Review: ‘Mickey 17,’ starring Robert Pattinson, Naomi Ackie, Steven Yeun, Toni Collette and Mark Ruffalo

March 5, 2025

by Carla Hay

Naomi Ackie and Robert Pattinson in “Mickey 17” (Photo courtesy of Warner Bros. Pictures)

“Mickey 17”

Directed by Bong Joo Ho

Culture Representation: Taking place in 2054, on the fictional planet of Niflheim, the sci-fi comedy/drama film “Mickey 17” features a predominantly white cast of characters (with some black people and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: An “expendable” worker, who is regenerated as a clone after he dies, gets involved in an “us versus them” conflict with the oppressive elites who control Niflheim society.

Culture Audience: “Mickey 17” will appeal mainly to people who are fans of the movie’s headliners, filmmaker Bong Joo Ho and sci-fi movies that take familiar topics and put them in a unique setting.

Mark Ruffalo and Toni Collette in “Mickey 17” (Photo courtesy of Warner Bros. Pictures)

“Mickey 17” gets messy when it crams and juggles varying ideas and tones. Despite these flaws, this sci-fi movie can be engaging because of the performances and the movie’s dark comedy about sociopolitical issues and technology. “Mickey 17” is both a satire and a warning of what life could be like if humans populated another planet and lived in a cult-like society.

Written and directed by Bong Joo Ho, “Mickey 17” is his highly anticipated follow-up to 2019’s Oscar-winning South Korean drama “Parasite,” the first non-English-language movie to win Best Picture. “Mickey 17” had its world premiere at the 2025 Berlin International Film Festival. “Mickey 17” is better than the average sci-fi movie but it’s not as Oscar-worthy as “Parasite,” simply because the screenplay for “Mickey 17” tends to wander, with important characters disappearing with no explanation for large chunks of the film.

Bong’s movies often have themes of the divides between social classes, with lower classes rising up in some kind of rebellion against the privileged elite upper classes. In “Mickey 17,” these social-class conflicts don’t go away just because people move to a new planet that is populated by humans who previously lived on Earth. Most of the story takes place on a planet called Niflheim, where the terrain is snowy and icy all year.

“Mickey 17” takes place in the year 2054—four-and-a-half years after the humans from Earth arrived by a giant spaceship to inhabit Niflheim. The humans still live on this spaceship, presumably because it’s too cold to have regular housing. But it’s also a way for the humans to be easier controlled and surveilled by the totalitarian leaders in charge of this new society.

The beginning of “Mickey 17” shows title character Mickey Barnes (played by Robert Pattinson), the story’s narrator, is lying down on the ground and nearly covered in snow. Mickey has severely injured his leg from a fall on down an icy crevasse. Mickey can’t get up because of this injury.

A man named Timo (played by Steven Yeun), who’s armed with a gun, appears above the crevasse and asks Mickey, “You haven’t died yet? They’re going to reprint you out tomorrow anyway. What’s it like to die?” Timo doesn’t get the answer to that question because a giant creature (about 20 feet tall that looks like a combination of a walrus and a “Dune” sand worm) suddenly appears and seems to swallow Mickey.

The movie then shows that Mickey is back on the spaceship, inside of a body scan chamber. When he comes out of the chamber, he is actually a 3-D printed scan clone of himself. His previous memories are uploaded to his brain. Mickey is kind-hearted but simple-minded and socially awkward. It’s possible for something to go wrong in the cloning process, and his clone could have a different personality.

In voiceover narration, Mickey explains what’s going on here. The version of Mickey who is the narrator is version 17, also known as Mickey 17. Flashbacks show much of what happened as Mickey 17 tells the story. People who aren’t inclined to like science fiction might feel disconnected or confused by a great deal of this movie.

Mickey says that he and Timo know each other because they were friends when they lived on Earth in a U.S. city that is never named. According to Mickey (who now calls Timo a “shitty friend”), Timo convinced Mickey to invest with him to open a macaron store, which ended up being a commercial failure. Mickey and Timo had borrowed money from a loan shark named Darius Blank (played by Ian Hanmore) to open the store.

Timo and Mickey are heavily in debt to Darius, who wants immediate payment. Darius sends some thugs to kidnap and beat up Timo and Mickey, who are told that they will be murdered if they don’t pay off their debt to Darius very soon. Mickey and Timo have no doubt that this threat will be carried out, because they’ve seen the torture that Darius and his goons have inflicted on others, but Mickey and Timo still don’t have the money to pay the debt.

It’s around this time that a former U.S. congressman named Kenneth Marshall (played by Mark Ruffalo), who has a cult-like following, has made international news for launching a spaceship that will take a select number of people to Niflheim, a planet previously not inhabited by humans. An unnamed religious group is believed to be funding this in-demand migration. It’s mentioned in the movie that Kenneth lost his two most recent elections. Clearly, migrating to Niflheim is a way for Kenneth to reinvent himself as a powerful leader of this new society.

Kenneth has a Lady Macbeth-type wife named Yifa (played by Toni Collette), who is the real schemer and manipulator of this couple. Kenneth is mostly a blustering buffoon who does what Yifa advises or orders him to do, but Kenneth puts up a front that he’s the one who’s really in charge. Kenneth and Yifa are treated like famous royalty on Niflheim, where Kenneth stars on a live TV show called “Tonight With Kenneth Marshall.” Kenneth and Yifa take full advantage of this celebrity worship by abusing their power and inflicting cruel punishment on those who disobey their orders.

It doesn’t take long for Mickey and Timo to sign up to go on this migration to Niflheim, in order to escape their troubles on Earth. The movie implies that almost everyone who wants to be part of this migration signs up for similar reasons, so that they can start a new life on another planet. Mickey makes a mistake that changes the course of his existence on Niflheim.

On the application form to go to Nifleim, Mickey checks the box that lists him as an “expendable”—a low-life human who will allow the Niflheim government to do whatever it wants to his body. Even when given a chance to change his application so he won’t be classified as an expendable, Mickey declines to do so, mainly because he thinks he’ll have a better chance of his application getting approved if he’s listed as an expendable.

Mickey explains in a voiceover that after he arrived in Niflheim, he found out that expendables are exploited to do all types of dangerous explorations and scientific experiments that could kill them. However, Niflheim has a cloning machine (the body scan chamber) that can do 3-D clone printouts of people who previously died. This technology was illegal on Earth but is legal on Niflheim. Expendables such as Mickey are revived as clones after they die, with their previous memories uploaded into their brains.

On Niflheim, the expendables are treated as the lowest of the low in the social class hierarchy. Mickey is living a bleak and lonely existence where he has died and has been printed out as a clone multiple times. Sad sack Mickey thinks it’s his deserved “punishment” because he feels a lot of guilt for accidentally causes his mother’s death when he was 5 years old: While he was a front-seat passenger in the car that she was driving, he pushed a brake button in the car that caused the car to crash. (The actual crash is never shown in the movie.)

One bright spot in Mickey’s Niflheim life happens when the original Mickey Barnes meets Nasha Barridge (played by Naomi Ackie), an assertive and feisty government employee who works as a soldier, a police officer and a firefighter. Timo is also some type of government soldier and sometimes works in a group with Mickey, Nasha and two female soldiers who are best friends: Kai Katz (played by Anamaria Vartolomei) and Jennifer Chilton (payed by Ellen Robertson). Timo isn’t seen again for most of the movie until a crucial part of the story. Mickey’s and Timo’s lives before Niflheim are shown in the movie, but Nasha’s life when she was on Earth is never revealed.

One day, in the public cafeteria where the “working class” residents gather to eat, almost everyone in the cafeteria goes into a star-struck frenzy when Kenneth and Nifa make a surprise appearance. Mickey and Nasha are the only two people in the room who don’t go gaga over Kenneth and Nifa. Nasha and Mickey lock eyes across the room, as two people do in movies where you know those two people are going to hook up.

And sure enough, Nasha becomes Mickey become best friends and loved. Nasha stays loyal to Mickey, even when he has died and is cloned over and over. Nasha is also very possessive of Mickey. In another cafeteria scene, Kai somewhat flirts with Mickey while she’s seated next to him. Timo is seated on the other side of Mickey.

When Nasha sees Kai talking flirtatiously with Mickey, Nasha immediately pushes Timo aside so she can get his seat. Nasha then grabs Mickey and starts making out with him. Nasha’s unspoken message is clear to Kai: “This is my man. Stay away from him.”

Meanwhile, Kenneth has decided that the walrus-like creatures that live outside the spaceship are a threat, even though there’s no proof that these creatures kill humans. Kenneth decides that these creatures are to be called “creepers.” A storyline involving the creepers takes up the last third of the movie.

Niflheim has a law that no two clones can exist at the same time. As already revealed in the “Mickey 17” trailer, another clone of Mickey (Mickey 18) gets created when Mickey 17 is still alive, which causes havoc in Mickey 17’s world. Pattison does some of his best acting in the movie when Mickey 17 and Mickey 18 are interacting with each other. This clone drama, the creepers, the love story of Mickey and Nasha, and Niflheim’s sociopolitical and environmental issues make for an abundance of storylines in “Mickey 17.” Sometimes these storylines are woven together skillfully; other times, they become jumbled.

“Mickey 17” has plenty to showcase when it comes to the inner thoughts of Mickey and his clones who are shown in the movie. However, other characters in the movie are either caricatures (Kenneth and Nifa) or are underdeveloped (everyone else except Mickey). It’s to the credit of the talented cast members that they bring these characters to life to make viewers interested. That interest can spark viewer curiosity about these memorable characters, but many questions about these characters are never answered.

Visually, “Mickey 17” will delight sci-fi fans because the world of Niflheim looks realistic, even though Niflheim is an awful place to live under the oppressive rule of Kenneth and Nifa. Because “Mickey 17” is another Bong movie where there are conflicts between the “haves” and “have nots,” there’s an inevitable showdown that is the suspenseful highlight of the movie. Some scenes in “Mickey 17” are dark and depressing, while other scenes are absurdly comedic and heartwarming. “Mickey 17” refuses to be pigeonholed into one consistent tone, which some viewers might see as an unforgivable flaw, while other viewers might see as part of the movie’s charm.

Warner Bros. Pictures will release “Mickey 17” in U.S. cinemas on March 7, 2025.

Review: ‘2073,’ starring Samantha Morton

December 27, 2024

by Carla Hay

Samantha Morton in “2073” (Photo courtesy of Neon)

“2073”

Directed by Asif Kapadia

Culture Representation: Taking place in 2073 in the fictional U.S. city called New San Francisco, the docudrama film “2073” features a racially diverse group of people (white, black, Latin, Asian and Indigenous) who portray apocalypse survivors (in the drama scenes) or who are real-life political activists.

Culture Clash: The politically liberal activists who make comments for the documentary predict that an apocalypse will happen in the 21st century due to environmental, socioeconomic and political issues.

Culture Audience: “2073” will appeal primarily to people who are fans of director Asif Kapadia and “end of the world” movies that place almost all the blame on politically conservative people.

A scene from “2073” of the Golden Gate Bridge in California affected by wildfires (Photo courtesy of Neon)

Pretentious and derivative, “2073” is a doomsday docudrama that combines dreary apocalypse scenes with left-wing political lecturing. There’s too much whining and not enough talk about practical solutions. The “end of the world” warnings in this movie just add up to a lot of annoying hot air. The so-called experts interviewed for this movie just want to blame the world’s problems on people who don’t share their liberal political beliefs.

Directed by Asif Kapadia, “2073” had its world premiere at the 2024 Venice International Film Festival. The movie made the rounds at several other film festivals in 2024, including the BFI London Film Festival and DOC NYC. Kapadia won an Oscar for the 2015 Amy Winehouse documentary “Amy.” Unfortunately, “2073” is a low point in his filmmography.

Although “2073” is undoubtedly a film that has noble intentions, it has a heavy-handed approach. The movie has an obvious political agenda, but that agenda’s credibility is lowered with the movie using fictional, scripted scenes as examples of the gloom and doom predicted in the movie. Kapadia and Tony Grisoni co-wrote the “2073” screenplay.

The concept of “2073” isn’t very original. According to the movie’s synopsis, “2073” is inspired by Chris Marker’s “iconic 1962 featurette ‘La Jetée,’ about a time traveler who risks his life to change the course of history and save the future of humanity.” As explained in the beginning of “2073,” the scripted portions of the movie take place in 2073—37 years after “the event,” which obviously means an apocalypse. In other words, this apocalypse happened in 2036, which is just 12 years after the release of this movie.

The scripted drama scenes in “2073” are in a fictional city called New San Francisco, which is described as the capital of the Americas. In this bombed-out city, there’s an electronic billboard showing news reports about Chairwoman Ivanka Trump. What entity has Ivanka Trump as a chairwoman? Don’t expect this ridiculous movie to answer that question. The “2073” filmmakers’ obvious intention is to provoke viewers who would get upset at the thought of Ivanka Trump being chairwoman of anything.

The movie’s drama scenes follows the depressing and solitary life of an apocalypse survivor (played by Samantha Morton), whose name is listed in the end credits as Ghost. Ghost, who is a voiceover narrator for these drama scenes, is seen living in a dark and destroyed building while avoiding being seen by other people as much as possible. According to Ghost, her memory was “slipping through [her] fingers, like sand.”

Ghost also says she’s in hiding because one day “they” came for her. “I ran. I’m still running. My life is turning into one of those sci-fi comics I used to read. There are others here—survivors, renegades.” Other scenes in the movie show that the Americas—or at least New San Francisco—is being run by an oppressive government that rounds up “renegades” and tortures them.

Ghost is trying to avoid detection from an artificial intelligence being called Jack. “He listens and watches everything,” Ghost says about Jack. “You can’t trust anyone anymore. People thought the world would end, but the world goes on. It’s us who’ll end.”

It’s all so tedious to watch this watered-down ripoff of Big Brother from George Orwell’s doomsday “1984” novel, which was published in 1949 and predicted a dystopian future. In “2073,” Naomi Ackie has a small and ultimately inconsequential role as a professor character. Morton’s acting as Ghost is adequate by can’t overcome the weak screenplay.

As for the “talking heads” interviews in the documentary sections of “2073,” these comments are presented as voiceovers, presumably not to distract from the movie’s dramatic images of Ghost suffering in a decrepit place where food and water are scarce. In the documentary parts of the movie, the people commenting are politically liberal activists from Europe, North America, and Asia. The documentary doesn’t explain why, in a movie about the “end of the world,” there is no commentator representation from other largely populated continents, such as Africa and Australia.

Almost all of the activist commentators are also journalists and/or writers, such as Maria Ressa, Carole Cadwalladr, Rana Ayyub Ben Rhodes, Rahima Mahmut, Silkie Carlo, Cori Crider, George Monbiot, Nina Schick, Douglas Rushkof, Carmody Grey, James O’Brien, Anne Applebaum and Antony Lowenstein. The other commentators are Amazon Labor Union founder Chris Smalls, computer scientist Tristan Harris and environmental activist Alessandra Korap.

The problem with “2073” is that the documentary parts of the movie are just soundbite compilations that recycle whatever rants these people have already said or written in other movies or media reports. Want to know about Ressa’s crusade for freedom of the press in her native Philippines? There was already an excellent documentary about it: 2020’s “A Thousand Cuts,” directed by Ramona S. Díaz. Labor union leader Smalls is the star of the 2024 documentary “Union,” (directed by Stephen Maing and Brett Story), which chronicles Amazon Labor Union becoming the first union at corporate giant Amazon.

The “2073” doomsday warnings about the environment are very “been there, done that” and were already well-presented by Al Gore in the Oscar-winning 2006 documentary “An Inconvenient Truth” (directed by Davis Guggenheim), as well as in many other documentaries and news reports about climate change. And that why it’s so boring and basic to hear political strategist/security expert Sherri Goodman say in “2073” commentary: “We are truly in a climate emergency.”

Other concerns brought forth in the documentary parts of “2073” have to do with government surveillance, civil rights and the erosion of democracy. The essential messaging of “2073” is that (1) anyone who’s involved in conservative politics is contributing to the end of the world; (2) only progressive political liberals are smart enough to tell you that; and (3) if you don’t believe the commentators in the movie, then you must be an idiot. It’s a very condescending tone that can be an absolute turn-off to people (even liberals) who are open-minded and intelligent enough to make up their own minds about how they feel about world issues.

It’s appalling that so many journalists are interviewed for “2073” but their comments in the movie are not really about investigative journalism but are just soundbite rants that say nothing new. By not presenting anything substantial to prove that opposing viewpoints are wrong, “2073” fails at being balanced and is actually quite didactic in its “political liberals are always right” messaging. For a more informative look at the world’s problems and effective ways to deal with these problems, progressive liberals can watch MSNBC or read Mother Jones and don’t need to watch “2073,” a misguided movie that is unrelenting in its paranoia and political divisiveness that don’t give any logical and hopeful solutions.

Neon released “2073” in select U.S. cinemas on December 27, 2024.

Review: ‘Whitney Houston: I Wanna Dance With Somebody,’ starring Naomi Ackie, Stanley Tucci, Ashton Sanders, Tamara Tunie, Nafessa Williams and Clarke Peters

December 21, 2022

by Carla Hay

Naomi Ackie in “Whitney Houston: I Wanna Dance With Somebody” (Photo by Emily Aragones/TriStar Pictures)

“Whitney Houston: I Wanna Dance With Somebody”

Directed by Kasi Lemmons

Culture Representation: Taking place from 1983 to 2012, in various parts of the world, the dramatic film “Whitney Houston: I Wanna Dance With Somebody” features a cast of African American and white characters representing the working-class, middle-class and wealthy.

Culture Clash: Entertainment superstar Whitney Houston has struggles with her public image, her sexuality, fame, drugs, her parents and a volatile marriage to singer Bobby Brown. 

Culture Audience: Besides appealing to the obvious target audience of Whitney Houston fans, “Whitney Houston: I Wanna Dance With Somebody” will appeal primarily to people who want to see music-video-styled recreations of her life and relatively tame depictions of her biggest public scandals.

Nafessa Williams and Naomi Ackie in “Whitney Houston: I Wanna Dance With Somebody” (Photo by Emily Aragones/TriStar Pictures)

At times, “Whitney Houston: I Wanna Dance With Somebody” looks more like a cliché checklist of the legendary diva’s high points and low points instead of being an insightful biopic. However, the cast members’ performances, led by a dynamic Naomi Ackie, elevate this uneven movie. The recreations of some of Whitney Houston’s most beloved performances and music videos are among the highlights of this biopic, which sometimes gets dragged down by corny dialogue and tedious pacing.

Directed by Kasi Lemmons and written by Anthony McCarten, “Whitney Houston: I Wanna Dance With Somebody” is a movie sanctioned by the Whitney Houston estate, which is overseen by her sister-in-law Pat, who is one of the movie’s producers. Whitney Houston—who died at age 48 in 2012, of a drug-related drowning in a Beverly Hills hotel bathtub—has been the subject of some tell-all documentaries and books since her death. Therefore, the only people who might be surprised by what’s in “Whitney Houston: I Wanna Dance With Somebody” are those who don’t know what’s already been revealed in these tell-all stories or in the tabloid media.

That’s why everything in “Whitney Houston: I Wanna Dance With Somebody” feels like a retread with nothing fresh or innovative to offer in telling Whitney’s story. However, the movie delivers in its intention to be a nostalgia trip for her music and in doing faithful and meticulous staging of many of Whitney’s iconic moments. This is a movie made for fans who don’t want to see anything too shocking or too unflattering about Whitney.

Ackie’s performance as Whitney admirably captures some of the magic of this entertainment superstar. However, this depiction of Whitney never looks like a true embodiment but more like a better-than-average imitation. Some of Ackie’s real singing is in the movie, but the majority of Whitney’s singing in the movie consists of the real Whitney’s recordings. (And wisely so, since no one can completely duplicate Whitney’s extraordinary vocal talent and style.) Ackie, who is British in real life, also does a credible but not outstanding imitation of Whitney’s speaking voice.

Because this movie does not aspire to be prestigious, award-winning art, “Whitney Houston: I Wanna Dance With Somebody” serves its purpose in delivering Whitney’s hits as a soundtrack to the portrayal of her life’s melodrama. Much of the real-life raunchiness and decadence are toned down to make her story more appealing to audiences of wide age ranges. The movie never takes the time to understand Whitney’s inner thoughts, but instead gives viewers plenty of behind-the-scenes drama that was already exposed years ago.

There are some touches of comedy that generally work well to lighten the mood. But sometimes, “Whitney Houston: I Wanna Dance With Somebody” tries too hard to gloss over much of her emotional pain. Anything truly depressing in her life (which might have contributed to her drug addiction) is never fully examined, because the movie then jumps back into showing another Whitney performance. In other words, these are surface-level portrayals of Whitney’s problems.

For example, the 1991 miscarriage that Whitney had while filming the 1992 film “The Bodyguard” (her feature-film debut, which spawned the blockbuster soundtrack of the same name) gets less than two minutes of screen time. It breezes by with a scene of Whitney being comforted on a hospital bed by then-fiancé Bobby Brown (played by Ashton Sanders), with him telling her they can have other children in the future. And the miscarriage is never mentioned again. In real life, according to several people who knew Whitney and talked about her in interviews, this miscarriage had a profound and traumatic effect on her, but you’d never know it from watching this movie.

“Whitney Houston: I Wanna Dance With Somebody” screenwriter McCarten also wrote the divisive screenplay for “Bohemian Rhapsody” (the Oscar-winning 2018 biopic of British rock band Queen), which got a lot of criticism for jumbling the band’s timeline too much and fabricating important details. “Whitney Houston: I Wanna Dance With Somebody” doesn’t have those problems, since the movie sticks to the basic, well-known facts of Whitney’s life. The film’s tweaks to Whitney’s life timeline are minor and do not significantly rewrite factual history. The movie shows a good balance of Whitney in the recording studio and on stage, but the depictions of how she deals with her personal problems are often reduced to soundbites.

“Whitney Houston: I Wanna Dance With Somebody” (which takes place from 1983 to 2012) is told mostly in chronological order, except for the movie opening with the introduction to her performance at the 1994 American Music Awards. It’s a scene that the movie circles back to at the end of the film, which concludes in a somewhat long, drawn-out and awkward way: Her entire medley performance (of “I Loves You, Porgy,” “And I Am Telling You I’m Not Going” and “I Have Nothing”) is recreated on screen when the end credits should have already been rolling.

The movie depicts Whitney’s rise to stardom, beginning in 1983, when she was 19 or 20 years old and a backup vocalist for her gospel singer mother Cissy Houston (played by Tamara Tunie), who had a great deal of influence on Whitney as a singer. Cissy is portrayed as loving but also very strong-willed and domineering with Whitney. As a performer, Cissy was well-known but not rich by any stretch of the imagination.

Cissy’s headlining status was mostly at large nightclubs and small theaters. And even though Whitney’s cousin is Dionne Warwick, Whitney’s godmother was Aretha Franklin, and the Houston family mingled with showbiz royalty, Whitney grew up in a middle-class home in the New Jersey cities of Newark and East Orange. Cissy often spent a lot of time away from home as a touring artist to pay the family’s bills. Cissy’s then-husband John Houston (played by Clarke Peters) was also Cissy’s manager. Like many famous divas, Whitney’s first manager was also her father.

As shown and told repeatedly in the movie, Cissy and John (who would eventually divorce in 1990, after 31 years of marriage) frequently argued because John expected Cissy to be more attentive to the family despite her busy touring schedule, while Cissy resented having to be the family’s main source of income for years. Whitney’s older brothers Michael (played by JaQuan Malik Jones) and Gary (played by Daniel Washington) are briefly seen near the beginning of the movie, in a scene where all three siblings are smoking marijuana together in one of the family’s bedrooms. In real life, Gary (who married Pat in 1994) and Michael have admitted that they introduced Whitney to marijuana and cocaine, which became longtime addictions for her. (Whitney’s older brother John Houston III is not shown and is barely mentioned in the movie.)

How did John and Cissy Houston’s troubled marriage affect Whitney? The movie quickly depicts a young adult Whitney looking sad and disturbed as she listens to her parents arguing in another room. But she’s never really shown opening up to anyone about how all of this turmoil affected her. By the time Whitney meets Robyn Crawford (played by Nafessa Williams), who’s three years older than Whitney, on a basketball court, Whitney is all too happy to name drop the famous people who are in her family, in order to impress Robyn. The movie portrays Whitney and Robyn’s first meeting in 1983, when they actually met in 1980.

As shown in the movie, Whitney and Robyn became fast friends and eventually became lovers. For a while, Whitney and Robyn lived together before Whitney became famous and during the early years of her fame. It’s a romance that the real Crawford publicly confirmed in her 2019 memoir “A Song for You: My Life With Whitney Houston,” after years of speculation and gossip about the true nature of their relationship. Brown, who was married to Whitney from 1992 to 2007, also told intimate details about his volatile relationship with Whitney (which included love-triangle jealousy between him and Crawford) in his 2016 memoir “Every Little Step: My Story.”

“Whitney Houston: I Wanna Dance With Somebody” then shows the expected rise to fame of Whitney, beginning with a very contrived-looking scene of Cissy seeing Arista Records founder Clive Davis (played by Stanley Tucci) in the audience before the start of one of Cissy’s shows at Sweetwater’s Club in New York City. Cissy pretends to lose her voice, so that a confused Whitney would go on stage in Cissy’s place. Whitney sings a cover version of George Benson’s 1977 song “The Greatest Love of All,” which later became a hit from Whitney’s 1985 self-titled debut album. Clive is predictably blown away by Whitney’s talent; some variations of “I can make you star” scenes happen; Whitney signs a record deal with Arista; and Whitney becomes an instant smash.

Throughout the movie, Whitney is shown being torn between her public image and how she lived in private. From the beginning of her career at Arista, it was planned that she would have the image of a clean-cut princess who would have wide crossover appeal among many races and generations. Behind the scenes, Whitney is shown as someone who was already using drugs, and she didn’t really like wearing the dresses and wigs that she was pressured to wear as part of her “princess” image.

Behind the scenes, Whitney and Robyn were open about their relationship, but Whitney’s father/manager and other handlers told Whitney to appear like a heterosexual bachelorette who wanted to eventually get married to a man. Because of Whitney’s religious Christian upbringing, the movie shows her often being personally conflicted about her same-sex romance with Robyn, while Robyn had no such doubts. When the tabloid media would later report that Whitney was a lesbian, Whitney would deny it, which is technically an accurate denial, because she was also sexually attracted to men, and she probably identified as queer or bisexual.

When Whitney has a short-lived affair with singer Jermaine Jackson (played by Jaison Hunter), her duet partner on 1985’s “Nobody Loves Me Like You Do,” the movie shows Robyn flying into a rage and trashing the home where she and Whitney live. The movie does not mention that Jermaine was married to his first wife, Hazel Gordy (daughter of Motown founder Berry Gordy), at the time of Jermaine’s affair with Whitney. Eventually, Whitney and Robyn moved on to other love partners, but Robyn and Whitney continued to work together.

The movie also shows how Whitney’s relationship with Robyn led to clashes with Whitney’s father/manager John (who didn’t like that Whitney hired inexperienced Robyn as Whitney’s personal assistant) and later conflicts with Whitney’s husband Bobby, when Robyn had been promoted at the time to being Whitney’s creative director. (“She’s my princess!” John sneers at Robyn, during one of the movie’s cringeworthy lines of dialogue.) When the addictions to drugs and alcohol got out of control for Whitney and Bobby, the movie portrays Robyn as one of the few people in the couple’s entourage who would try to put a stop to it. But those efforts got stubborn resistance from self-destructive Whitney and Bobby. Robyn, who eventually quit working with Whitney in 2000, left the entertainment business.

Whitney’s relationship with Robyn in the early years of Whitney’s career are the scenes that seem the most genuine in portraying the “real” Whitney Houston. In a somewhat amusing scene, Robyn and Whitney both barge into John’s office, where he and his mistress/secretary Barbara (played by Andrea Eversley) are interrupted while being affectionate with each other. Whitney reacts like she knows that her father has been cheating on her mother, but Whitney doesn’t want to talk about it. Meanwhile, before Barbara leaves the room, she calls Whitney the family nickname for Whitney—Nippy—and Whitney and Robyn give each other a look, as if they’re thinking, “Say what? How dare she use the name Nippy!”

“Whitney Houston: I Wanna Dance With Somebody” has repetitive scenes of Whitney being bothered by criticism that she wasn’t “black enough” for some black audiences because of her choice of music, her mainstream success and her “America’s sweetheart” image. In other scene, Whitney gets defensive and angry with a radio DJ who tells her that many black people think she’s a sellout to her race. Whitney also makes a point of telling people that she didn’t grow up spoiled and rich.

The movie shows how Whitney tries to keep her composure in the audience when she gets booed at the 1989 Soul Train Music Awards while her name was announced as one of the show’s nominees for Best Music Video, and losing in that category to Janet Jackson. Robyn is Whitney’s date at this show. The movie alters a few details, because the booing incident actually happened at the 1988 Soul Train Music Awards, not at the 1989 Soul Train Music Awards.

The 1989 Soul Train Music Awards was where Whitney met Bobby, who was seated in front of her. Whitney gets his attention by swinging her purse deliberately so that the purse hit his head. (In real life, Whitney said she got his attention by kicking his chair, and he was really irritated by it.) Sanders portrays Bobby as someone who can be both a selfish troublemaker and a generous charmer, but the movie still leaves out some of the worst public information about Bobby.

Tucci’s portrayal of music mogul Clive is surprisingly subdued and not as interesting as it could have been, considering the real Clive Davis (who is one of the movie’s producers) has a reputation for being very charismatic. The movie shows Whitney telling Clive before she makes her first album with Arista that she doesn’t want to make white music or black music. She just wants to make great music. It’s one of several examples of the movie’s hokey dialogue that doesn’t ruin the movie but certainly lowers the quality of the film. Another example is when Clive first sees Whitney perform at Sweetwater’s Club, and he declares to his subordinate Gerry Griffith (played by Lance A. Williams), who persuaded Clive to be there: “I believe I’ve heard the greatest voice of her generation.”

The movie makes a half-hearted attempt to explain why Whitney didn’t go to rehab sooner for her addictions. In a scene shortly before Whitney records her first album, Clive promises that he won’t judge her or lecture her about her personal life. It isn’t until Whitney starts canceling performances, and the record company is losing money in other ways because of her drug problems, that Clive finally intervenes and tells her that she needs to go to rehab. It’s a very over-simplified scene because there were a lot more people involved in enabling Whitney and getting her to go to rehab. Her first public stint in rehab was in 2005.

What stands out most in this movie are undoubtedly the near-perfect recreations of Whitney’s on-stage performances, with the best highlight being Whitney’s performance of “The Star-Spangled Banner” at Super Bowl XXV in 1991. The scene is shown with the pomp and circumstance of immersing audiences into a VIP experience of that spectacular performance. Even though in real life, Whitney used a prerecorded track instead of singing live, the energy in the performance and her vocal expressions are what really captivated people the most.

Other recreations in the movie include Whitney’s performance of “Home” on “The Merv Griffin Show” in 1983; her music videos for 1985’s “How Will I Know,” 1987’s “I Wanna Dance With Somebody,” 1992’s “I Will Always Love You” and 1998’s “It’s Not Right But It’s Okay”; and 1994’s Whitney: The Concert for a New South Africa. The movie also has performances depicting some of her tours spanning several decades, from the 1980s to her ill-fated 2009-2010 last tour. The songs she performs in these concert scenes include “I’m Your Baby Tonight,” “I’m Every Woman,” “So Emotional” and “One Moment in Time.” There’s also a depiction of Whitney’s musical director Rickey Minor (played by Dave Heard) convincing a reluctant and skeptical Whitney in a rehearsal space to do her 1994 American Music Awards medley and rehearsing it for the first time.

The movie accurately shows how her final tour wasn’t exactly a triumph, since many of the shows were not well-attended, started late, or were canceled. In addition, Whitney got some negative reviews for not being able to hit the same notes that she could in the past. Whitney’s financial problems and her legal battles with her father (who sued her for $100 million in 2002, as he was dying in a hospital) are also depicted like more plot developments in a soap opera. Pat Houston (played by Kris Sidberry), who took over as Whitney’s manager after Whitney fired her father, is portrayed as the person who pointed out to Whitney that John Houston’s irresponsible spending led to Whitney’s losing so much money, she describes her fortune as “almost gone” in a scene where she confronts her father about it.

For every showstopping musical performance in the movie, the off-stage recreations are hit and miss, usually marred by shallow dialogue and very contrived scenarios. When Bobby and Whitney begin dating and are labeled an “odd couple” by the media, Bobby is defensive and tells Whitney why they have so much in common: “We from the ‘hood!” Bobby’s marriage proposal in a limousine is made to look intentionally comedic. As soon as Whitney says yes, he confesses that one of his ex-girlfriends is pregnant with their second child. Whitney gets angry, storms out of the limo, and the couple has one of many arguments shown in the movie.

Whitney and Bobby’s 1992 wedding, which was extravagant and had about 800 guests in real life, looks like a cheap imitation in the movie, which does a quick montage that makes it look like hardly anyone was at the wedding. Don’t expect the movie to give much insight into how Whitney was as a mother. Whitney and Bobby’s daughter, Bobbi Kristina (played as an adolescent by Bria Danielle Singleton), is portrayed as Whitney’s sidekick who doesn’t have much of a personality. (Bobbi Kristina’s tragic death at age 22 in 2015 is not mentioned in the movie.)

To its credit, “Whitney Houston: I Wanna Dance With Somebody” is more candid and a better-made film than Lifetime’s relatively low-budget 2015 movie “Whitney” (starring Yaya DaCosta as Whitney), which was directed by Angela Bassett. Lifetime’s “Whitney” movie was not sanctioned by the Whitney Houston estate, which might be why “Whitney Houston: I Wanna Dance With Somebody” excels in showing Whitney as a music artist. For all of its shortcomings, “Whitney Houston: I Wanna Dance With Somebody” at least gets it right when it comes to representing Whitney’s musical essence that remains her greatest legacy.

TriStar Pictures will release “Whitney Houston: I Wanna Dance With Somebody” in U.S. cinemas on December 23, 2022.

Copyright 2017-2025 Culture Mix
CULTURE MIX