagnose Helen’s mystery respiratory illness. James notices from Helen’s medical records that Helen has been admitted to the hospital six times so far that year. James raises these concerns to Emil, who explains that Helen gets treated at the hospital when Helen’s lung specialist goes on vacation. James also questions the hospital’s medical test results for Helen.

Emil gets defensive and tries to make James feel like James is being paranoid and insubordinate whenever James is skeptical about how the hospital is treating Helen. Emil lets James run his own tests on one occasion, but Emil mostly acts like James is being a nuisance for constantly questioning the hospital’s treatment of Helen. Mac, Kayla and Carol also tell James not to question the hospital’s procedures.

Emil often leads Mac, Kayla, Carol and James on group “roundings” at the hospital. One day, during a rounding, Emil gives James the task of telling a patient named Mr. Jones (played by Edwin Lee Gibson) that Mr. Jones has Stage 4 lung cancer and has only three to six months to live. It doesn’t go well, because James is too aloof and clinical in telling this news, and Mr. Jones gets angry at how James is talking to him. Emil, Mac, Kayla and Carol see this outburst.

Later, Emil tells James in a private meeting that James needs to go to a seminar to improve James’ bedside manner. When James asks Emil if he’s doing anything wrong, Emil insists that all the hospital’s new doctors have to take this seminar. These seminar scenes just waste more screen time and ultimately just show that James hates being in an environment that resembles therapy and where people have to talk about feelings.

Helen has a very overprotective mother named Karen (played by Rebecca Spence), who is always with Helen in the hospital. Karen notices that James has taken an interest in Helen that goes beyond a normal doctor/patient relationship. It predictably leads to James and Karen clashing with each other.

While James is battling his personal demons, he suddenly wants to be an investigator into Helen’s mystery respiratory illness. He gets very upset when he finds out that Helen will be getting a lung transplant. He thinks this operation is unnecessary, while Karen and Emil vehemently disagree. James insists that they have to listen to what Helen’s body says. Yes, it’s that type of movie with this type of hokey dialogue.

“Rounding” makes very superficial and awkward attempts to make it look like James is building a friendly rapport with Helen. But it all looks so staged and unconvincing. And he comes off looking like a creepy older man who becomes obsessed with befriending a vulnerable teenage patient when she gets out of the hospital. James says and does things that are very inappropriate and would get most hospital doctors suspended or fired, although “Rounding” obviously wants James to look like a protagonist who should get sympathy from viewers.

James becomes so obsessed with Helen, he does some stalking and theft, which won’t be further detailed in this review. He also begins to think that Helen’s mystery illness is being caused by her mother Karen, who has set up an online fundraising collection for Helen (similar to a GoFundMe account), which has raised a six-figure sum so far. Munchausen syndrome (causing an illness to get sympathy and attention) is mentioned several times in the movie. But is Helen’s illness actually Munchausen syndrome caused by Helen, is it Munchausen syndrome by proxy caused by Karen, or is it something else?

The character of Helen could have been fascinating, but she has mostly a blank personality in this movie. “Rounding” is just a showcase for James’ neuroses and hallucinations, which become uninteresting in their repetitiveness. Helen’s lack of character development in “Rounding” is a big letdown and an underuse of Flanigan’s talent. Flanigan made an impressive feature-film debut starring in the 2020’s critically acclaimed drama “Never Rarely Sometimes Always,” in which she played a 17-year-old who travels from Pennsylvania to New York to get an abortion.

“Rounding” gets worse, as James’ mental health and his unprofessionalism are never adequately addressed. Emil gets more and more aggravating as a supervisor who dismisses obvious problems, as if these problems will solve on their own. There’s a scene toward the end of the film where James tells Emil that he’s having nightmares. Emil just responds cheerfully and says, “You’re sleeping.”

This disconnected reaction is supposed to show Emil’s tendency to be out-of-touch and in denial, but it’s just an example of how the Emil character is poorly written. Potts gives an adequate performance in an awful role that will have a lot of viewers more irritated with Emil than any other character by the end of the movie. As bad as James is on the job, Emil is in many ways worse, because Emil is a supervisor who lets so many medically and legally problematic things happen at the hospital, with Emil’s full knowledge.

Forget about getting any backstories for any of the characters in “Rounding.” There are no meaningful details about the backgrounds of any of these characters, except it’s repeated that James is emotionally attached to his mother, whom he says inspired him to become a doctor. There are a few scenes where James talks to his loving and supportive mother on the phone.

“Rounding” goes off on a mishandled tangent where James acts like a private investigator. But considering his mental instability, viewers will question if what James finds out is real or possibly a figment of his imagination. James gets an abscessed wound on his left foot, so the movie shows him limping around a lot, with no explanation for why he doesn’t get this wound treated. Not surprisingly, the wound gets worse.

Smallwood’s performance as James isn’t bad, but it’s not outstanding, and probably would’ve been better if this movie’s screenplay and direction were up to basic standards of engaging storytelling. “Rounding” has a surprise “reveal” at the end, which completely falls flat, and brings up some major questions that the movie never answers. By the end of “Rounding,” it becomes obvious that the filmmakers have made an atrocious mockery of the medical profession and mental illness, just to make a movie that’s trying to be artsy but is in fact an erratic mess.

UPDATE: Doppelgänger Releasing will release “Rounding” in select U.S. cinemas, digital and VOD on February 14, 2025.

Review: ‘Measure of Revenge,’ starring Melissa Leo and Bella Thorne

April 9, 2022

by Carla Hay

Bella Thorne and Melissa Leo in “Measure of Revenge” (Photo courtesy of Vertical Entertainment)

“Measure of Revenge”

Directed by Peyfa

Culture Representation: Taking place in New York City, the dramatic film “Measure of Revenge” features a predominantly white cast of characters (with some African Americans and Latinos) representing the working-class, middle-class and criminal underground.

Culture Clash: A fairly well-known Broadway actress is out for deadly revenge against the people who supplied a dangerous drug to her musician son and his pregnant girlfriend, who both died from an overdose of this drug. 

Culture Audience: “Measure of Revenge” will appeal primarily to fans of mindless vigilante movies, because nothing about this movie is appealing, interesting or well-done.

Jake Weary and Melissa Leo in “Measure of Revenge” (Photo courtesy of Vertical Entertainment)

The crime drama “Measure of Revenge” is such an atrocious dud, no one wants to be listed as the movie’s screenwriter. And it’s easy to see why. It’s a heinous story about a Broadway actress who becomes a murderous vigilante on a rampage because she wants revenge for the drug overdose deaths of her musician son and his pregnant girlfriend. Directed by Peyfa (the alias of Peter Wong), “Measure of Revenge” is nothing but a complete embarrassment to everyone involved in making this pathetic excuse of a movie. “Measure of Revenge” was filmed on location in New York City, which is probably the only thing that looks authentic in this very awkwardly acted and fake-looking film.

What makes “Measure of Revenge” so cringeworthy is that the movie tries to look artsy by throwing in various themes and characters from William Shakespeare plays. “Measure of Revenge” sullies, trashes and insults Shakespeare’s legacy in ways that are even more offensive than the phony-looking murders that take place in the movie. Believe it or not, the unhinged vigilante in “Measure of Revenge” commits one of her murders during an intermission for a play where she’s performing on stage as the Ghost in “Hamlet,” without bothering to change her clothes or disguise herself during the murder. She then goes back to her dressing room, as if no one would notice that she committed the murder while decked out in the same costume and makeup as she wore on stage in front of an audience.

Get used to a lot of this type of silly nonsense in “Measure of Revenge,” which is a movie that’s hard to watch not just because it’s so moronic, but also because it takes itself so seriously. Maybe the filmmakers thought that having an Oscar-winning actress in the cast (Melissa Leo) would automatically improve the movie’s quality. Wrong. Leo gives a lackluster performance as vigilante actress Lillian Cooper, who doesn’t garner much sympathy for her vengeful actions because they’re so ludicrously stupid.

During the course of the story, Lillian appears in various revisionist productions of Shakespeare plays that wouldn’t be worthy of a Broadway stage in real life and certainly wouldn’t pass muster in any reputable performing arts school. In other words, expect to see amateurish, almost laughable versions of “Macbeth” and “Hamlet” in “Measure of Revenge.” The movie’s horrible ending takes this Shakespeare theme to an idiotic and corny level that proves that there was no hope in redeeming this creatively bankrupt flop.

In the beginning of “Measure of Revenge,” Lillian (who’s a widow) happily welcomes her wayward son Curtis Cooper (played by Jake Weary) into her apartment, where he will be staying with her after getting out of rehab for addictions to drugs and alcohol. Curtis is a semi-famous musician/lead singer of a rock band called Red Drums. Curtis’ addictions have caused the band to cancel an upcoming tour.

Curtis’ rehab counselor Mike (played by Michael Gruenglas), who drops Curtis off at Lillian’s home, gives her this advice about Curtis: “Don’t let him out of your sight. The first few days [out of rehab] can be very delicate.” Curtis’ father/Lillian’s husband Raphael Cooper died in 1997, at the age of 36, long before Curtis grew up to become a famous musician.

Lillian’s home (which looks like a two-bedroom apartment) is about to get more crowded, because Curtis’ loving and supportive girlfriend Olivia (played by Jasmine Carmichael), who’s a nurse, is moving into Lillian’s place too. And soon afterward, Lillian finds out that Olivia is pregnant and that Curtis plans to propose marriage to Olivia. Curtis shows Lillian the engagement ring. Lillian approves of these marriage plans.

However, Curtis’ life after rehab isn’t going that smoothly. One day, Lillian is in a diner to meet Curtis for lunch. She looks out the window and sees Curtis in an angry confrontation with some of his band mates. She can’t hear what the argument is about, but she sees Curtis hit one of the men with the guitar that Curtis is carrying. When Curtis goes in the diner, all he will say to Lillian about his band situation is this: “I can’t go back to that world right now. It’s not for me.”

Not long after that, Lillian’s world is shattered when she comes home to find Curtis and Olivia dead. The medical examiner reports list the official cause of their deaths as an accidental overdose of a drug called PMA, which is described as being like Ecstasy (MDMA), but more toxic. Of course, Lillian doesn’t believe the overdoses were accidental. She’s certain that Curtis and Olivia were murdered, or at least that whoever supplied the drugs should be held responsible for these deaths. The police—including a dismissive cop named Detective Eaton (played by Michael Potts)—are of no help, so Lillian decides to take matters into her own hands.

Along the way, Lillian encounters a jaded photographer named Taz (played by Bella Thorne, giving a very stiff performance), who sells drugs, including PMA. Taz knew Curtis because she did album covers and portrait photography for him and his band. Lillian goes back and forth on whether or not she can trust Taz, who has a gun and gets menacing when Lillian tries to threaten her with a knife.

Taz knows a lot more than she’s telling, but she still gives Lillian enough information to point Lillian in the direction of the people who are Taz’s PMA suppliers. Lillian also has conflicts with Red Drums manager Billy (played by Ivan Martin); band member Ronin (played by Benedict Samuel); record company executive Claude (played by Kevin Corrigan); and a drug lord named The Gardener (played by Jamie Jackson), who has that nickname because he slit a man’s throat using gardening tools. Predictably, not everyone Lillian comes in contact with makes it out alive.

“Measure of Revenge” also has a love quadrangle as a weak subplot. Lillian finds out that before Curtis and Olivia became an official couple, Olivia was romantically involved with Ronin, but Olivia cheated on Ronin with Curtis. Meanwhile, Taz had her own secret affair going on with Curtis when he was dating Olivia. It’s all just another sordid aspect to this cheap and tacky movie.

During her murder spree, Lillian finds time to still do her Shakespeare plays, including her role as the Ghost in “Hamlet.” (And fittingly, early on in the movie, Lillian plays one of the three witches in “Macbeth.”) She also become increasingly disturbed and starts having hallucinations, such as thinking that she’s Gertrude from “Hamlet.” Not surprisingly, Lillian gets no enjoyment or satisfaction from her sloppy and dimwitted crimes. The same can be said for anyone who experiences “Measure of Revenge,” a sloppy and dimwitted crime against cinema.

Vertical Entertainment released “Measure of Revenge” in select U.S. cinemas, on digital and VOD on March 18, 2022.

Review: ‘Ma Rainey’s Black Bottom,’ starring Viola Davis and Chadwick Boseman

January 1, 2021

by Carla Hay

Chadwick Boseman, Dusan Brown, Colman Domingo, Michael Potts, Viola Davis  and Glynn Turman in “Ma Rainey’s Black Bottom (Photo by David Lee/Netflix)

“Ma Rainey’s Black Bottom”

Directed by George C. Wolfe

Culture Representation: Taking place in 1927, in Chicago and briefly in Barnesville, Georgia, the dramatic film “Ma Rainey’s Black Bottom” features a predominantly African American cast of characters (with some white people) representing the middle-class and working-class.

Culture Clash: A tough-talking blues diva and her rebellious cornet player have conflicts and power struggles with each other, while they both have constant battles with white racism and the emotional scars that this bigotry has left on them.

Culture Audience: “Ma Rainey’s Black Bottom” will appeal primarily to August Wilson fans and people interested in well-acted movies about African American experiences.

Glynn Turman, Chadwick Boseman, Michael Potts, and Colman Domingo as Cutler in “May Rainey’s Black Bottom” (Photo by David Lee/Netflix)

“Ma Rainey’s Black Bottom” triumphs as one of the rare movies adapted from a celebrated play that can actually claim to be better than the play, thanks to powerhouse performances by Viola Davis and Chadwick Boseman. The movie version of “Ma Rainey’s Black Bottom,” which is based on August Wilson’s play that debuted on Broadway in 1984, takes place mostly in a small recording studio, but the deep emotional impact and the breadth of social issues experienced and conveyed by the characters go beyond the confines of that studio. The story is set in 1927, but the story’s themes are universal and timeless.

Directed by George C. Wolfe with a screenplay written by Ruben Santiago-Hudson, “Ma Rainey’s Black Bottom” begins in Barnesville, Georgia, where blues singer Ma Rainey (played by Davis) is giving a foot-stomping, rousing performance to an enthralled audience in a tent. She’s sweating profusely, as she does in every scene in the movie, and caught up in the rapture of giving a raw and passionate performance for the adoring crowd.

When she’s off stage, Ma isn’t the fun-loving, “good time gal” that she might appear to be when she’s on stage. Ma is a middle-aged diva who’s feeling the pressure of being considered a “has-been” as her former protégée Bessie Smith is almost certain to surpass Ma in popularity. It’s an ageism problem faced by many entertainers, especially women, who are at the mercy of fickle audiences and industry people who might end up moving on to someone who’s considered younger, more contemporary and more attractive.

Ma has earned the nickname the Mother of the Blues, and she’s not about to give up her reign at the top that easily. She uses her clout and her unique talent as reasons to do and say what she wants, including showing up late, berating her employees, and making people kowtow to her sometimes-unreasonable demands. It’s clear that Ma’s way of asserting her power is to counterbalance the humiliation and pain of racism that she experiences as a black woman in America, where white supremacy was legal in the form of racial segregation and other Jim Crow laws.

“Ma Rainey’s Black Bottom” references the Great Migration, a period of time (1916 to 1970) in U.S. history where millions of black people relocated from the states in the South to states in other parts of America. These areas outside of the South were often viewed as presenting better opportunities for people of color, but these areas certainly were not immune to racism. When Ma travels to Chicago for the one-day recording session that’s the majority of this story, it represents her own personal parallel to the Great Migration.

Where Ma goes, drama usually isn’t far behind. Upon arriving in Chicago during a sweltering summer, she gets into a dispute on the street when she’s accused of pushing down a white man. A cop (played by Joshua Harto) who’s called to the scene is inclined to arrest her, but Ma uses her clout, loud voice and her “take no crap” attitude to get the cop to back off.

Ma, who lives openly as a lesbian (as did the real-life Ma Rainey), is traveling by car to the recording studio. Accompanying her are her much-younger lover Dussie Mae (played by Taylour Paige) and Ma’s teenage nephew Sylvester (played by Dussan Brown). As gruff as Ma is to most people in her life, she shows tremendous loyalty to the few people who are closest to her, especially Sylvester.

Dussie Mae is an attractive young woman whose relationship with Ma is fairly new and is more like a “trophy girlfriend” than a soul mate to Ma. Throughout the movie, it’s implied that Dussie Mae is somewhat of a gold digger. Dussie Mae goes through life using her looks and sex appeal to get people to financially support her—not because she’s mean-spirited but because she’s too unsophisticated to doing anything else with her life.

Ma, as usual, is running late on her way to the studio, where she is scheduled to record the song “Ma Rainey’s Black Bottom.” When Ma and her two-person entourage (Dussie Mae and Sylvester) finally get there, Ma takes charge and sometimes gets into subtle and not-so-subtle power struggles with the men who’ve been waiting for her at the studio. These power struggles have many different layers that exemplify issues of gender roles and racial discrimination.

The six men in the recording studio who experience Ma’s mercurial range of emotions during this challenging day are:

  • Levee (played by Boseman), the charismatic, foul-mouthed cornet player who’s the newest and most arrogant member of Ma’s band.
  • Cutler (played by Colman Domingo), the band’s trombone player who is very loyal to Ma and considers himself to be the most experienced and skilled in dealing with her mood swings.
  • Toledo (played by Glynn Turman), the band’s pianist who is the most likely to be the jokester in the group.
  • Slow Drag (played by Michael Potts), the band’s bass player who is the quietest and most laid-back member of the group.
  • Irvin (played by Jeremy Shamos), Ma’s longtime manager who often has to be a peacemaker when she decides on a whim to throw situations into chaos.
  • Sturdyvant (played by Jonny Coyne), the manager of the recording studio who grows increasingly impatient with Ma’s diva antics.

In the scenes in the recording studio, Irvin and Sturdyvant (who are white) are often together in a booth that overlooks the recording room where they can watch through a glass window what’s happening down below with the Ma and the rest of her African American colleagues. Irvin and Sturdyvant usually leave the booth to go into the recording studio when there’s a problem that affects their time and money invested in this recording session. And there are several interruptions to the recording session for this reason.

The higher location of the booth and its separation from the main recording studio room are obvious metaphors of the spoken and unspoken racial barriers that exist between the people in this recording session, where racism is a festering wound that has impacted the characters on a personal and societal level. Ma and her colleagues are all too aware that even though Ma is the star in this room, she still has a subservient role to the white men who control the music industry. It’s a role that she expresses with a lot of emotional pain, bitterness and defiance throughout the story.

At one point in the story Ma says with heavy resentment: “They don’t care nothin’ about me. All they care about is my voice.” She adds, “If you colored and you can make them some money, then you all right with them. Otherwise, you just a dog in the alley.” And later in the story, Ma reveals that even though Irvin has been her manager for the past six years, the only time he invited her to his home was so she could perform for his “white friends.”

There are also issues over gender roles that permeate the story. When Ma arrives at the recording studio, she finds out that all the men who’ve been waiting for her have already decided that she will record a new, more upbeat version of “Ma Rainey’s Black Bottom,” with the arrangement written by Levee. Ma refuses and declares that she is going to record the original version of the song. She also insists that her nephew Sylvester is going to do a short spoken intro to the song, even though he’s a stutterer.

Ma literally and figurately throws her weight around as she has diva tantrum after diva tantrum. At one point, she shouts: “I make more money for this outfit than anyone put together!” And when she finds out that the Coca-Cola that she requested in advance isn’t in the studio, she refuses to start recording until she gets her Coca-Cola.

All of the members of her band are very compliant except for Levee, who constantly challenges Ma’s decisions and tries to assert himself as a visionary musician whom Ma needs if she wants to get more respect for her music. Early on in the story, Levee tells Cutler: “I ain’t like you, Cutler. I’ve got talent. I know how to play real music, not none of this jug band shit.”

Levee shows flashes of vanity (he brags about his shiny yellow shoes and is aware of how good-looking he is) and hubris (he thinks all of his ideas should be immediately accepted), but underneath that cockiness is someone who’s got deep-seated emotional pain and trauma. During the long stretches of time that the musicians in the band are waiting for Ma, Levee slowly opens up about his past and reveals secrets that explain why he acts the way that he does.

At one point, Levee is teased by the other members of the band when they see Levee acting in a very deferential way to Irvin and Sturdyvant. The band mates try to make Levee feel like he’s an “Uncle Tom,” which triggers Levee into losing his temper and then revealing a defining incident from his past that permanently changed his outlook on life. He tells this story in a harrowing monologue that’s one of the best scenes in the film.

Ma and Levee’s clashes with each other aren’t just about music. An observant Ma notices that Levee has been looking at Dussie Mae in a way that makes it obvious that he’s attracted to her. Dussie Mae flirts back when Ma isn’t around. And it doesn’t take long for Levee to ramp up his sexual advances toward Dussie Mae, even though the other band members warn Levee that Dussie Mae is “Ma’s girl.”

Levee’s disagreements with Ma over her musical direction, as well as Levee not even trying to hide that he’s interested in making moves on Ma’s lover, put him in a precarious situation where he might or might not be fired from the band. As time goes on during the day, and Ma goes back and forth about whether or not she’ll complete the recording, Levee is going through his own insecurities and turmoil. At times, he also clashes with Cutler, especially when it’s revealed how Levee feels about God and religious beliefs.

Under the assured direction of Wolfe, “Ma Rainey’s Black Bottom” not only has a top-notch cast but the movie also excels in costume design, production design and music. The stage/play version of the story takes place in the winter, but the filmmakers made the astute decision to change the season to summer during an oppressive heat wave. It gives the movie more of a “pressure cooker” look and tone that are accurate reflections of the simmering tensions that permeate throughout the entire story.

Davis and Boseman give award-worthy performances in this movie that goes beyond personality conflicts and ego posturing. “Ma Rainey’s Black Bottom” (which was Boseman’s last movie; he died of colon cancer in August 2020) is also a story of the shared trauma of racism and how even the strongest of souls are tested by this insidious societal cancer. Viewers who are sensitive about hearing racially derogatory names should be warned that the “n” word is said many times in this movie, usually when uttered by Levee.

Even though the movie is called “Ma Rainey’s Black Bottom,” the character of Ma has a lot less screen time than Levee does. If Ma is the heart of “Ma Rainey’s Black Bottom,” then Levee is the soul. Levee and Boseman’s heartbreaking performance represent anyone who has survived trauma inflicted by other people but struggles with the damage that can be inflicted by self-destruction.

Netflix released “Ma Rainey’s Black Bottom” in select U.S. cinemas on November 25, 2020. The movie premiered on Netflix on December 18, 2020.

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