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London Film Festival 2021: The Harder They Fall

When it comes to showing a film at a festival, there are few honours more impressive than being the opening night selection for the entire festival. The honour at this year’s London Film Festival goes to Jeymes Samuel’s feature film debut, The Harder They Fall which chronicles a fictional story about real black cowboys in the Old West. In a genre that has been majorly dominated by white men, Samuel flips the script entirely with an all-black cast and delivers a film that is stylish and captivating. Boasting an incredible cast that includes Jonathan Majors, Idris Elba, and Regina King among many more, The Harder They Fall shows that there is no slowing down the modern Western trend while also marking Samuel’s exceptional debut and talent as a visionary. The film follows cowboy Nat Love (Majors) and his gang as they embark on a mission of revenge against the cruel Rufus Buck (Elba) who killed the former’s parents when he was younger, leaving Love with a scar of a cross on his forehead. What entails is a game of power between the two gangs in a bid to maintain control.

The film is directed by Samuel who cowrote the script with Boaz Yakin and the result is a film that follows a classic Western plot but this is in no means an insult. The plot’s simplicity allows more time for the characters to shine and gives them ample material to play with and become well-developed. Both gangs are filled with memorable characters which can seem overwhelming at times as you don’t know where to look during fight scenes but the chaos that ensues between the gangs and the individual tensions that arise between the members are an absolute thrill to watch. Samuel can only be described as a visionary when it comes to his method of storytelling. The way he combines the tight writing with music and beautiful direction results is on par with some filmmakers who have been working for decade. He clearly is someone who loves film and has a passion for the subject and the characters.

Leading the Nat Love Gang is Majors who plays Love and his partner, Mary (Zazie Beetz). The great thing about this film is that the line between good and bad becomes blurred so even though they lead a life of crime by stealing from outlaws, they have good intentions to serve the community and don’t mistreat anyone who is innocent. Majors’ performance is absolutely magnetic and he leads the film with ease. Love’s quest for revenge is perfectly set up as we see the tragic story play out from his childhood to help us understand his plight better. Love is an incredibly charismatic character who knows how to command a situation and Majors is perfect casting. Playing his love interest, Mary, is Zazie Beetz and the two share a brilliant chemistry together as the dynamic between the shifts and changes. What is great about the female characters in this film is that they don’t rely on a man as they have agency and strength and Beetz has become well-known for her feminist roles which makes her ideal for a character like Mary.

On the other side of the coin is the Rufus Buck Gang led by Buck (Elba) and Trudy (King). Their dynamic is similar to Nat and Mary’s as they are loyal to each other while also enabling each other’s independence. Elba’s role is one of the best in his career as he brings a darkness to the role of Buck that is very unexpected. Buck’s character is one that could be played over the top but Elba’s calm demeanour results in a performance that commands the audience’s attention every time he is on screen. Quiet and calculating, Buck is careful with his words and clearly intelligent and always thinking ahead. It’s also clear that Elba is having a lot of fun with the character and it wouldn’t be surprising if he were to receive some awards attention in the supporting categories come awards season. Playing Buck’s partner in crime, Trudy, is Oscar winner Regina King whose performance is terrifying and probably the most violent out of everyone in the film. Unapologetically tough, King’s ability to tell a story through expression works incredibly well as Trudy. The scene in which we are first introduced to Trudy as she and the rest of the Rufus Buck Gang break Buck out of his cell on a train is among the best in the film. Simply watching Trudy force the train to the stop by fearlessly stopping her horse over the track is both terrifying and leaves you on the end of your seat.

There are so many fantastic support performances that it feels unfair to only discuss a couple but the highlights from the supporting cast have to be Lakeith Stanfield as Cherokee Bill and Delroy Lindo as Bass Reeves. Oscar nominee Stanfield is on form as the unpredictable Bill, a man who gained a reputation for his fast shooting speed. In true Stanfield fashion, his performance is subtle which works well as it provides a sinister undertone and fearlessness to the character that makes every move he makes unsettling to the viewer. On the other hand, Delroy Lindo can always be relied upon to give a fantastic performance and his turn as Deputy Marshall Bass Reeves is no exception. Reeves acts as the voice of reason and has the strongest moral compass of all the characters, despite his clear affiliation with a wanted man; however, Lindo portrays Reeves as a man with dignity who knows that he is doing the right thing. In a film that is littered with stars, it’s just a shame that we don’t see more of Reeves throughout.

It would be impossible to review this film and not discuss the music and score. Samuel’s background is in music and he puts this to use by contributing remixes and the score himself. The result of which is absolutely stunning as he merges classic Western sounds with RnB to create a sound that is completely unique but fits in with the film perfectly. In many ways, the music is just as integral to the plot as the visual is. Mixing a variety of genres such as RnB, rap, and Church music to name a few, the score helps with the pacing of the film and works brilliantly, especially in scenes such as the train scene in which Buck’s gang breaks him out.

Overall, The Harder They Fall is a strong opener for the London Film Festival with one of the strongest casts in a film this year and marking a fantastic debut for Samuel. As we have seen a huge increase in Westerns being made in recent years, Samuel shows that there is plenty of room for his vision and executes it brilliantly. It’s hard to believe that this is his first feature film and hopefully promises to be the start of a great career as a filmmaker and writer.

The Harder They Fall is available to watch on Netflix from November 3rd 2021!

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Judas and the Black Messiah (2021)

Judas and the Black Messiah has proven to be a strong competitor this awards season. Following the true story about an FBI informant, William O’Neal (Lakeith Stanfield) who infiltrates the Black Panthers and gets close to Chairman Fred Hampton (Daniel Kaluuya), the film tells a point of view that is often missing from the narrative. Directed by Shaka King and based on a script written by King and Will Berson, Judas and the Black Messiah doesn’t try to spoonfeed the audience and immediately throws us into the situation. As we see William delve deeper into the Black Panthers, we begin to see the conflict in his position as a black man who is working for the predominantly white government that the Panthers are protesting against.

The directorial decisions when it comes to the structure and editing of the film has proven to be a hit or miss when it comes to the critics and audience. I appreciated King’s decision to throw us into the situation and remain neutral on William’s political stance. As reflected in the interview footage we see at the end of the film, William leaves it for the individual to decide whether he was in the right or wrong in his actions as he has been forced into his situation.

Lakeith Stanfield is perfectly cast as William O’Neal and does a great job at conveying the inner conflict that O’Neal faces as he is torn between his job as an FBI informant and as a rising presence in the Black Panthers. Stanfield excels during the scenes in which O’Neal’s life is at stake when there is violent conflict between the police and the Panthers as we see how he doesn’t know what is the right or wrong point of view. As his friendship with Fred grows, his inner conflict grows more and there is more at stake. The chemistry Stanfield has with Jesse Plemons who plays the FBI agent is fantastic and the scenes of negotiation between the two are greatly intense as O’Neal is forced to carry out his time with the Panthers whilst reiterating confidential information to the FBI. One of the biggest surprises at this year’s Oscars is Stanfield’s nomination in the Best Supporting Actor category alongside Kaluuya. It’s great to see Stanfield getting the recognition he deserves but he is definitely the film’s lead and should have been considered as such.

With most of the acting awards being up for debate this year, one consistency has been Daniel Kaluuya’s clean sweep of the Best Supporting Actor gongs from the major awarding bodies. Having received his film breakout in the excellent Get Out which saw him receive his first Academy Award nomination. His performance as Fred Hampton only shows signs of growth and is absolutely breathtaking. If it wasn’t clear before that Kaluuya is one of the best actors working today then it definitely is now. The scenes in which Fred is addressing his congregation commands the room and is so gripping to watch as we cannot predict what decision he’ll make next. There is always that looming danger around Fred as informants are compromised and police action becomes more violent. Some people have a problem with Kaluuya playing Hampton because he is British but his accent is pitch perfect and his mannerisms reflect Fred brilliantly so much so that he becomes the character.

One thing about the film that really stood out to me was the score which was composed by Mark Isham and Craig Harris. The sharp jazz tones make the film feel like a thriller in places and takes away from the reality of the situation. Heavily inspired by the upbeat music of the 1970s also, the score is captivating and helps to elevate the viewing experience.

Overall, Judas and the Black Messiah is filled with fantastic performances from all of its cast. The decision to keep O’Neal’s stance neutral throughout may not work for everyone but I appreciate King for trying something different by allowing O’Neal to act as an observer to Hampton and the FBI and seeing how the two sides make their plans. Kaluuya in particular is worth the watch alone as he does Fred Hampton justice thanks to his passionate and fearless performance.

What did you think of Judas and the Black Messiah? Let me know in the comments below!

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Director Ranking Spotlight

Jordan Peele: Film Ranking

When it comes to the best horror visionaries of the 21st century, it is most likely that Jordan Peele’s name will crop up. He rose to fame for his comedic acting alongside Keegan-Michael Key in the hit shows Mad TV and Key & Peele and the two are still often cast together such as their voice work in last year’s Toy Story 4.

Aside from being a comedian, Peele is also an avid horror film fan and turned his attention to writing and directing horror films that have redefined the genre in recent years. He has experienced resounding successes both critically and commercially, which is fantastic for a rising voice in the horror genre especially. His films are original and topical, using the horror genre to explore the African American experience in modern-day America.

A four-time Oscar nominee, Peele is one of a few who has been nominated for Best Picture, Best Director and Best Original Screenplay for his debut, winning the latter for 2017’s stellar Get Out. He has received an additional Best Picture nomination for his contribution as Producer for Spike Lee’s incredible BlacKkKlansman (2018). Peele is on course to become a master of the horror genre and it’s exciting to see what films he creates next.

Get Out (2017)

Peele’s directorial debut was a game-changer in many ways. The hype for this film spread like wildfire and it soon became one of the most critical and commercial successes of 2017. Following African-American photographer Chris (Daniel Kaluuya) who sets off with his white girlfriend, Rose (Allison Williams) to meet her family over the weekend which gradually shifts from a nervous first encounter to a nightmare beyond belief. Peele flips the horror genre on its head with Get Out. Horror films in general tend to exaggerate racial stereotypes a lot more than other genres but what Peele absolutely rejects this and gives us an array of characters who are well-rounded with their own background stories and motives thanks to the incredible script. The film is filled with so many layers that you can notice something different every time you watch the film. From the brilliant supporting performances from Lakeith Stanfield and Lil Rel Howery to Michael Abels’ impeccable score. What sets it apart from other horrors is that the villains are white middle-class liberals whereas a lot of racism in horror is at the hands of the right-wing. The film was nominated for a slew of awards including nominations for Academy Awards for Best Picture, Best Director and Best Actor in a Leading Role for Kaluuya, winning Peele the Oscar for Best Original Screenplay in a year that was incredibly strong in competition. Get Out is only 3 years old and yet has already solidified itself as a horror classic and will certainly be marked as a milestone for the genre.

Us (2019)

Peele’s follow up is another demonstration of his talent as a skilled writer and director. Starring Oscar winner Lupita Nyongo’o as Adelaide, a woman who is haunted by a traumatic encounter she experienced as a child, and her family as they go on vacation. Aside from a couple of weird coincidences, everything seems to be going okay until the family are confronted by a family of doppelgangers who attempt to kill their counterparts. Us is a highly intense film filled with puzzle pieces that are eventually placed together. It is a joy to watch and Nyongo’o’s performance particularly is a knockout. To simply compare this film to Get Out would be ridiculous because they are so different in tone. Again, Michael Abels’ score is absolutely brilliant with its classical elements to reflect Adelaide’s ballet background. Gifted with four times the budget Get Out had, Peele takes advtange using multiple locations and the cast as expected is flawless with Winston Duke playing Adelaide’s husband, Gabe and Elisabeth Moss as family friend, Kitty leading the supporting cast. It’s a shame that this film wasn’t included in the awards circuit, especially for Peele’s screenplay and Nyongo’o’s spectacular performance.

Thanks to his genius and contribution, Peele has helped horror become the best genre to explore topical issues. He is clearly inspired and admires horror films but isn’t afraid to reject the stereotypes and add his own voice to the mix. It’s incredible to think how much Peele has achieved in the space of a few years and only serves for further excitement as to what projects he works on next, including as screenwriter and producer for the upcoming Candyman.

What do you think of Jordan Peele’s films? Let me know in the comments below!

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Sorry to Bother You (2018)

Another film that I have been meaning to see since its release, Sorry to Bother You is a brilliant study of capitalism in modern day America. Written and directed by Boots Riley in a fantastic debut, we follow Cassius “Cash” Green (Lakeith Stanfield) as he starts a career in RegalView, a telemarketing centre and his rise to the top after using his “white voice” to appeal to white middle-class America. His friends at RegalView, Squeeze (Steven Yeun) and Salvador (Jermaine Fowler) start a union to get basic benefits as the workers only receive commission. Cash quickly becomes a “Power Caller” and is taken to the top floor where he is tasked with selling slave labour on behalf of corrupt company, WorryFree, to large corporations around the world. In a society where money talks, we see Cash’s struggle intensify as he has to choose between security and his relationship with his girlfriend, Detroit (Tessa Thompson). The film flits between genres flawlessly, drifting from comedy to drama to science-fiction in a matter of seconds. It’s refusal to slot into a specific box and the ability to feel relevant shows Riley’s talent for screenwriting. There is so much going on in this film that adds layers and layers of subtext and it’s a testament to the racist and classist struggle that underlies modern society.

First thing to discuss is the direction and script. Despite the film being his directorial debut, Riley brings a film that looks as though he has done this for years. His vision is crystal clear right down to the colours of the doors. The film opens on Cash’s interview at RegalView as he attempts to blag his way to the entry job. He unsuccessful carries out a flamboyant lie which sees him take a huge trophy and employee of the month frame that he had made to make himself seem more impressive. From the get go, Riley establishes Cash as someone who is willing to do what it takes to achieve the American Dream. The capitalist aspect of this film is at the forefront but there are the racist undertones which are made more explicit as Cash finds himself among a rich, white society. Even at the point when he has achieved more than his colleagues on the bottom and top floors, he is still viewed as an outsider.

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This brings me onto the cast who all do a brilliant job, particularly Stanfield and Thompson. The chemistry they have is so natural and the audience feels the intensity when the relationship becomes strained. Cash’s conflict with identity and finding a purpose is one that resonates with a lot of people. He doesn’t fit in with any particular group of people and any stereotypes that society has of black people don’t fit at all. Detroit is an artist who is certain of her identity and has a clear view of the world. There is a literal divide for the characters as the morally sound people populate the bottom floor and live for pennies and the corrupt group working upstairs live extremely privileged lifestyles. We see in a matter of seconds Cash’s life shift as the material items are replaced more luxurious goods such as his car. The film’s dynamic editing is quickfire and snappy to portray the large scale changes that money can make. These material items and the apartment Cash buys detaches him further and further away from his friends. He soon begins to use his “white voice” without realising as his work persona starts to take over and change his personality. 

The point of view in the film is fairly radical in its ideas and the issues it raises are important. We see a Leftist group attempt to fight a large corporation who deal with trading weaponry and slave labour to other countries. Modern society looks at the history of slavery with disgust and yet those at the top are competing to have a slice of the pie when WorryFree’s plan for slave labour piques the interest of the powerful due to low cost and high productivity. Riley is quick to remind the audiences that the problems society had in the past haven’t truly gone away and that it merely embarks a different and more modern disguise. The idea of the call centre and sticking to the script literally brainwashes its employees and forces them to conform to an ideal that fits a white middle-class America. The Leftist group are made to look wild and are even mocked when they throw cans at the staff who try to enter the building with one particular can hitting Cash and giving him a huge cut on his head throughout the film. The wound becomes symbolic of his betrayal to the cause and the physical and metaphorical damage that has been caused by his willingness to partake in the selling of slave labour.

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Overall, this is a very strong film with a clear point of view that is important and relevant. It’s a shame that this didn’t get a wider release as I think this is a film that explores difficult themes in a unique way that pushes boundaries in a similar way that Get Out did.

What did you think of Sorry to Bother You? I’m assuming it’s positive because the film is bloody incredible! Let me know in the comments below!