One Night in Miami ...

One Night in Miami ...

2020, R, 110 min. Directed by Regina King. Starring Kingsley Ben-Adir, Eli Goree, Aldis Hodge, Leslie Odom Jr., Joaquina Kalukango, Nicolette Robinson, Beau Bridges.

REVIEWED By Selome Hailu, Fri., Jan. 8, 2021

One Night in Miami begins with a jaunty plunking of the piano under a series of cartoonish jeers and jokes from Muhammad Ali (Goree), then still called Cassius Clay. He hops through the boxing ring, confident of a win he hasn’t yet clinched, before a punch to the face lands him flat on his rear, wide-eyed and defeated.

This is the start of director Regina King’s unique approach to fictionalizing slices of the 1960s Black Power movement. Focused on a historic hotel room meeting between Ali, Malcolm X, the King of Soul Sam Cooke (Odom Jr.), and Pro Football Hall of Famer Jim Brown (Hodge), One Night in Miami opens with a mix of high stakes and wisecracking humor, introducing each character’s personal struggles with the gravitas you’d expect. But the larger-than-life dramatics fall away as the four men draw closer together, making room for images a little more human.

As Malcolm X, Ben-Adir is perhaps the film’s greatest strength. He reveals the quiet fear that must have been necessary to sustain Malcolm’s hallmark militance, and crafts masterful friction between his revolutionary public persona and the tenderness he tries to offer his friends. Tension explodes between Malcom and Sam especially, which sets up a careful structure for the rest of the film. In a natural sequence, the characters pair off in different combinations for private conversations. These moments, marked by sheepish confessions and washed in warm yellows and oranges, are where One Night in Miami achieves its major goals. Though Malcolm, Sam, Cassius, and Jim are all devoted to collective Black liberation in different ways, the movement demands a lot from a person. In private, they express the subjectivity that no one else has afforded them, making tangible meaning of the kind of “brotherhood” that Malcom X spoke of just days before his assassination.

One Night in Miami offers humility and vulnerability to four men that history has rendered as giants. In the film’s heartrending final moments, Odom Jr. gives a career-defining performance of Cooke’s 1964 classic “A Change is Gonna Come.” And you believe him – it’s clear that each man will go on to move mountains in this country. But the warmth of the film’s gaze has managed to take the political and make it all personal. It’s hard not to feel just as affected by the way these men have moved each other.

Showtimes

Cinemark 20 and XD

N. I-35 & FM 1825, 512/989-8535

Cost for 3-D and XD shows is regular ticket price plus a premium.

Tue., Jan. 19

digital 4:00, 6:50

Wed., Jan. 20

digital 4:00, 6:50

A note to readers: Bold and uncensored, The Austin Chronicle has been Austin’s independent news source for almost 40 years, expressing the community’s political and environmental concerns and supporting its active cultural scene. Now more than ever, we need your support to continue supplying Austin with independent, free press. If real news is important to you, please consider making a donation of $5, $10 or whatever you can afford, to help keep our journalism on stands.

Support the Chronicle  

READ MORE
More by Selome Hailu
Rock Camp: The Movie
Music fans seek glam without the grit and grind as they play with stadium-fillers

Jan. 15, 2021

Sister of the Groom
Stilted rom-com is clueless about what to do with its star

Dec. 18, 2020

KEYWORDS FOR THIS FILM

One Night in Miami ..., Regina King, Kingsley Ben-Adir, Eli Goree, Aldis Hodge, Leslie Odom Jr., Joaquina Kalukango, Nicolette Robinson, Beau Bridges

MORE IN THE ARCHIVES
NEWSLETTERS
One click gets you all the newsletters listed below

Breaking news, arts coverage, and daily events

Can't keep up with happenings around town? We can help.

Austin's queerest news and events

New recipes and food news delivered Mondays

All questions answered (satisfaction not guaranteed)

Information is power. Support the free press, so we can support Austin.   Support the Chronicle