American Fiction review
American Fiction is brilliant satire. It’s so piercing with its social commentary that it’s easy to see its message going over some of the target audience’s heads. Beyond its devastating wit, the film also boasts some incredibly heartfelt performances and deeper explorations about family, love and the strength to accept what is and what isn’t possible to change.
It’s also the best film of 2023. Sure, Christopher Nolan’s Oppenheimer is the presumptive favorite with its explosive look at the man who invented the atomic bomb. And Barbie’s ode to feminism energy makes it a dark pink horse candidate to scoop up a gaggle of statuettes, but American Fiction feels more grounded and heartfelt than its more high-profile competitors.
Author Thelonius “Monk” Ellison (Jeffrey Wright, What If…?) is in the midst of a serious case of writer’s block. His manager, Arthur (John Ortiz, Fast & Furious), is lightly pushing for Monk to try something different to reignite interest from publishers in his work.
Monk has been a distinguished writer, but he’s seeing a surge in novels that seem catered to a very limited scope of the black experience. Worse, Monk is disgusted seeing a lowest common denominator-skewing book by the graceful and cultured Sintara Golden (Issa Rae, Barbie) rise up the bestseller charts.
Forced to take some time away from work, Monk visits his family back in Boston. There’s the easy connection he enjoys with his sister, Lisa (Tracee Ellis Ross, Candy Cane Lane), who’s handled the bulk of the load caring for their elderly mother, Agnes (Leslie Uggams, Deadpool 2).
Lisa’s gotten some help from Lorraine (Myra Lucretia Taylor), who’s been as much a member of the family as a caregiver. They’re not going to get much help with brother, Clifford (Sterling K. Brown, Invincible) as he’s spiraling after his divorce. Monk and Clifford always had a strained relationship, and the years apart haven’t smoothed their differences out.
Unexpected events play out forcing Monk to stay in town longer to assume the role of Agnes’ main caregiver. At least he’s managed to find some companionship with Caroline (Erika Alexander), the kindly neighbor across the street. Agnes’ worsening health is putting more strain on Monk while his aggravation of Sintara’s “unwarranted” success only rises.
Inspired by a TV network’s patronizing attempts at showcasing the black experience — and a glass of wine — Monk decides to have a little fun. He cranks out My Pafology, an intentionally shoddy inauthentic take on black life told by two gangsters. Director/writer Cord Jefferson has a playful approach to the subject matter with many hilarious moments. The most creative might be having the gangsters, played by Keith David and Okieriete Onaodowan, acting out Monk’s dialogue.
MORE:
- G.I. Joe Classified Series Arctic B.A.T. review
- Image Comics reviews 1/17/24 – Cobra Commander #1, G.I. Joe RAH #303
- Which Brings Me to You review
- Maestro review
To Monk’s dismay and Arthur’s shock, book publishers and literary critics love it using all of the insincere, fawning praise since My Pafology fits into the accepted scope of the lives of black people. Monk reluctantly plays along for a bit, pretending to be a fugitive who just so happened to have a little time to write a novel.
Adapting Percival Everett’s 2011 novel Erasure, Jefferson doesn’t bother playing American Fiction for subtlety. He leans hard into the outlandish limited perception of the stories that publishers think are worthy of being told and heavily promoted. While firing off shots, Jefferson also spoofs the equally narrow lanes of black films. Adam Brody is very funny as the Hollywood producer who thinks he’s in touch with the “urban experience.”
It’s refreshing that American Fiction so masterfully skewers the pitifully few targeted genres for films starring a predominantly black cast while offering a welcome new entry into the must-see satire lineup. The film feels like the kind of movie a young Robert Townsend would make as his breakout hit if he started his career in 2023.
It seems like the Best Actor Oscar is lining up for Oppenheimer’s Cillian Murphy, but Wright delivers a captivating and deeply heartfelt performance that shouldn’t be skipped over too easily. Wright offers layers to Monk, who just might be drowning in his condescending attitude, the dissatisfaction with his career, unresolved issues with his family and overall failure to find a sense of happiness.
Wright has been an asset to any film or show he’s been in and with the spotlight firmly on him, delivers a career-best performance. Best of all, it never feels like Wright is preoccupied with gaining award recognition in any scene.
Brown is the kind of performer who seems destined to be a regular nominee for major cinematic award honors. He’s simply inevitable. That award could happen this year as he should be a strong contender for Best Supporting Actor. No stranger to heavy, emotional dramas, Brown is riveting as the brokenhearted brother struggling with his identity after his divorce.
Rae, Ellis Ross and Ortiz are terrific in limited roles while Alexander’s earnest and assured performance should warrant many more casting calls for high quality dramas. Monk’s interaction with Coraline, Clifford, Agnes and Lorraine prevent the film from being a one-note satire.
The blend of personal and professional life is key in telling Monk’s story aided by a lively score from Laura Karpman. Cristina Dunlap’s cinematography is also stellar with a number of gorgeous shots framing the beach background, Monk’s workspace, Arthur’s office or Coraline’s warm and inviting kitchen.
The ending is perfectly tongue in cheek with a clever twist and tremendous final shot. American Fiction plays out too often like a real life look into the publishing and movie production industry when it relates to black creatives, but it’s an outstanding film with the sharpest and most entertaining takes on race relations and family in many years.
Rating: 10 out of 10
Photo Credit: MGM