The look has a film grain to it, which makes it seem like it was shot on celluloid, such as Super 16 mm and blown up for 35 mm projection. Likely, the look is a digital effect, similar to what Quentin Tarantino and Robert Rodriguez did for Grindhouse (2007). Director and co-writer Juel Taylor, in his feature debut, doesn't go as far as putting scratches on the frames, but he wants that same 1970's feeling, mainly through the production design. Yet, the narrative is set in the present. One of the characters mentions cryptocurrency, which became more popular in the 2010's. However, a lot of the technology used is from the 70's or even 90's. There's a horror aspect to it, which is reminiscent of It Follows (2014), which is another horror film with anachronistic tech.
Since Jordan Peele's Get Out (2017) changed the cinematic landscape and made a sub-genre of horror that's about examining race and race relations, there have been titles that have been derivative or felt in Peele's shadow. Taylor's film could be an entry in that sub-genre. Taylor's film actually manages to be more comedic, which is ironic, given that Peele started more in the comedy world. Yet, Peele used more dark humor, whereas Taylor's film is more silly and broad. Peele's film tried to be more scary. Taylor is more lighthearted.
John Boyega (The Woman King and Star Wars: The Force Awakens) stars as Fontaine, a drug dealer in a predominantly Black neighborhood called the Glen. He lives with his ailing, single mother whom he never sees. He's also struggling with the death of his younger brother. He supplies drugs and gets money from a pimp named Slick Charles, played by Oscar-winner Jamie Foxx (Spider-Man: No Way Home and Collateral). Fontaine also teams up with one of Charles' prostitutes, Yo-Yo, played by Teyonah Parris (Candyman and WandaVision). When a mystery pops up in the Glen, Fontaine, Charles and Yo-Yo have to solve it.
If you enjoy the fictional detectives of Nancy Drew and Scooby-Doo, then you'll enjoy this film's references to them. The Nancy Drew and Scooby-Doo energy doesn't really emerge until after this film's first third. That first third instead invokes another TV mystery, that of The X-Files (1993). I believe this film also references that 1993 series as well. That feeling or mood of The X-Files is cut as soon as Foxx's character becomes more of a presence. Foxx's comedic charm eliminates any real sense of fright that's initially established.
The title of this film pretty much spoils what the premise is. The only real question is why. Eventually, the film arrives at an explanation. That explanation makes no sense. None of it would matter, if the film had done more to reckon with the premise or delve deeper into the implications of the premise. The film feels more concerned with reveling in this conspiracy theory that has been a long-standing paranoia or distrust of the government within the Black community. A lot of that paranoia and distrust is historically justifiable.
But, Taylor confuses what would be more of a critique of corporate culture or business malfeasance with that of government paranoia. However, none of that would matter, if the film had delved more into Fontaine as a character and what comes to be an existential crisis for him. The film never really has him grapple with that crisis. There's a meta-textual aspect that details this idea of Fontaine being a drug dealer for reasons other than the circumstantial ones that Fontaine thinks or even that he might have chosen.
Other films have dealt with the issues that are inherent here, that of determinism, free will, as well as that of identity. Those issues are inherent here, but the film doesn't explore them as deeply. Boyega could've done a lot with that material, or more than he gets here. Strangely though, the film leans more on Parris who brings as much comedic charm as Foxx, but this film isn't really about her character.
Rated R for language, violence, some sexual material and drug use.
Running Time: 2 hrs. and 4 mins.
Available on Netflix.
