IN BRIEF: An earnest but flawed exposé with a star turn by Daniel Kaluuya as the Messiah.
JIM'S REVIEW: (RECOMMENDED) It seems it is more than just documented facts that J. Edgar Hoover and the FBI illegally investigated any Black subversive protest groups during the 60's, with the Black Panther Party as their No. 1 target. Recent films seem obsesses with that matter (One Night in Miami, MLK/FBI, The Trial of the Chicago Seven, the soon-to-be -released The United States vs, Billie Holiday). You can now add to the fold, Shaka King's searing indictment, Judas and the Messiah.
This bio-pic tells the true story of Fred Hampton (Daniel Kaluuya), chairman of the BPP, who is ultimately betrayed by an FBI informant, William O'Neal (Lakeith Stanfield). The film chronicles Mr. Hampton's life and death with a searing performance by Mr. Kaiuuya as the doomed crusader. There is no doubt that this performance will be recognized this award season. (More on that later.)
We follow Mr. Hampton's journey from to skillful orator to full-blown leader, his sweet relationship with Deborah (Dominique Fishback), and his so-called friendship with William. We also view Mr. O'Neal's involvement in petty crimes and criminal activities before he becomes the stoolie for FBI agent Roy Mitchell (Jesse Plemons, under the behest of J. Edgar Hoover (Martin Sheen, with heavily applied make-up that borders on buffoonery).
The script by Mr. King and Will Berson is a bit of a jumble and skims the surface before presenting its case. The movie allows a more liberal point of view from the filmmakers and crew in retrospect. The director/writer interweaves archival footage to his biographical tale most astutely and knows how to film his action scenes to full throttle effect. He does not shirk from showing the violence from both the police brutality and the Panthers' own militant stance and pro-gun attitude. The director envisions his drama like an unfolding gangster saga, with fluid camerawork and stylish flourishes, although his decision to use an annoying atonal music score just add more injury to one's eardrums. All in all, the film still resonates with its factual baseline and superb acting in general. One cannot discount the redacted facts and the shady cover-up that are now part of historical record.
This is an honest but empathetic view of the Black struggle which shows the desperate violent lengths the Black Panthers would go for their cult-like cause which almost seems to justify Hoover's insistence about this group's dangerous origins and his underhanded tactics in taking this group out. But the portrayal of the FBI and their fearful leader is strictly one-dimensional. The Feds are predictable cardboard bad guys that become absurd caricatures rather than real figures. That seriously hinders the film's impact.
The film loses much of its momentum whenever Fred's story is pushed aside in favor of showcasing scenes of O'Neal's issues and the FBI arch villainy. The reliable Mr. Pleson is fine as the cold and calculating FBI agent, but Mr. Sheen is miscast as Hoover. Granted, the waxy make-up doesn't help his performance. It only makes him look like a supporting cast member of The Sopranos than J. Edgar. The screenplay would have been wiser to eliminate the physicality of this well known figure entirely.
In accurately conveying the 60's era of racial unrest, the main Judas role is underdeveloped. Mr. Stanfield is very good as William and the actor tries to fill in the gaps to this solitary loser, but, as written, O'Neal is more a series of nervous tics and fearful glances than a real person who one cares about.
What the film does best is honoring its Black Messiah and his Lady Madonna storyline. As previously stated, Mr. Kaluuya is sensational. His role has more depth and emotional nuance. Mr. Hampton's revolutionary speech after his arrest is totally mesmerizing in its delivery. But it is the film's quieter scenes with Mr. Kaluuya and the captivating Ms. Fishburne that provide the gravitas needed. They are the emotional core. Their final scene is a heartbreaker and staged so powerfully in its straightforward use of graphic violence and human cruelty.
Well crafted and skillfully performed, Judas and the Messiah has many strong moments scattered between some scenes of loose and meandering storytelling. It takes a while to build its narrative, but it does so by its tragic end. (GRADE: B-)
NOTE: The R&B song during the closing credits, Fight for You, is a real winner. Take a listen.
JIM'S REVIEW: (RECOMMENDED) It seems it is more than just documented facts that J. Edgar Hoover and the FBI illegally investigated any Black subversive protest groups during the 60's, with the Black Panther Party as their No. 1 target. Recent films seem obsesses with that matter (One Night in Miami, MLK/FBI, The Trial of the Chicago Seven, the soon-to-be -released The United States vs, Billie Holiday). You can now add to the fold, Shaka King's searing indictment, Judas and the Messiah.
This bio-pic tells the true story of Fred Hampton (Daniel Kaluuya), chairman of the BPP, who is ultimately betrayed by an FBI informant, William O'Neal (Lakeith Stanfield). The film chronicles Mr. Hampton's life and death with a searing performance by Mr. Kaiuuya as the doomed crusader. There is no doubt that this performance will be recognized this award season. (More on that later.)
We follow Mr. Hampton's journey from to skillful orator to full-blown leader, his sweet relationship with Deborah (Dominique Fishback), and his so-called friendship with William. We also view Mr. O'Neal's involvement in petty crimes and criminal activities before he becomes the stoolie for FBI agent Roy Mitchell (Jesse Plemons, under the behest of J. Edgar Hoover (Martin Sheen, with heavily applied make-up that borders on buffoonery).
The script by Mr. King and Will Berson is a bit of a jumble and skims the surface before presenting its case. The movie allows a more liberal point of view from the filmmakers and crew in retrospect. The director/writer interweaves archival footage to his biographical tale most astutely and knows how to film his action scenes to full throttle effect. He does not shirk from showing the violence from both the police brutality and the Panthers' own militant stance and pro-gun attitude. The director envisions his drama like an unfolding gangster saga, with fluid camerawork and stylish flourishes, although his decision to use an annoying atonal music score just add more injury to one's eardrums. All in all, the film still resonates with its factual baseline and superb acting in general. One cannot discount the redacted facts and the shady cover-up that are now part of historical record.
This is an honest but empathetic view of the Black struggle which shows the desperate violent lengths the Black Panthers would go for their cult-like cause which almost seems to justify Hoover's insistence about this group's dangerous origins and his underhanded tactics in taking this group out. But the portrayal of the FBI and their fearful leader is strictly one-dimensional. The Feds are predictable cardboard bad guys that become absurd caricatures rather than real figures. That seriously hinders the film's impact.
The film loses much of its momentum whenever Fred's story is pushed aside in favor of showcasing scenes of O'Neal's issues and the FBI arch villainy. The reliable Mr. Pleson is fine as the cold and calculating FBI agent, but Mr. Sheen is miscast as Hoover. Granted, the waxy make-up doesn't help his performance. It only makes him look like a supporting cast member of The Sopranos than J. Edgar. The screenplay would have been wiser to eliminate the physicality of this well known figure entirely.
In accurately conveying the 60's era of racial unrest, the main Judas role is underdeveloped. Mr. Stanfield is very good as William and the actor tries to fill in the gaps to this solitary loser, but, as written, O'Neal is more a series of nervous tics and fearful glances than a real person who one cares about.
What the film does best is honoring its Black Messiah and his Lady Madonna storyline. As previously stated, Mr. Kaluuya is sensational. His role has more depth and emotional nuance. Mr. Hampton's revolutionary speech after his arrest is totally mesmerizing in its delivery. But it is the film's quieter scenes with Mr. Kaluuya and the captivating Ms. Fishburne that provide the gravitas needed. They are the emotional core. Their final scene is a heartbreaker and staged so powerfully in its straightforward use of graphic violence and human cruelty.
Well crafted and skillfully performed, Judas and the Messiah has many strong moments scattered between some scenes of loose and meandering storytelling. It takes a while to build its narrative, but it does so by its tragic end. (GRADE: B-)
NOTE: The R&B song during the closing credits, Fight for You, is a real winner. Take a listen.