Malcolm & Marie (2021)

Director: Sam Levinson
Stars: Zendaya, John David Washington
Runtime: 106 minutes

Synopsis: A director and his girlfriend's relationship is tested after they return home from his movie premiere and await critics' responses.

Verdict: I know that at least a few of you are thinking about it so I’ll address it immediately: I promise you that my not-so-secret admiration with Zendaya won’t get in the way of providing you with my honest and unbiased thoughts about this movie.

 With that out of the way, I’d be lying if I said that I wasn’t at the very least intrigued to see what another collaboration with Sam Levinson (creator of “Euphoria”) would look like. The only worry I had about it was the fact that it was entirely developed and shot in the midst of the global pandemic, a trait that hasn’t proven itself just yet with failed attempts that include “Host”, “Locked Down”, or “Songbird”.

But I’m glad to report that “Malcolm & Marie” is by far the best inclusion in that otherwise unimpressive list. Driven by an electrifying on-screen chemistry and career-best performances by both Zendaya and John David Washington, the film is a directorial tour-de-force from Levinson, who shows a more mature artistic side of his that I very much enjoyed. Shot in black and white and taking place entirely in one location, his creative input resulted in a dynamic atmosphere that never took a dull turn despite the very limited setting.

About a night of celebration that quickly turns into an evening of intense hostilities, the movie ambitiously projects the toxicity, hypocrisy, and self-centrism of the film industry through that couple. And while it works in many ways at providing insights into the Hollywood of today, it did also feel too heavy for its own good. I couldn’t help but be reminded of the final act of “Before Midnight”, which led me to the conclusion that the film did feel like a very long final act that is more interested in starting a conversation than being a well-organized project with any hint of subtlety.

But, in my opinion, it absolutely succeeds in doing exactly that, and I was very much fascinated by what it had to say about a number of things, the most notable one being the separation of art and identity. Don’t go in expecting something on the level of “Who’s Afraid of Virginia Woolf?”, but I'd say that it’s an overall well-made flick that wastes no time to get to the point, even if that ultimately hurts it.

FINAL GRADE: 7/10