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i have this ranked on by top 25 of 2020 list and you could argue its inclusion there, if only because it hit most screens in january on prime video. however, it did have a limited theatrical start on christmas day so i decided to count it for 2020. it's certainly tough to argue that regina king's film adaptation of the kemp powers stage play doesn't belong on a best of 2020 list for any other reason. powers adapted his own work for the screen, documenting a fictional meeting of malcolm x, cassius clay, jim brown, and sam cooke in a hotel room after clay beat sonny liston in 1964 and before he became muhammad ali. powers' deft script takes a look at those men, four of the most prominent names among black luminaries in the early 60s, and bounces them off each other to explore the complex and shifting power dynamics of racial activism both in that era and now. because the truth is that there's a lot that hasn't changed and powers' script lays that bare, mostly in the conflict between malcolm (kingsley ben-adir) and cooke (leslie odom jr.), two enormously talented actors who are giving their all in these roles. ben-adir channels malcolm's charisma and fire in smoothly shifting ebbs and waves, with odom matching him inflection for inflection. it's a battle between two heavyweight performers and two characters more thrilling than the actual fight the night is set after.
ben-adir and odom may be the undeniable stars of this piece, but credit goes to eli goree and aldis hodge too, who play clay and brown's personas well. goree affects clay's famous demeanor well, but he also gets to the man underneath and there are moments of real vulnerability there. hodge, meanwhile, is more of the elder statesman among the four and has a weary sense to him, with resentment for how he is treated roiling just underneath. king takes these four fantastic performances and makes sure to capture them in just the right perspectives. it's a talky film to be sure, and feels every bit the stage play adaptation that it is. but it never feels dull and never feels like it's limited the way some stage adaptations can be. one night in miami may mostly consist of four guys in a hotel room, but the result is a film much bigger and finer than such a structure could possibly hold if it didn't want to be there.
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