You can’t always put your finger on it but some films just kind of stick with you. Whether it be the messaging or the emotion, or maybe just the overall feeling, some movies leave residual energy. Queen & Slim is one of those films and, while it may not be what the trailers advertised, it exists as a uniquely intimate and resonant modern love story.
The story comes courtesy of Emmy Award-winning writer Lena Waithe (Master of None) and James Frey. If that name sound familiar, yes it’s the same Frey whose career and reputation was tarnished after he famously went on Oprah and confessed his “memoirs” were fictitious. In spite of that, this story was well conceived even if it wasn’t what I was expecting. The trailers certainly haven’t shied away from showing the catalyst for the plot so I can safely say I’m not spoiling anything; after their first date, a couple ends up on the run when a routine (yet highly prejudicial) traffic stop leaves one of them wounded and a police officer dead. As a manhunt gets underway, the dash-cam footage goes viral and the pair becomes a symbol of a nationwide struggle. While the premise is grounded in an all-too-familiar reality, the narrative really centers around their time on the run together and how it shapes their relationship. Along the way, the socio-political narrative context is seen and felt by those they meet. This isn’t a nail-biting thriller that has you on the edge of your seat the whole way nor is it a scathing piece of social commentary, although it could have been crafted either way. It’s a great love story and Waithe crafted a screenplay that really showcases the importance of intimacy when it comes to building romance. It’s definitely a slow burn that makes you invest in the characters but the meticulous approach builds a powerful relationship while you’re waiting around to see the resolution. Sometimes it’s about the journey, not the destination.
This is director two-time Grammy winner Melina Matsoukas’ first full-length feature film and she took on a very ambitious script. Her substantial experience directing music videos for some of the biggest names in the industry was on full display with undeniable style and the integration of the soundtrack played a large role in carving out the identity for the film. Her lack of experience with features was evident in moments where the film lost momentum during the second half but she took some risks that others may have steered clear of and that’s a good thing even if it wasn’t a home run. Matsoukas’ decision to venture into the unexpected created a very unique fingerprint and conveyed ideas that put this movie at the forefront of my mind the following day. It hits pretty hard on the back end but at least you kind of expect it which softens the blow.
While he may not be appearing in all the leading man roles that you’d expect following the overwhelming success of Get Out, Daniel Kaluuya is a bonafide star. He’s taken sizeable supporting roles in big projects since then (Black Panther, Widows) but he’s clearly selective when it comes to leads so it says something when he signs on. Slim is the emotional compass here so it’s not an easy character to play, swarmed with guilt over his actions but fully aware of the ramifications. He is constantly torn between his self-imposed role as a protector and his emotional pull towards attachment. There is never any malice in his actions which makes him incredibly easy to cheer for and Kaluuya did a great job setting the table for his partner.
This was a tremendous opportunity in a featured role for Jodie Turner-Smith. She had some roles as a series regular (Jett, Nightflyers, The Last Ship) but this was a significant step up in competition, so to speak. The project has a lot of visibility thanks to the plot and the strategic release date over the Thanksgiving holiday and she acquitted herself well but you can tell it’s uncharted waters. Queen is a fairly reserved character at the outset, from her posture and body language to her dialogue, and she isn’t exactly the most likable either. Her standoffish character puts her and Slim at odds but leaves a lot of room for growth and it’s during that curve where Turner-Smith really gets to spread her wings.
The supporting cast isn’t particularly loaded but Chloë Sevigny and Flea from Red Hot Chili Peppers play bit parts and country music singer-songwriter Sturgill Simpson has a good turn as the racist cop who sets this whole story in motion. Well-traveled character actor Bokeem Woodbine gives a standout performance as Queen’s volatile and problematic Uncle Earl, stealing every scene he’s in. The character helps fill in the blanks with Queen’s past and Woodbine provides some much-needed energy during the middle stretch.
It’s easy to see the film was made with attention to detail and carefully crafted production design by Karen Murphy. Tat Radcliffe (White Boy Rick) brought a naturalistic approach to the cinematography, leaning heavily into the beauty of the local landscape which made for some tender moments and the costume design by Shiona Turini punctuated the character of the regions while injecting a lot of color as the story moved south.
Based on its targeted release date and powerful messaging, I’m guessing this movie had some strong awards season aspirations. It will resonate differently based on the audience as I saw people walk out of the theater while others vocalized their support throughout. It definitely stuck with me longer than I expected and lingered well into the following day. While it is certainly a good film worth seeing, I think it comes up shy in most of the key areas that would put it in contention for the year-end awards season.
Recommendation: See it for the performances, the message, and the tone then make your own decisions about it.