In what must be one of the least promising opening sequences of recent years, the new Tom & Jerry film – their first in quasi-live action – opens with rapping pigeons, inexplicably hot footing around in thin air. A rat then makes a copyright joke. Give me strength. This one’s over a hundred minutes long.
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There’s an electric rhythm at the sensory heart of Shaka King’s Judas and the Black Messiah. A tangible frisson of galvanic energy. It is, by the film’s own omission, ‘the beat that manifests in you’. Here is a civil rights powerhouse that needs not just to be seen but to be heard. To be lived and to be left livid. Through the bedazzlement of King’s masterful choreography and the triumphs of his exquisite cast, a reminder harkens. This isn’t over. Don’t you forget it.
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Aaron Sorkin testifies for civil rights and counterculture for his second stint in the director’s chair. And the verdict? The Trial of the Chicago 7 is far superior to Molly’s Game – Sorken’s first – and, further still, bests all other courtroom dramas of recent years. A lightning sharp blend of on point acting, pitch perfect choreography and simply superb writing hook from the very first shot and very nearly hold their grip till the last. Indeed, bar only a misjudged epilogue, Sorken’s Trial is a triumph.
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