Judas and the Black Messiah


Fred Hampton preaches to the choir.

(2021) Biographical Drama (Warner BrothersDaniel Kaluuya, LaKeith Stanfield, Jesse Plemmons, Dominique Fishback, Ashton Sanders, Algee Smith, Darrell Britt-Gibson, Lil Rel Howery, Dominique Thorne, Martin Sheen, Amari Cheatom, Khris Davis, Ian Duff, Caleb Everhardt, Robert Longstreet, Amber Chardae Robinson, Ikechukwu Ufomadu, James Udom, Nick Fink, Alysia Joy Powell.  Directed by Shaka King

 

When discussing the civil rights struggles of the late Fifties and into the Sixties and Seventies, a pantheon of names stand out, from Rosa Parks to Medgar Evers to Dr. Martin Luther King Jr., to Malcom X. One of the names much less known is Fred Hampton, but his contribution bears repeating.

In the late 1960s, the Black Panther party has risen as both a community organization and a political organization. Dedicated to the idea of revolution, the party was eyed with suspicion and terror by white America; the press demonized them (often at the behest of the FBI, whose openly racist director had tentacles throughout the civil rights movement) to the point that even today, they are much misunderstood and often looked upon as little more than terrorists by the white community.

Fred Hampton (Kaluuya) was a young star of the Illinois chapter of the Panthers. Intellectually gifted and a skilled orator, he had a wealth of compassion for the black community, helping to organize meals for hungry children and emphasizing education to them. However, he also was dedicated to the systematic dismantling of the society that had enslaved his people, and now even a century later was keeping them down through means both legal and otherwise. He espoused a turn to communism, which also earned the ire of J. Edgar Hoover (Sheen), who was not only racist but a fervent anti-communist to the point of hysteria.

William O’Neal (Stanfield) was a petty crook who attempted to swindle by impersonating an FBI agent. His lies seen through, he was caught and remanded to the actual FBI. Agent Roy Mitchell (Plemmons) gives O’Neal a choice; a long stint in prison for car theft and impersonating a federal agent, or have his record expunged and get paid for infiltrating the Black Panthers. O’Neal took the second route.

Rising through the ranks even as Hampton does, he sees Hampton become chairman of the party while he himself becomes a security operative. As 1969 comes to a close, he is asked by the FBI to give a detailed layout of Hampton’s apartment that he shares with his girlfriend Deborah Johnson (Fishback), a speechwriter for the Panthers who is also pregnant with his child. O’Neal slips some phenobarbital into Hampton’s drink, insuring that the Black Panther leader will be groggy and unable to defend himself with what was to come. On December 4, 1969, the Chicago Police carried out a raid on the apartment and in the process, both Hampton and one other member of the Panthers was killed. It was nothing less than an execution, an assassination carried out by our own government.

The film is bookended by two clips; first, one of Stanfield as O’Neal, being interviewed for a 1990 PBS documentary, then the actual documentary footage of O’Neal, talking about his role in the death of Hampton. It is one of those mesmerizing cinematic moments in which the reel turns to the real. The movie has a few moments like this, most notably when Johnson talks to Hampton about how their impending parenthood must change the nature of their political activity. It is a haunting moment, given that Johnson would give birth to Hampton’s son twenty-five days after his murder.

The movie is blessed with some masterful performances, particularly from Kaluuya who is turning into one of the finest actors of this generation (he was nominated for a Golden Globe for his efforts) and Stanfield, who makes somewhat sympathetic the role of O’Neal, who finds himself way over his head. Fishback has that amazing scene referred to earlier and serves notice that she, too, will be a force to be reckoned with, and Plemmons does some of the best work of his career as the manipulative (and manipulated) Mitchell.

The last half of the movie is absolutely riveting, and even if you know the story – which many Americans do not – the tension is palpable. It’s the first half of the movie where I have the harder time. It’s a bit disjointed and confusing, and takes a little too long in setting the stage. At times, King (who also co-wrote the script) seems to be more concerned about editorializing rather than telling the story, which doesn’t need it. Any good American should be outraged at the FBI’s clear abuse of their power, and the fact that all those involved essentially got away with the crime is all the more galling (a civil suit brought by Johnson and her son was settled after 12 years, one of the longest civil trials in U.S. history.

Hampton was by all accounts a superb organizer and coalition builder which was why he was so threatening to the white establishment. Had he survived (he was only 21 years old when he died), he might well have turned the Black Panthers into a political force; the rainbow coalition that Jesse Jackson would later extol was something Hampton actually came up with. At the time of his death, he had created alliances with Hispanic political organizations, white leftists and African-American street gangs. His oratory ability was not unlike Martin Luther King’s and Kaluuya gives us a hint of his fiery delivery (if you want to see the real thing, there are several of his speches on YouTube). You may not necessarily agree with his political beliefs (he was a fervent communist) but it is clear that his loss was incalculable to the African-American community. One wonders that had he lived that maybe – just maybe – some of the racial issues that continue to divide this nation might not have been laid to rest. Or maybe, given his tendency to promote violence as a solution, they might actually be worse. We will never know.

REASONS TO SEE: The second half of the film is extremely compelling.
REASONS TO AVOID: The first half of the film is absolutely forgettable.
FAMILY VALUES: There is a whole lot of profanity, some sexuality and disturbing violence.
TRIVIAL PURSUIT: Kaluuya, Stanfield and Howery all worked together previously on Get Out.
BEYOND THE THEATERS: HBO Max (until March 11)
CRITICAL MASS: As of 2/17/21: Rotten Tomatoes: 96% positive reviews, Metacritic: 86/100.
COMPARISON SHOPPING: Malcolm X
FINAL RATING: 6.5/10
NEXT:
Dead Air

Bird Box


Row, row, row your boat, gently down the stream.

(2018) Horror (Netflix) Sandra Bullock, John Malkovich, Sarah Paulson, Jacki Weaver, Trevante Rhodes, Rosa Salazar, Danielle Macdonald, Lil Rel Howery, Tom Hollander, Colson Baker, BD Wong, Pruitt Taylor Vince, Vivien Lyra Blair, Julian Edwards, Parminder Nagra, Rebecca Pidgeon, Amy Gumenick, Taylor Handley, Happy Anderson, Kyle Beatty, Ashley A. Alvarado. Directed by Susanne Bier

 

The secret to a great horror movie is to never reveal the monster too early. What we can’t see is often the scariest creature of them all.

Civilization has collapsed but it’s not a plague of zombies that has done it; rather, an unseen monster that when it establishes eye contact causes the viewer to commit suicide. Essentially, nobody can go out of their house because once you see the monster, you’re toast within moments. In the early scenes of the movie we see precisely how quickly things devolve into chaos as people ram their cars into immovable objects, stab themselves to death and calmly open the door of a burning car and sitting down in the passenger scene, immolating themselves.

Malorie (Bullock) is a take-charge kind of woman who finds herself in this environment. Pregnant, she is on her way from a routine doctor appointment when things go to Hell in a handbasket. She takes refuge in the home of a curmudgeonly novelist who watches his wife kill herself after she beckons Malorie and other stranded motorists into her fortress-like home. Her husband Douglas (Malkovich) is none too pleased about the new guests but admits grudgingly that they bring special skills to the table, including ex-military construction crew chief (Rhodes) who develops a relationship with Malorie, grandmotherly Sheryl (Weaver), conspiracy theorist and grocery clerk Charlie (Howery) and a few others who come and go, some with less-than-noble intentions.

This culminates in a harrowing journey Malorie takes with her children (identified only as Boy (Edwards) and Girl (Blair) five years after the fact in which she rows a canoe down a river while blindfolded, hoping to make it to a rumored sanctuary in Northern California which is mostly shown in flash-forwards.

Bullock is brilliant here in a rare appearance in a horror film for the actress (she doesn’t like horror movies and generally doesn’t take roles in them – her last horror movie was more than 20 years previously). Malkovich chews the scenery here in typical fashion while Weaver is competent as is Paulson. Sadly, the two juveniles playing Boy and Girl are as bland as their names would suggest; they spend most of the film trying to act rather than trying to project themselves into their characters. This is a problem for many juvenile actors and actresses which tend to lead to stiff performances which we get here.

We never see the creatures responsible although we see the carnage they cause. It is a good thing that we don’t; they are far more terrifying that way. Bier is a respected director having done most of her work in her native Denmark; this is her first genre film and she attacks it as she would any drama, allowing the emotions of the characters set the tone, making the movie more interesting than the average creature feature.

This was one of the most popular films released by Netflix last year; it even inspired another stupid dangerous internet phenomenon known as “the bird box challenge” in which people try to navigate a distance (indoors and/or outside) while blindfolding leading to a raft of injuries, some of which required visits to the Emergency Room. While the tension Bier builds is unbelievable, the story is just the opposite. While this isn’t the kind of horror film that uses creature effects to set it’s gory tone, although there is some gore. This is the kind of horror movies that even those who aren’t fond of the genre can see.

REASONS TO SEE: The tension is unrelenting. Another great concept, even if it is a little bit derivative. Some very smart decisions made by the director.
REASONS TO AVOID: The juvenile actors are a liability.
FAMILY VALUES: There is violence and gore, profanity, adult themes and some sexual content.
TRIVIAL PURSUIT: Bullock is actually blindfolded during the scenes in which her character is (which makes up about half the film) and refused to allow eye holes to be cut, causing her to bump into the camera more than once during shooting.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 6/19/19: Rotten Tomatoes: 63% positive reviews: Metacritic: 61/100.
COMPARISON SHOPPING: A Quiet Place
FINAL RATING: 8/10
NEXT:
The Spy Behind Home Plate