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.

BARBIE***

BARBIE is a fun light film that isn't really as profound or original as it thinks, but worth seeing for Ryan Gosling's star-turn as Ken. Greta Gerwig shows us how cine literate she is, but she tangles herself in knots trying to show us how Barbie is actually a feminist icon. Worse still, she wastes a truly heartfelt pre-ending with housewife turned Barbie inventor Ruth Handler with yet another tonally uneven shift into broad comedy.

First the good stuff. For much of its running time BARBIE is a lot of fun. It looks fun, the pop songs are great, the costumes are fabulous and it has the same kind of crass gonzo energy as ZOOLANDER.  Ryan Gosling is absolutely superb as Barbie's overlooked boyfriend Ken, really channelling that Owen Wilson-Ben Stiller vibe with his outrageous prickly vanity.  I also loved Michael Cera - long known to us a dry comedy genius - as Ken's even more overlooked sidekick. 

The problem is that these charismatic, hilarious, male characters overshadow Barbie in her own movie.  Ken's enlightenment upon leaving Barbieland for contemporary LA is that men (and horses!) rule! The path of Ken from friendzoned sidekick to champion of the patriarchy and thence to working on himself and being "Ken Enough" is genuinely fascinating and funny and at times genuinely poignant. It's something we haven't really seen addressed in contemporary film before: the reaction of men in a world that is now empowering women - or at least paying lip service to that. 

By contrast, Barbie's enlightenment that the real world is not a matriarchy is pretty hackneyed.  America Ferrera makes a superb speech in the final act of the film about how tough it is to be a woman in contemporary society - be pretty but not too threatening, be thin but not too thin, have a career but also be a great mum. The speech resonates but felt like so many speeches I had heard before. There is (sadly) nothing new here for us, even it's new to Barbie. 

I also don't feel that the film ever squares the circle of how to reconcile the "fascistic" uber prettiess of Barbie with the concept that Barbie is actually a feminist empowerment telling little girls everywhere they can be doctors and scientists and President.  What Barbie actually tells them is that society recognises and rewards an impossible standard of beauty.  The character Sasha gets it right with her epic second act takedown but Greta Gerwig (in partnership with Mattel) never has the balls or the scope to really explore that.

Last but not least, let's talk about tone, and how Greta Gerwig tries to have it all - from dayglo Barbie pink with songs by Lizzo and Dua Lipa, to ethereal mournful existential angst in the words of Billie Eilish.  I feel that is particularly jarring in the final scenes of the film where a genuinely moving scene between Margot Robbie's Barbie and Rhea Pearlman's Ruth Handler is sandwiched between Barbieland fun and a gynie joke. Pick a lane, Greta! Pick a lane.

BARBIE is rated PG-13 and has a running time of 114 minutes.

ONE NIGHT IN MIAMI... - BFI London Film Festival 2020 - Day 5

 

ONE NIGHT IN A MIAMI... is a film that is transparently an adaptation of   s stage play.  Short of a couple of boxing matches at the start, almost the entirety of the film takes place in a crappy motel bedroom, where four powerful famous black men discuss how best to advance civil rights.  As a result, debut director Regina King (Watchmen) has little opportunity to show her visual flair.  But where  she excels is in casting her four protagonists and extracting performances of real force.  

As the film opens, we think it's going to belong to Muhammad Ali, as played by Eli Goree (Riverdale). He has the physicality and the speech pattern down pat in a way that Will Smith never did, and that has me begging for a full on biopic. But back to this film, it starts with Ali defeating Henry Cooper and then Sonny Liston against the odds.  He's on the cusp of converting to Islam and rejecting his slave name. But as the film will show, Ali's mind is already made up. He has already decided to become a civil rights activist thanks to Malcolm X's tutelage. So there's no discussion to really be had, other than a rather embarrassing admission from Malcolm X that he's about to leave the Nation of Islam because of its corruption.

Neither does the film belong to NFL player and wannabe actor Jim Brown (Aldis Hodge - THE INVISIBLE MAN).  He's the least famous of the four, his mind is also basically made up to leave the NFL and pursue acting, but he also seems quietly impervious to Malcolm X's recruitment drive.

No - this film belongs to Sam Cooke and Malcolm X and the long intellectual argument they are going to have with each other about how to advance the black cause.  As played by Kingsley Ben-Adir, Malcolm X is a far more familial, kindly and quiet character than Denzel Washington's version. In fact, it comes as no surprise that he played Barack Obama in The Comey Rule.  He castigates Cooke for playing in the South and spending his life drinking and having fun on the West Coast, as if he can somehow outrun racism. But Cooke has an equally powerful argument about the end justifying the means: after all, if the Nation of Islam wants the black man to be proud and economically independent, hasn't Cooke achieved just that?  

Leslie Odom Jr. (Hamilton) OWNS this film as Cooke.  The way in which he holds in his anger at Malcolm X's condescension is just masterful, and then when he finally lets rip his argument it's powerful and impressive. But there is nothing more impressive in the film that Cooke appearing on the Johnny Carson show at the end, and giving a performance of A Change Is Gonna Come. Not only does his voice match the silky power of the real Sam Cooke, but the emotion he brings to it destroys you.  Maybe that's because while the stakes of this film couldn't be higher, we are painfully aware that two of the four protagonists aren't going to be alive more than a year later. That all this talent and justified anger and desire for change was so stupidly wasted is as crushing as realising that the change that Cooke sheds a tear for has not yet occurred, 56 years later.

ONE NIGHT IN MIAMI has a running time of 111 minutes. The film played Venice, Toronto and London 2020 and will be released on January 15th 2021.