American Fiction (2023)

[Jake Lipson]

Title: American Fiction (2023)

Genre: Comedy, Drama

Director: Cord Jefferson

Cast: Jeffrey Wright, Tracee Ellis Ross, Erika Alexander, Issa Rae, Sterling K. Brown, Leslie Uggams, Myra Lucretia Taylor, John Ortiz, Adam Brody, Skyler Wright, John Ales, Patrick Fischler, Carmen Cusack, Joseph Marrella, Stephen Burrell, Nicole Kempskie, Ryan Richard Doyle, Kate Avallone, Dustin Tucker, Michael Jibrin, Michele Proude, David De Beck, Okieriete Onaodowan, Keith David, Miriam Shor, Raymond Anthony Thomas, Greta Quispe, J. C. MacKenzie, Elle Sciore, Justin Andrew Phillips, Neal Lerner, Jenn Harris, Bates Wilder, Jason Armani Martinez, Michael Cyril Creighton, Celeste Oliva, Megan Robinson, Christopher Barrow, Alexander Pobutsky, Tokunbo Joshua Olumide, Chhoyang Cheshatsang, Michael Malvesti

Release: 2023-11-10

Runtime: 117

Plot: Thelonious “Monk” Ellison's writing career has stalled because his work isn’t deemed “Black enough.” Monk, a writer and English professor, writes a satirical novel under a pseudonym, aiming to expose the publishing world's hypocrisies. The book’s immediate success forces him to get deeper enmeshed in his assumed identity and challenges his closely-held worldviews.

 

[Jake Lipson]

Has anyone here seen this yet? I think It looks great and intend to see it when it goes wide.

 

[Jeff Adkins]

Has anyone here seen this yet? I think It looks great and intend to see it when it goes wide.

No, but it's one I'm really looking forward to! I read somewhere that it will be wide on January 5th but there are still no tickets on sale by me.

 

[ManW_TheUncool]

I'm (tentatively) planning to see this as part of my triple-feature AMC marathon tomorrow -- probably seeing Poor Things (again) 1st in early afternoon followed by this at the Times Square AMC and then trekking upto Lincoln Square to catch Aquaman 2 in the evening in giant IMAX glory, LOL.

Was originally gonna try a variation of that back on Friday, but decided tomorrow would actually be better for me...

_Man_

 

[Jake Lipson]

I read somewhere that it will be wide on January 5th

I just saw an ad on social media that said "everywhere January 12."

 

[Rob W]

I just saw an ad on social media that said "everywhere January 12."

Expanding to additional cities on Jan 5 with a wider release Jan 12.

 

[ManW_TheUncool]

Finally saw this a couple nights ago (in another triple-feature marathon along w/ Ferrari and The Iron Claw) at the AMC near Times Square (after aborting the week before).

Absolutely loved it (almost like I loved The Holdovers... though they're not really that much alike other than being very human dramedies of sorts involving some well intentioned, elite-ish, grumpy/cynical, educator/intellectual types w/ somewhat similar, very human-and-understandable blindspots/flaws) -- and actually pretty hilarious at times (definitely more so for me than The Holdovers) despite the drama (as intended no doubt). There was one point (of literary debate) I felt perhaps a bit vaguely glossed over almost as though letting the more socially progressive side off the hook a bit, but it's mostly just a (very) minor nitpick/quibble for me... Another minor nitpick/quibble is the ending, which felt slightly clunky to me... though no idea how it coulda been better (or whether I'd definitely feel that way or more so upon repeat viewing) -- and the film itself actually sorta (self-)references and tries to play on/off that aspect as well... much as it somewhat inventively does at various earlier points too...

The cinematography (mostly the compositional choices filling the unexpectedly wide, scope frame) actually also surprisingly stood out somewhat (in a generally good way) for me more than I'd expect for such a film -- The Holdovers also had its share of positives in cinematography, but that aspect didn't really stand out as much for me, particularly beyond the opening moments.

Definitely wanna see it again (maybe next week when I likely do a midweek double-feature to see the Hong Kong film, The Goldfinger, which I originally wanted to see instead of The Iron Claw the other night, but botched my scheduling). Presumably, I should have plenty of opps to see this again since it hasn't even gone wide just yet...

_Man_

 

[Jeff Adkins]

Showtimes for this weekend were finally released today, so it should be just about everywhere by Friday.

 

[JoeStemme]

Finally opening wider.
My full take:

As Cord Jefferson's movie opens, the “N-Word” is spelled out clearly on a blackboard. The teacher, Thelonious 'Monk' Ellison (Jeffrey Wright), is immediadely called out for his provocation - his penance is being sent home to Boston until things blow over. Monk primarily wants to be known as a novelist, but his work is more admired than purchased.

In Boston, Monk is forced to confront his dysfunctional family. His sister, Lisa (Tracee Ellis Ross), is all about tough love, especially when it concerns their ailing mother, Agnes (Leslie Uggams). Their ne'er do well brother, Clifford (Sterling K. Brown), only adds his own issues to the table. Monk's agent, Arthur (a scene stealing Jon Ortiz) backhandedly goads Monk into an idea for a new book that might actually sell. Urged to be “more black”, Monk comes up with a grossly stereotypical tome about a hardened criminal told in first person. Entitled 'My Pafology', it's Monk's slam at how easy it is to pander to white mainstream readers. Of course, it becomes a publishing sensation but not before some major back and forth, including the use of a pseudonym (Stagg R. Leigh) and a whole back story of how Stagg is on the run from the law (there's also a profane title change). Issa Rae plays another author who has had much more financial success than Monk by pandering to her readership.

The book scenes are the strongest in Writer-Director Jefferson's movie (it's an adaptation of a novel by Percival Everett). There's a wit to the satire that delivers some well-earned blows at the culture. Unfortunately, the screenplay divides its time in favor of the family drama. Those scenes are well played and include a potential new girlfriend for Monk, Coraline (sprightly played by Erika Alexander) and an extended member of the Ellisons, Lorraine (Myra Lucretia), who is given a sweet subplot of her own. Still, as decently told as that part of the movie is, plays out as a standard issue dramedy. The bite of the satire is invariably lessened by its soft center. The two halves of the screenplay seem to be at odds with itself at times. The result is a film stuck in neutral. Wright is a fine actor, but the screenplay never lets him go full force. He, and the movie, holds back its fire.

As the movie progresses, the blades get duller and duller until the edges are all but missing. There isn't much of a payoff. Instead of a surgically delivered scalpel, Jefferson brings a well appointed butter knife to the table. It needed more of the sharp teeth and and fire of the opening sequences.

 

[ManW_TheUncool]

^Sounds like you wanted something (ie. more pure, sharp satire throughout and not necessarily much else) the filmmakers didn't really intend... and may possibly have missed the real, intended, underlying core/theme (and main character development/arc) of the film that was likely intended -- you certainly didn't really cover that aspect anyhow.

Of course, as I previously also noted, the film isn't perfect, and I certainly have my own albeit mostly minor enough quibbles w/ it... despite loving it on the whole...

_Man_

 

[JoeStemme]

Obviously I did want something sharper. Here is the view of someone who also read the book - and, it pretty much ends up where I did, too: https://www.latimes.com/entertainme...angs-percival-everetts-scathing-novel-erasure

 

[ManW_TheUncool]

Obviously I did want something sharper. Here is the view of someone who also read the book - and, it pretty much ends up where I did, too: https://www.latimes.com/entertainme...angs-percival-everetts-scathing-novel-erasure

Regardless of the book, this is a film that doesn't necessarily have to follow the book closely or whatever to still be good/worthwhile -- it really should stand on its own. We're not even talking about an adaptation of some major classic that many would've already read afterall.

Of course, maybe the ending coulda been better nonetheless (as I indicated earlier).

_Man_

 

[ManW_TheUncool]

To be clear, I haven't read the book at all, but it would seem that either a more faithful, relentlessly sharper/satirical film adaptation would need to be much longer (and quite likely overburdened) to still (eventually/gradually?) yield the kind of character development/arc existing in this film... or maybe the book simply doesn't have the same likable/sympathetic/empathetic arc at all, especially if it's very much dripping w/ satire through and through...

But yeah, certainly, the filmmakers chose some kinda (very empathetic and likably human) compromise that they probably actually, ultimately (wanna) believe in more than making a pure polemic... which seems very much reflected on multiple levels/layers/ways, including how the ending plays out in sorta mirroring fashion...

I would agree (again) though that there could/should probably have been some bit more precision and clarity on somethings (as I noted earlier) though I didn't feel them to be showstopping or the like -- somethings were certainly perfectly fine to leave unclear or unresolved of course, including some of the relationship details/statuses for instance...

_Man_

 

[JoeStemme]

Sure, the way Cord Jefferson approached the material is certainly valid, but, and this is a big but -- Is the dramedy aspect overwhelmingly good? Not to me. It's ok. It's fine. But, it's hardly riveting. At least by going 'all in' on the satire, it could have been something sharper, wittier and more resonant.

 

[Jake Lipson]

I saw this today and was surprised to find it merely okay. I don't really regret watching it, but I don't think it comes together very well. The satirical, over-the-top nature of the plot line about Monk's book doesn't really fit with the more straightforward family drama about him and his siblings. It feels like there are two movies in here and it doesn't really know which one it wants to be. The result is a lot of potentially interesting ideas but not much focus. It also doesn't help that most of the funniest scenes regarding the book are in the trailer. The family story, while well-acted and interesting enough, is about what you would expect from a movie about estranged adult siblings reuniting and having to deal with issues surrounding a parent.

I also really didn't like the ending, which seemed to run out of gas and just wasn't able to conclude the ideas it had set up in a satisfying manner. The cast is really good, especially Jeffrey Wright. However, I would definitely not call this one of the best pictures of the year.

I'm glad I saw it. I would not discourage anyone who is interested from seeing it, but I can't recommend it either.

 

[ManW_TheUncool]

^Yeah, the ending was definitely "clunky" and leaves us sorta hanging a bit... though I'm ok enough w/ it, but I get why others might feel it's too lacking...

I guess the movie just won't fully work for everyone.

I saw it 2x so far (in mid-Manhattan), and my (small size) fellow audience both times seemed to love it more or less as I do -- quite a few LOLs and knowing smiles, positive reactions, etc... probably more so than say The Holdovers, for instance, which I also saw 2x w/ similar audiences...

I'd say I actually love this a tad more than The Holdovers... though, yes, Giamatti's performance (and maybe also his key supporting cast) is certainly best between the two films. I think I probably just identify/connect a bit more w/ this film than The Holdovers -- and the bigger laughs (and connections) certainly help w/ that...

_Man_

 

[Jake Lipson]

I'd say I actually love this a tad more than The Holdovers

I don't think American Fiction and The Holdovers have very much in common and am not sure why exactly you comparing these two films specifically. But for me, personally, I tend to respond to films based on their emotionality. I was far more deeply invested in the characters The Holdovers than I was with anything in American Fiction.

I also felt like I had seen most of the jokes regarding Jeffrey Wright's book in the trailer. That's not really the movie's fault because Cord Jefferson did not cut the trailer. I should also point out that the trailer did its job because it got me interested in going to the theater to see the movie. But I felt that it did deflate the movie somewhat because I already knew the funniest parts of it. They even used a section of the ending in the trailer. The surprise just wasn't there. Again, this isn't the movie's fault but did impact my experience of the movie.

 

[ManW_TheUncool]

I don't think American Fiction and The Holdovers have very much in common and am not sure why exactly you comparing these two films specifically.

Sure, not a lot in common... but certainly more so than most other films of late... and both are quality films released around year end -- I don't know that American Fiction had much, if any, awards aspiration whereas The Holdovers probably more so.

I already mentioned a little of what little they do have in common re: the main characters and their arc to some extent. Obviously, you don't really see that and didn't really speak to it (and neither did Joe earlier it seems).

For me, a lot of what was satisfying about The Holdovers also existed to fair extent w/ American Fiction... though it's certainly more clear and focused in The Holdovers than AF and not hampered some bit by its ending.

I would say The Holdovers is probably objectively better overall, but I still connected and loved AF a tad more nonetheless (at least at this time... though that could possibly change depending on my mood, possibly evolving sensibilities and taste, etc).

In similar vein, I would say Anatomy of A Fall, for instance, is also objectively/critically excellent... though I'm not remotely as moved by it as either dramedy and don't love it at all -- I admire it, but do not love it.

But for me, personally, I tend to respond to films based on their emotionality. I was far more deeply invested in the characters The Holdovers than I was with anything in American Fiction.

Sure. That of course makes perfect sense... and I wouldn't suggest otherwise... which is precisely what I've been saying about AF. I can relate w/ both, but maybe a tad bit more w/ AF than The Holdovers in part because it just made me laugh a whole lot more and also felt more relevant (to me) today.

I also felt like I had seen most of the jokes regarding Jeffrey Wright's book in the trailer. That's not really the movie's fault because Cord Jefferson did not cut the trailer. I should also point out that the trailer did its job because it got me interested in going to the theater to see the movie. But I felt that it did deflate the movie somewhat because I already knew the funniest parts of it. They even used a section of the ending in the trailer. The surprise just wasn't there. Again, this isn't the movie's fault but did impact my experience of the movie.

Probably so. I didn't see the trailer for either film. Went into both pretty much cold w/ very little knowledge of both.

Still, I had no problem enjoying AF on my 2nd viewing though. Maybe even the humor in AF simply didn't speak to you quite as much as to me regardless of repeat experience of them -- I wouldn't really call them jokes for the most part though.

_Man_

 

[Jake Lipson]

I don't know that American Fiction had much, if any, awards aspiration

It absolutely does.

I didn't see the trailer for either film. Went into both pretty much cold w/ very little knowledge of both.

I don't know how to do that. I go so often that I end up seeing the trailers for pretty much everything on the front of other movies. My local theater has been playing the trailer for American Fiction on everything I've seen there for probably two months before it opened.

 

[ManW_TheUncool]

I don't know how to do that. I go so often that I end up seeing the trailers for pretty much everything on the front of other movies. My local theater has been playing the trailer for American Fiction on everything I've seen there for probably two months before it opened.

Probably helps that I basically largely ignore and/or miss most trailers (partly intentionally)... but I probably also wasn't going nearly as often as you back when those trailers played more regularly I guess.

I definitely often show up 10-15min or sometimes even 20-25min after official showtime...

Still, I also seem fairly good at largely forgetting (enough of) much of what I see to be able to better enjoy on later revisit. Some people definitely aren't that way and don't usually want to revisit the same movies/experiences much, if at all...

_Man_