Judas and the Black Messiah

This important drama focuses its lens on demystifying the purpose and mission statement of a group once erroneously thought of by the U.S. government as a terrorist organization. Judas and the Black Messiah makes it clear that the U.S. government labeled the Black Panthers a national threat because of their focus on racial liberation, social and economic justice, and unity: all perils to the United States' ability to control the masses through racism and capitalism. That said, Judas and the Black Messiah wants to be both a glowing Hampton biopic and a cautionary tale regarding O'Neal, which might confuse some viewers about its ultimate message. O'Neal's descent into the dark caverns of his mind would have been a more engaging -- and more challenging -- story to tell and would have capitalized on Stanfield's unique talents at portraying off-kilter, resonating characters. As it is, he does quite a lot to keep the film afloat by diving head-first into O'Neal's wavering stance on his Blackness and his position in America. One scene deftly and quickly shows how disturbed O'Neal becomes regarding his role as an informant. And O'Neal's FBI contact, Mitchell, has subtle layers thanks to Plemons' quiet but nuanced performance. The actor does a great job of showing how a White man might navigate the realization that what he's been taught about racism and who "the enemy" is could be horrifyingly incomplete.

Kaluuya, meanwhile, gives playing Hampton the old college try. But his performance tips toward impersonation, complete with an off-center stab at Hampton's unique southern/Chicagoan drawl. His take on Hampton, plus some odd acting tics (such as keeping his head to one side or standing awkwardly yet faux-seriously), makes it seem as if Kaluuya is acting for awards season, rather than the love of the person he's portraying. Fishback's talents shine through in her small role, but she's mostly wasted in yet another portrayal of the strong Black woman behind the Black male revolutionary. We should never forget that these wives and partners in the movement -- like Coretta Scott King and Betty Shabazz -- also had careers, dreams, and aspirations before meeting their significant others. They should be seen as three-dimensional individuals, not just as someone's wife. Plus, the film itself seems to be written in passive tense, making it hard for some scenes to have the weight they should. The storytelling style also makes the film seem like it's longer than it has to be. Still, despite some issues with story and portrayals, Judas and the Black Messiah can serve as a starting point for viewers who might not know anything about the Black Panthers -- as well as those who want to unlearn what they were incorrectly taught about the organization.