If Beale Street Could Talk

I want to love this film and everything about it except, just about every scene is three times longer than it needs to be.

I can't believe this was only on for two hours, I genuinely felt as if it had been on for over three, it feels incredibly long.

It's powerful story, but I felt that some of the bite of it doesn't quite cut through, because of the pacing. Every single scene feels so drawn out, I don't mean in an artistic way, I mean in terms of editing.

Regina King is tremendous, what a truly wonderful talent, truly does steal the show.

It looks amazing, and the music throughout is just incredible, I instantly had to visit many of the tracks used, this really showed what music can do in a movie.

Maybe on a different day I could have gotten into it better, I enjoyed it, just found it too slow. 6/10.

If Beale Street Could Talk's screenplay lacks enough genuine conflict to keep it as engaging as it could be.

Two years after sending shockwaves through the film world with "Moonlight," which went on to win Best Picture at the Academy Awards, Barry Jenkins is back with "If Beale Street Could Talk." Needless to say, the film is excellent and is everything one could hope a follow-up to "Moonlight" would be. The film follows a young African-American couple in Harlem before and during when the man is wrongfully accused of sexual assault. While such difficult subject matter could feel slightly tone-deaf to some in the era of #MeToo, viewers should rest assured that Jenkins handles the material with a delicate and incredibly thoughtful sense of sensitivity. Like "Moonlight," the film's aesthetic qualities feel almost lyrical in tone, which is a beautiful sight to behold. The score is also superb as well, managing to be both quietly rousing and emotionally stirring.

Jenkins' technique of characterizing the setting or settings where his films are set is put to great use here. New York City feels almost like a character in this film, as it adds a rich tapestry to the film's narrative. This sense is heightened further when paired with a meticulous sound design, where even simple and day-to-day sounds like a subway car rolling into the station enhance the viewing experience. The acting is strong and quietly powerful from beginning to end, and the amount of thoughtful character development that Jenkins deploys throughout the story's narrative is commendable. The same can be said to the film's frequent use of narration. In many other films, this could have come off as annoying, but the film uses this tactic to great ends here by primarily using it to enhance the audience's emotional connection to the characters. Such a connection further builds up the powerful nature of the film's narrative, which makes a powerful and deeply tragic statement on the nature of racism without ever resorting to feeling heavy-handed by the end. I will note that the film does take some time to get going and has a few minor redundancies in its beginning scenes. But otherwise, this film is superb and on par with "Moonlight" in quality. Baldwin's prose is not just honored in this film, but it is cherished. 9/10

The acting was great, especially Regina King. She deserves every award she is nominated for in this pic. I heard so much about this film at TIFF and I was so looking forward to seeing it, but I didn't get around to it until December. The direction and pacing were almost too deliberate, to the point of distraction, and at times the camera work left me feeling motion sick. What it comes down to, though, is the ending. It felt unfinished and I walked away from the film feeling like the story hadn't been told. Too bad, really, because it was starting to look like a beautiful, if tragic, film.