BOB MARLEY: ONE LOVE**

Director Reinaldo Marcus Green (KING RICHARD) returns to our screens with a biopic that is limp and uninspired. I am not sure how you make a film such a boring film about a musician as talented as Bob Marley, let alone a musician as mired in the violence of his native Jamaica. It is even more disappointing when you realise that the film was written by iconic show runner Terence Winter (The Sopranos, Boardwalk Empire, THE WOLF OF WALL STREET). The result is a Tab A into Slot B film that portrays Bob as a naive hapless fool and martyr who pumped out a classic album before succumbing to cancer. To be honest, I was relieved when he died. I came out none the wiser as to the political violence that forced Bob to flee Jamaica for England. And I was certainly not allowed to see the darker side of Bob's personality. This film is weak sauce hagiography. And while Kingsley Ben-Adir (Malcolm X in ONE NIGHT IN MIAMI) does a decent enough physical and verbal impression of Bob it just all feels very superficial and performative. 

BOB MARLEY: ONE LOVE has a running time of 117 minutes and is rated PG-13. It went on global release last month.

KING RICHARD***** - BFI London Film Festival 2021 - Day 10

Director Reinaldo Marcus Green's KING RICHARD is an uproarious, crowd-pleasing, but not completely hagiographical biopic of Richard Williams: coach and father of Venus and Serena. The film succeeds because of a tightly structured and powerful script from first-time screenwriter Zach Baylin. It also benefits from powerhouse performances from Will Smith in the title role (taken as read) and scene-stealing Aunjanue Ellis as Richard's wife Brandi. What emerges is a complicated picture of a complicated and imperfect family that somehow, against all odds, raised a Wimbledon winner AND a GOAT. 

As the film opens, Richard is trying to persuade various rich tennis coaches to invest in his daughters, who he has been raising according to his programme to create prodigies. He works them hard, both in tennis and school, because he wants them to avoid being mired in poverty and drugs like the rest of Compton. The threat of violence is ever-present.  Richard tells us how he was beaten up by white men as a kid. His eldest daughter is threatened by local gangs (foreshadowing her real life tragic murder).  We see Rodney King being beaten up on TV. So Richard's desire to create champions is commercial and callous. He clearly states it could've been any sport and that he literally bred the girls for greatness. But at a very basic level, it's not about money but sheer survival. 

Which is not to say that Richard is perfect. He's clearly egotistical, stubborn, a self-publicist and a tyrant. He drives not one but two coaches mad. He drives his wife Brandi mad. And in one of the most powerful moments of the film's second half, she absolutely lets him have it with details of his life that made the audience both gasp and applaud her.  But at the end of the day, whatever he did worked.

That said, it wasn't actually just what HE did. And this film cleverly both sets up the self-made myth of King Richard before deconstructing it. Brandi powerfully argues that SHE was AS influential in raising and indeed coaching the girls as HE was, and provides a powerful role model of a hard-working black woman. As a result, this film partly cuts off one of the criticisms that was brewing in my mind as I watched it: that for a film about two female tennis stars, their three sisters, and their mum, it was kinda weird to centre the only man in the story.  The entire point is that this is what Richard does, and what the women have to fight against. 

I can't say enough about how joyous this film was to watch in a packed auditorium.  Every argument, every tennis success, every tense game had us all on the edge of our seats. The film left me with an even deeper understanding of, and admiration for, these iconic sportswomen and everything that they have achieved.

KING RICHARD has a running time of 138 minutes and is rated PG-13. The film played Telluride and the BFI London Film Festival. It will be released on Netflix on November 19th. 

MONSTERS AND MEN

New York.  A black kid is shot dead by a trigger happy racist cop.  The murder is captured by another young man on a cellphone.  MONSTERS AND MEN examines the consequences of events that have become sadly all too familiar, by focusing on three characters - a black cop who witnessed the murder and is himself subject to police harassment (John David Washington - BLACKKKLANSMAN) - the young father who captured the murder, has the courage to post his video online, and is then harassed by the police (Anthony Ramos - A STAR IS BORN) - and a teenage boy who can potentially have a very lucrative career with a sports scholarship unless he "causes trouble" by joining a protest (Kelvin Harrison Jr.)

For all three men, the murders causes a crisis of conscience and the drama lies in seeing whether they will have the courage to be "woke" and the provocation of the same question in ourselves.  Maybe I would join a protest.  I know I couldn't post a video, knowing the police have already been stalking my house, with my sleeping child next to me.  

For me, the most fascinating character is the cop, and it's interesting to contrast this character with Washington's role in BLACKKKLANSMAN.  In that movie, the most brutal racism is depicted on screen but Spike Lee also had the wit to give us moments of hilarity - walking a very fine tonal line. This movie - from talented first time writer-director Reinaldo Marcus Green - is far quieter and more interior, and so calls for a more nuanced, in some ways more powerful performance. The opening scene of this film is thus its best. We see a character we know is a cop, but off duty, pulled over and ID checked by a white cop. The camera focusses on Washington's reaction - quiet anger - knowing if he acts out he will be subject to brutality.  The same brutality his colleagues mete out onto other black men in the neighbourhood. 

The resulting film is beautifully acted and deeply powerful and doesn't shy away from tough questions and debates. It's sadly too relevant. It also paints an authentic picture of a community on the edge.

MONSTERS AND MEN has a running time of 96 minutes and is rated R. It played Sundance 2018 where Reinaldo Marcus Green won a Special Jury Prize for Outstanding First Feature - Dramatic. It also played Toronto. It was released in the USA last September and is currently on release in the UK in cinemas and on demand.