Kid Cudi, Ashley Levinson, Aaron L. Gilbert, Michael Schaefer, Sam Levinson, Samantha McMillen, Kevin Turen, Zendaya
Writer/director Sam Levinson joins together with Zendaya and John David Washington for a heart-wrenching love drama. When secrets about personal relationships begin to happen, the depth of their love is put in the spotlight.
Malcolm is in a good mood today. “James Brown” is playing at the beautiful Malibu home that the production firm has supplied. Critics who put political and racial context into art dishonestly and haphazardly are also on his list of complaints. As for the rest, he’s not completely incorrect, but there’s aggressiveness in his tone and skulking about the kitchen that shows mainly insecurity, and that’s the way Levinson wants us to interpret it too. I’m not an elitist. I am a filmmaker, ” he adds as if being an artist exempts him from criticism as Marie fumes and moans. She’s been in this situation before. “Apolitical” filmmaker William Wyler is creating a movie on Angela Davis, and she doesn’t even know who he is. Marie explains why she is upset: Malcolm didn’t thank her for her help in this matter. “It’s not as if she didn’t exist,” he said. “It’s as if she didn’t exist.”
In its opening 25 minutes, “Malcolm & Marie” stands on its own. Zendaya and Washington inject a little of history between the lines. I was completely on board with the idea. But I’m not sure we’ll discover anything new in the next 80 minutes. In addition to the excellent performances by Zendaya, Levinson allows the picture to lose its focus and pace, and as a result, loses the audience’s attention. Suddenly, it begins to sound more and more like the voice of a writer rather than the voices of two actual people.
Sometimes Levinson and his actors raise fascinating issues, like how we utilize other people, particularly when it comes to male artists exploiting women they knew. As part of his attempt to harm Marie, Malcolm reveals all of the other individuals who have been incorporated into the heroine of his film. However, it illustrates how Malcolm is a man who takes more from women than he gives them. Most of Levinson’s writing revolves around the same drains. Intentionally, are these conflicts being reenacted? Perhaps. Even though couples are frequently forced to repeat themselves, this does not always make for a compelling storyline. Levinson lacks rhythm, which is the biggest problem. All of these speeches are not battles but rather monologues. There is a distinction between the two. As a result, the film has a scripted air to it, and its structure contributes. Malcolm’s criticisms start to seem just as insecurely constructed as the rest of the speech.
Why watch a marriage that is in disarray? Levinson’s usual director of photography Marcell Rév maintains the 35mm black & white aesthetic of the picture appealing, while Julius C. Perez IV edits the film with fluidity. Washington is at his finest when Malcolm is allowed to be genuinely nasty, a guy who takes out his anxieties on everyone around him. Although it’s mostly Zendaya who’s in the movie, the actress shows once again how much depth she can bring to whatever role she plays. It’s frequently the quietest times on “Euphoria” when she’s at her most vulnerable, trying to figure out whether she’s about to lose her relationship or if it’s just another terrible argument.
“Malcolm & Marie” is a two-hander, and some people would argue that it would have functioned better on a stage. In my opinion, this is not the problem. It has a cinematic sense to it, which I believe Levinson and his crew achieved. In the end, they couldn’t figure out how to make it feel authentic.
Observing someone else’s relationship breakdown in tedious and repeated detail is tiresome and stressful. This movie is hardly the perfect movie for a date night, in case you were wondering.