Movie Reviews
Movie Review: The American Society of Magical Negroes – CinemaNerdz
The new film entitled The American Society of Magical Negroes is, on one level, an examination of society through the lens of the cinematic trope of the “magical negro” popularized in American culture throughout the twentieth century. On another, less serious plane, the film is a solidly entertaining romantic comedy that establishes a new filmmaker with a voice that, with a little seasoning, should have a lot to say in the not-too-distant future.
The film follows the trials and tribulations of a young man named Aren (Justice Smith) after he is recruited by a mysterious man named Roger (David Alan Grier) to join an organization called The Society of Magical Negroes. This society is dedicated to the purpose of making white people more comfortable around people of color, which is done using the “magical” powers bestowed up members of the society once they are assigned white people to assuage.
Aren is initially paired with Jason (Drew Tarver) and given the mission of setting him up with Lizzie (An-Li Bogan). Unfortunately, the universe seems to have other plans as Aren and Lizzie seem to have a connection that supersedes anything the “Society” is attempting to orchestrate (or that Jason may himself desire). From there, the film becomes a sort of cross between a romantic comedy and a more philosophical examination of racial stereotypes and how they affect everyday life whether consciously or unconsciously.
Having previously worked primarily in the television arena as a writer (Klepper [2019]) and actor (Madam Secretary [2015-2017]), Kobi Libii makes his feature directorial debut here working from his own script. While the results may not be jaw-dropping, there is a flare for getting the most out of actors in a performance at work here that portends even stronger things to come from such a young filmmaker. Although some may find the approach the film takes using the trope of the “magical negro” a bit off-putting, it serves the story well and again, at its heart, the film works best as a romantic comedy, and it is there that it succeeds best.
Justice Smith and An-Li Bogan in “The American Society of Magical Negroes.” Photo by Tobin Yelland – © 2024 Focus Features, LLC.
The players are in all the way throughout the film, and their exuberance and affinity for the material is infectious, making it hard to simply not like the characters and suffer along with them. As Aren, Smith does a fine job of trying to make sense of a world that seems set on rolling against him. David Alan Grier serves the role of mentor/guide for both Aren and the audience well and brings a bit of light-hearted humor to all his scenes. As the recipient of Aren’s affections, Lizzie, An-Li Bogan pulls most of the weight in the relationship machinations between she and Aren as well as those with Jason (who is played by Tarver as the affable Caucasian he is intended to be to spur Aren along to do what is best for everyone).
While it may not be the ultimate commentary on race relations, nor may it touch on anything new regarding the subject, The American Society of Magical Negroes is a film with a solid purpose and its intentions are sound as well as earnest and that makes this a film more powerful than not.
Heat Advisory
from THU 12:00 PM EDT until THU 8:00 PM EDT, Eastern Montgomery County, Lower Bucks County, Philadelphia County, Delaware County, Eastern Chester County, Gloucester County, Northwestern Burlington County, Camden County, Mercer County, New Castle County
By and large, the zombie subgenre has bitten off more than it can chew in modern times. Between George Romero survival films and camp comedies, the well has become pretty infected. But once in a while, along comes a movie like This Is Not A Test.
Let’s sink our teeth into this new release and see how it stacks up against the classics.
The tone and tenor of this film represent the classic survival movies like Night Of The Living Dead. But the thing that grabs the audience about This Is Not A Test is the trauma of the characters. Holt shines as a withdrawn survivor of an abusive home, trying to cut through the wreckage to reunite with her sister. Each of the main characters have standout traits, and they bathe in strongly acted moments as the stress of the situation changes who they are.
The gore in This Is Not A Test is pretty strong. The attacks spring quickly and when they do, the special effects team does a good job showcasing the battle scars. The camera work is also frenetic in a good way, because the chaos of the chase scenes puts the viewers in a first-person perspective. This film lets you feel like a part of the survivors, so their journeys are interactive.
Longtime fans may say that there’s nothing new in This Is Not A Test, and maybe they’re right. There’s no fresh take on the monsters here, no crazy origin, nothing that we haven’t seen in the past fifty-eight years. But the pacing nails a great balance between getting to know the characters and getting the zombie splatter fest. The mental meltdowns of the characters feel well earned, and the arc of Sloane and her sister brings a lot of heart and investment to the story. Even the most jaded zombie horror fans will find something to appreciate here, even as a background movie.
Adam MacDonald has made another intense hit here, and This Is Not A Test is currently available to stream on Shudder.
- THE ODYSSEY
- Starring: Matt Damon, Tom Holland and Anne Hathaway
- Directed by: Christopher Nolan
- Rated: R
- Running time: 2 hrs 45 mins
- Universal
Our score: 4.5 out of 5
EPIC. If I was asked to describe Christopher Nolan’s latest film, that is the word I would use. He has mounted a film that rivals the greatest achievements of filmmakers like Cecil B. DeMille or David Lean. And, like the films of those mentioned, it’s runs a tad too long.
I was shocked, but pleased, to see that my 12-year-old granddaughter recently did a school paper on King Agamemnon. Thank goodness they’re still teaching History in our schools. Based on Homer’s “The Odyssey,” the film tells the story of King Odysseus (Damon) and his adventures which, if you’ve read “The Odyssey,” include the Trojan Horse, the Cyclops and assorted angry Greek gods. The film covers each of these adventures in great detail, sparing nothing in the production design department. While Odysseus is away – and he’s gone for a l-o-n-g time, his wife Penelope (Hathaway) has to endure a never ending string of “suitors,” men lining up in the hopes of replacing the King should he not return. The men are nothing more then scavengers, taking advantage of the law of Zeus, which decrees no one should be turned away. This angers the Queen’s son, Telemachus (Holland), who must control his temper when the men try to bait him into a fight, the idea being if Telemachus is killed, the new husband would become the King. It’s all very interesting and complicated. And long.
Director Nolan is one of the rare filmmakers who, in my opinion, has never made a bad film. From “Memento” to the “Dark Knight” trilogy to the Oscar-winning “Oppenheimer,” he has proven himself a true master of cinema. “The Odyssey” only adds to that distinguished resume’
The cast is a tribute to Nolan himself who, like Woody Allen, can pretty much get anyone he wants for his films because, as an actor, why wouldn’t you want a credit in one of his films. Besides the three stars named above, the cast includes Robert Pattinson, John Leguizamo, Zendaya, James Remar, Jon Bernthal, Oscar nominees Samantha Morton and Elliot Page as well as Oscar winners Charlize Theron and Lupita Nyongo. As MGM used to advertise, “more stars than there are in heaven.”
The script and story are pretty faithful to the source material, though for some reason it bothered me whenever Telemacus referred to Odysseus as “dad.” Never father. The weird things you notice. Visual.y the film is stunning and the Trojan Horse and battle of Troy are worth the price of admission alone. I will add that I did see the film in 70 mm and, if that format is playing in your town, I urge you to see it in that format.
On a scale of zero to five, “The Odyssey” receives ★★★★ ½
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