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6

richardradJan 6, 2019

"If Beale Street Could Talk” grabs you by the throat and never lets go. And that's a problem. The film is about 30 minutes too long. The music, which could have been terrific, was surprisingly pedestrian. That said, the acting is first-rate"If Beale Street Could Talk” grabs you by the throat and never lets go. And that's a problem. The film is about 30 minutes too long. The music, which could have been terrific, was surprisingly pedestrian. That said, the acting is first-rate and story is deeply compelling. A young African-American man is convicted of a crime he didn't commit in Harlem, New York during the 70s, while his pregnant fiancee and her mother fight fiercely to prove that he didn't do it. Sadly, there is no nuance here. We are commanded by the director to be outraged, and we are. But where is the dance of life and the mystery of what brings two souls together in such a passionate embrace. I want to read James Baldwin's novel. I'll bet it's a lot better than the movie.… Expand

2 of 2 users found this helpful20

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5

TheWayfarer73Mar 11, 2019

This movie started so powerfully and I couldn't help myself from wanting more of it, but by the 2nd act I didn't care about the characters anymore. Visually looked great but the 2nd and 3rd acts left much to be desired.

1 of 1 users found this helpful10

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9

MarkHReviewsJan 6, 2019

From the first scene, “If Beale Street Could Talk” grabs you by the throat and never lets go. Writer/Director Barry Jenkins (writer/director of “Moonlight” which won Best Picture Oscar in 2016) has again written a script with universalFrom the first scene, “If Beale Street Could Talk” grabs you by the throat and never lets go. Writer/Director Barry Jenkins (writer/director of “Moonlight” which won Best Picture Oscar in 2016) has again written a script with universal appeal. Composer Nicholas Britell’s powerful underscoring strengthens and heightens the viewer’s sense of anxiety and impending cataclysm. James Laxton’s cinematography, particularly with its use of extreme close-ups, serves up a series of visual images that dare the viewer to flinch and look away, creating a film that is literally “in your face.” Voiceovers that quote directly from James Baldwin’s 1974 book by the same name serve the dual purposes of accelerating the arc of the story while also demonstrating Baldwin’s near-poetic eloquence. This is a film as mesmerizing as it is upsetting.

“Beale Street” is filled with heart, courage, remorse and simmering indignation. James Baldwin once said, “To be a Negro in this country and to be relatively conscious is to be in a rage almost all the time.” The story of Fonny and Tish is, or should be, a source of genuine rage for anyone with a conscience, regardless of race. Childhood friends and eventual sweethearts, Fonny and Tish grow up together, fall in love and eventually begin to build a life together. Just as Tish discovers she is pregnant, Fonny is falsely accused of rape and jailed. The balance of the film chronicles the efforts of Tish, her family and others to secure his release. The film’s final scene, in its ambiguity, is more powerful and more devastating than the artificially crafted “drama” we see so often before the closing credits roll. The messages in this film are consistently hard-earned.

There are a few minor false notes. Fonny’s intensely religious, “holy roller” mother is condescending, overly dramatic and entirely unappealing. In fairness, though, this portrayal may simply be furthering Baldwin’s critique that Christianity is often used to discourage blacks from rising up against injustice by encouraging a focus on the rewards of the afterlife.

The cast here is simply spectacular. As Tish, KiKi Layne delivers a breakout performance. Tish is vulnerable, strong, resilient, totally authentic. Stephan James (nominated for a Golden Globe for Best Actor for Amazon Prime’s “Homecoming” this year) is equally compelling as Fonny, conveying with conviction his courage, strength, sensitivity, doubt and dignity in the face of inhumanity. Regina King (with roles ranging from1991’s “Boyz in the Hood” to this year’s “Seven Seconds”) is an archetype of the wise, powerful, strong woman.

At no point does Jenkins’ screenplay vilify whites indiscriminately. In fact, most of the white characters in the film are portrayed as earnestly sympathetic. Jenkins, through Baldwin’s source material, has a much bigger point to make: that American society, despite the good intentions of many, has utterly failed to offer liberty or justice for all. It’s an accusation that is jarring and painful, but ultimately impossible to refute. This bleak outlook is softened, however, by the suggestion that even if love doesn’t conquer all, it can allow life’s unfairness to become a shared burden.… Expand

2 of 3 users found this helpful21

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3

clifbarJan 11, 2019

At the end of the movie, I realized why there were only 12 of us in the movie theatre on a Friday evening in a largely Afro-American neighborhood. Apparently word got out about this depressing movie with two dimensional characters and aAt the end of the movie, I realized why there were only 12 of us in the movie theatre on a Friday evening in a largely Afro-American neighborhood. Apparently word got out about this depressing movie with two dimensional characters and a shallow plot. I was relieved when the movie was finally over.… Expand

3 of 5 users found this helpful32

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7

TVJerryJan 8, 2019

This story is taken from the James Baldwin novel, which revolves around the dedicated, intense love between a young woman (Kiki Layne) and her fiancé (Stephan James). Their idyllic time is challenged when he's unjustly imprisoned and she mustThis story is taken from the James Baldwin novel, which revolves around the dedicated, intense love between a young woman (Kiki Layne) and her fiancé (Stephan James). Their idyllic time is challenged when he's unjustly imprisoned and she must maintain their relationship, while preparing to have their baby. Director Barry Jenkins has infused the film with moments of poetic beauty and touching affection (between the couple and with her family). As lovely as this is, almost every scene revels in its lyric artistry too long, which makes the drama harder to endure. Still, with affecting performances and creative direction, this is a challenging art film with a strong social message.… Expand

1 of 2 users found this helpful11

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8

Brent_MarchantDec 29, 2018

Director Barry Jenkins's followup to his Oscar-winning masterpiece "Moonlight" comes close to matching its predecessor in many respects, though it doesn't quite equal its forerunner. With fine performances, beautiful cinematography, genuinelyDirector Barry Jenkins's followup to his Oscar-winning masterpiece "Moonlight" comes close to matching its predecessor in many respects, though it doesn't quite equal its forerunner. With fine performances, beautiful cinematography, genuinely evocative emotion and a skillfully crafted ambiance, "If Beale Street Could Talk" effectively draws viewers into a world characterized by heartfelt love and ugly injustice. However, despite these many attributes, the film is somewhat bogged down by excessively lingering imagery and protracted dialogue that both go on a little too long, needlessly slowing the narrative's pace. What's more, in an attempt to avoid being too heavy-handed, the director at times uses a little too much restraint in his storytelling, keeping the picture from having an impact as strong as it might have been. In all, a fine effort in many regards, though one that I wish could have been a little better. But, considering what it had to live up to, that would have been a tall order for any filmmaker.… Expand

1 of 2 users found this helpful11

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10

alejandro970Jan 31, 2019

A compelling love letter from the homeland of Jazz. A love story above justice, walls and bars. Remarkable performances and endearing OST. The unanswered finale is a good detail in some way. A must to see.

1 of 2 users found this helpful11

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2

Time4MoviesJan 15, 2019

save your money,drawn out and very hypocritical, Good start but 15 min in started to drag out storyline in my opinion. Double standards on language used.

4 of 10 users found this helpful46

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9

GreatMartinJan 11, 2019

Start off a movie with a strong love story with two new young stars, KiKi Layne as 19-year-old Tish and Stephan James as 22-year-old Alonzo 'Fonny' Hunt who share strong on-screen chemistry, and you have got me! Add an interesting, oft-toldStart off a movie with a strong love story with two new young stars, KiKi Layne as 19-year-old Tish and Stephan James as 22-year-old Alonzo 'Fonny' Hunt who share strong on-screen chemistry, and you have got me! Add an interesting, oft-told but never a boring story that is as true today as when it was written about in 1974 by the brilliant writer James Baldwin. Top it off with Nina Simone on the soundtrack there is no turning back.

After winning an Oscar for writing, and directing, the award-winning "Moonlight" Barry Jenkins returns with "If Beale Street Could Talk", a story of a Black boy wrongfully accused of rape who, after being jailed, finds out the girl he loves is pregnant. From that point on we are steered into different angles but the love between Tish and Fonny is always strong even, when not thinking, he says something to her that is cruel and wrong. They hadn't married yet not because he didn't want to but her parents and sister, along with his father, strongly support the couple and, without hesitation, offer their help with the new baby. Colman Domingo as her father, Teyonah Parris as her sister and Michael Beach as his father are very strong on screen, especially with the ways the older sister shows Tish her love. Domingo and Beach have a mesmerizing scene in a bar where they discuss what Black fathers have to do to help their children.

On the evening when she tells her family that she is pregnant her father calls Fonny's family to come over and that is when we meet his father, mother and 2 sisters. Aunjanue Ellis, playing the mother, is an overzealous Christian with 2 daughters, Ebony Obsidian and Dominique Thorne, who are not only taking after their mother but get their comeuppance from Tish's sister. There is also a very unexpected moment in the scene that made most of the audience gasp.

Regina King is very strong as the mother who knows the woman, Emily Rios, who pointed the finger, via the racist cop, Ed Skrein, was put up to it and faces up to her. There is a scene just before the two women face each other where King, alone, spends time looking in a mirror putting and taking off a wig that is very intense but runs just a bit too long, not that it isn't interesting just delaying the story.

There is a scene between Fonny and his old buddy Daniel, played by Brian Tyree Henry, where the latter talks about being arrested and having the 'choice' of admitting to stealing a car, though he doesn't know how to drive or carrying marijuana with the latter being a lighter sentence which is the one he chooses. Unfortunately Henry speaks too softly to be completely understood though what he has to say is very important.

Barry Jenkins does an excellent job bringing Baldwin's writing to the screen but makes a few mistakes consisting of running 3-4 scenes too long slowing the film down, not following up on 2 points made earlier in the film and jumping back and forth in time though it can be followed if one watches closely regarding the love between the leads and her figure! He, also, has added an excellent score to the movie.

I don't particularly like sex on screen but leading up to Tish losing her virginity and the actual act is one of the most lyrical love scenes ever seen on film and while the director is responsible for placing the camera it is the faces and the way they hold, use their bodies, of KiKi Layne and Stephan James that raise their love to a higher level.

"If Beale Street Could Talk" is an excellent film just short of being a classic strictly due to the director's missteps but Jenkins takes credit for all that is right about the film. It is the best genre film I have seen since "The Hate U Give" and Kiki Layne's film debut is as impressive as Amandla Stenberg was in that film.… Expand

1 of 3 users found this helpful12

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7

TrevorsViewJan 3, 2019

Okay, here is my first review of 2019, which I will discuss while sharing with you what 2018 meant for me. Much like Barry Jenkins’ latest work, it turned out very similar to my own year of personal issues. In fact, movies took up the yearOkay, here is my first review of 2019, which I will discuss while sharing with you what 2018 meant for me. Much like Barry Jenkins’ latest work, it turned out very similar to my own year of personal issues. In fact, movies took up the year and went on to influence other personal relationships of mine. It was an awry balance between happiness beside the mandatory events that brought my spirits down and seeing the two merge. This balance gets captured in If Beale Street Could Talk as it shows a young woman’s judgment tested.

Not that its depiction of the judgment hits all the marks though, as this still lacks the strength of the parents’ involvement in the core plot. They each develop too weak a redemptive arc while their nineteen-year-old daughter carries a new baby, and her twenty-two-year-old boyfriend goes behind bars. Mom and Dad’s impact would have turned stronger without the voiceover narration, which right now sounds straight from a novel.

The characters themselves don’t make the dialogue that much better though, as some say discomforting phrases like, “The White man has got to be the devil,” which could shut off a few viewers. It’s a consequence of Jenkins’ anti-marriage script that does not focus enough time between the main protagonist, Tish, and her relatives, something important for the story to take on its full intended purpose. Yet it ironically helps strengthen the bond between Tish and her other half, Alonzo, or as she only refers to him as, “Fonny,” a name that dates to their childhood.

The weak details, including some distractingly bad Italian accents, strangely enough help preserve the strong little details. For this movie, it is a record player Fonny turns on as relaxing sex music. These slow moments of high tension keep up thanks to the killer performances of the whole cast that help turn on painful feels that want to set off the happy thoughts. Thus, the incredibly average screenplay can be ignored.

In fact, the theme keeps up in such subtle queues from the very first frame to the last; Tish and Fonny start off wearing coordinated morning glory flower outfits, then the motif of colors keeps up until the impactful finale when those colors take on a gloomier aura. Of some bad emotions felt, Fonny projects vocally how his dark skin makes him hate living in America.

Therefore, Barry Jenkins properly decides to implement monochrome photographs of the past national pain. With the expert editing, we can forget the fun high-speed 1990s thrillers, for the somber tone conveys how these people always remain deeply hurt behind a smile; Fonny’s face, behind glass, dissolves into a building of architecture resembling prison bars. In the conversations Tish and Fonny share on either side of this glass barrier, their faces almost resemble mugshots of close friends. These are just some of the bad memories provoked that seem to lift the good memories higher. By then, a mere record player takes on greater meaning, right?

Every actor should be praised above all else for their ability to put a lump in your throat with their roller coaster emotional changes through laughing, then crying. That particularly goes to the mom, played flawlessly by Regina King (American Crime, Seven Seconds), whose transparent fear from new tasks mirrors back doubt when trying on a wig before she leaves America. It’s equally wonderful to see the bright, smiley cast work together in Tish’s perfume shop job, as troublesome as she describes it being.

2018 gave me great sources of positivity, even when my cinema watching strangely decreased by December due to other commitments. Optimism always continued during not-fun things; for me, it was putting marmalade in my post-workout drink to sustain high spirits despite other roommate problems. Yes, stuff always went on throughout the year even when it didn’t feel that way; I drove my first rental car from Phoenix to Tucson then back again, appeared on TV three different times, cooked a lot, went to my first live magic show, got two different job promotions, all evidence for myself how film shouldn’t serve a sole source of joy in life.

That’s 2018: a year that came out good mostly for me, even when the negatives were still critical to understand. With that, this magical end of the year always triumphs in bringing out our most reflective selves, much like the impact If Beale Street Could Talk will do to you.… Expand

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9

LamontRaymondDec 14, 2018

There's so much to like about this film, and I must mention Colman Domingo, who is absolutely fantastic and needs to be in more feature films. The two young leads are also amazing. The only fault I must mention is that certain scenes towardThere's so much to like about this film, and I must mention Colman Domingo, who is absolutely fantastic and needs to be in more feature films. The two young leads are also amazing. The only fault I must mention is that certain scenes toward the middle of the film ran a bit long. I felt that it dragged a bit. Otherwise, a special film. All-star cast from top to bottom.… Expand

0 of 2 users found this helpful02

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7

tropicAcesDec 20, 2018

Much like “Moonlight”, this features a hypnotic score and beautiful cinematography, not to mention a great supporting turn from a long-under-appreciated actor (Regina King, who is a queen). However just like “Moonlight” the plot leaves one toMuch like “Moonlight”, this features a hypnotic score and beautiful cinematography, not to mention a great supporting turn from a long-under-appreciated actor (Regina King, who is a queen). However just like “Moonlight” the plot leaves one to desire more, and there is never that “gut punch” moment to bring it all home.… Expand

0 of 1 users found this helpful01

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10

DodoeggDec 16, 2018

Pretty much perfect everything, particularly in the writing of character relationships. Barry Jenkins does great stuff again.

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5

Rebecca31Feb 24, 2019

Set in 1970s Harlem, a love story between Tish Rivers (KiKi Layne) and Alonzo Hunt aka Fonny (Stephen James). Their lives are torn apart when Fonny is arrested for a crime he did not commit. Soon after Fonny's arrest 19-year-old TishSet in 1970s Harlem, a love story between Tish Rivers (KiKi Layne) and Alonzo Hunt aka Fonny (Stephen James). Their lives are torn apart when Fonny is arrested for a crime he did not commit. Soon after Fonny's arrest 19-year-old Tish discovers she is pregnant with his child. With the help of their families they now must do everything in their power to prove Fonny's innocence.

Director Barry Jenkins creates another powerfully emotional story, it's just if we're comparing films here Moonlight is without a doubt far superior. Sometimes a film's plot moves so painfully slow when it's time to make a statement it's too late because the audience has already fallen asleep. No I didn't love If Beale Street Could Talk, the story moved much too slow for me and I found myself losing interest. The score by Nicholas Britell is just as spectacular as the Moonlight soundtrack. A gorgeous soundtrack that I'm still listening to and if it doesn't win the Oscar for Best Original Score I'll be very surprised. But even with the score, the cinematography and the acting everything seemed unnecessarily dragged out. I didn't feel every scene needed to linger so long, it lost its effect and eventually the whole film felt like it was moving in slow motion. Let me be clear that this film isn't for everyone, if you like the look of the trailer then it's recommended.… Expand

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7

JLuis_001Feb 18, 2019

I liked it a lot and Barry Jenkins deserves a lot of recognition because he managed to do a very good job considering that he had to follow up what he achieved with Moonlight and that's not easy.

The only problems and reasons why I don'tI liked it a lot and Barry Jenkins deserves a lot of recognition because he managed to do a very good job considering that he had to follow up what he achieved with Moonlight and that's not easy.

The only problems and reasons why I don't give it more stars is because I didn't like the narrative rhythm and this is due to the second problem and that is that the performances feel too controlled and to some extent overreacted and that didn't really felt quite right.
But beyond that, it remains a solid option.… Expand

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3

didntloveitFeb 16, 2019

This review contains spoilers, click expand to view. Another horror movie from Barry Jenkins. Just like Moonlight, the world it depicts has a claustrophobic feeling. Nearly every shot is a close up and it seems Jenkins does not believe in establishing shots. I found myself angry at the film maker while watching the movie because the characters, actors, story, and costumes were wonderful. However, undercutting all of that was music that was too loud and often conveyed a sense of foreboding and the moments of brightness were overwhelmed by bleakness. The movie is fairly slow-paced and so during the scenes when time slows down even more were just excruciating for me, as they only ratcheted up my fears of something tragic happening. From the beginning I was trying to figure out what the timescale of the this movie would be and I really stopped wondering until the scene in the jail when Fonny's face has cuts all over it. But this point, I thought that the film must be ending soon and I was sure that he was going to commit suicide, or that the baby would die, or that the father's would go to jail or be killed because they were selling stolen merchandise to make money to pay for Fonny's defense efforts. I find Jenkins filmmaking style to be very alienating.… Expand

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4

netflicJan 7, 2019

This movie was supposed to be about love. But it is mostly about racism.
And it is a very racist movie. I was hoping it would be an intelligent and nuanced film similar to "Moonlight". What a disappointment! It has nice cinematography, prettyThis movie was supposed to be about love. But it is mostly about racism.
And it is a very racist movie. I was hoping it would be an intelligent and nuanced film similar to "Moonlight". What a disappointment! It has nice cinematography, pretty faces, mundane script and lots of stale stereotypes.… Expand