REVIEW: MALCOLM & MARIE

  

4/5

Malcolm and Marie in the Middle.

106 Minutes. Starring: Zendaya & John David Washington. Director: Sam Levinson.

You won't have to worry when it comes to Zendaya getting thanked for 'Malcolm and Marie', because when Oscar season comes around, she'll be getting all the awards herself instead. This movie that scratching at the boiling and simmering tensions of Tennessee Williams' 'Cat On A Hot Tin Roof' and the London, West End amazing adaptation of it starring 'Starred Up' star Jack O'Connell and 'Layer Cake' star Sienna Miller's theatrical take on Paul Newman and Elizabeth Taylor's Hollywood classic would be perfect for the off-Broadway stage. But it's all about the spotlight on 'The Greatest Showman' actress and 'Spider-Man' game changing M.J. star Zendaya who despite the forthcoming Denis Villeneuve 'Dune' remake has always had the wattage power to go by one name like Aaliyah, Rihanna or of course...Beyoncé. This former child star whose made her own destiny is on an epic, euphoric run. As GQ Magazine said in last months cover feature on the amazing actress, we're living in Zollywood now. Forget Dollywood with all due respect to the legend. Zendaya's compelling power is so mac and cheese in a pot boiling hot, nobody can touch her. And in reuniting with 'Euphoria' writer/director Sam Levinson for something so black and white blinding we thought HBO would take it to the max, this new Netflix classic worthy of a 'Marriage Story' nomination for the Academy actually looks to one-up the stellar series and her career high so far in Levinson's (who also produces Netflix's other powerhouse drama of emotional stakes in Vanessa Kirby's 'Pieces Of A Woman') showstopper with this romantic reckoning of a dark drama that really takes a piece out of you...and all you wanted was some macaroni. No matter how much it's eaten obnoxiously. 

'One Perfect Shot' would have a field day with 'Malcolm and Marie'. Every frame is formidable from the car pulling into the lake by the ocean, dream home turned into a lonely is the only company nightmare establishing shot, to the final frame from the bedroom window looking on to a new day. Arguably the best account on Twitter that has just scored a documentary deal with 'When They See Us' and 'Selma' director Ava Duvernay, might get muted with how many shots they might have to post here like the title track mac. Zendaya lighting a cigarette with a kitchen lighter outside in a cold we can see even in 'Parasite' monochrome. Zendaya looking in at her lover starring into a punch drunk glass on reflection. Zendaya in a cocktail dress. Zendaya sitting on a garden chair in her underwear. Zendaya in the bath. Zendaya on the bed. None of it graphic or gratuitous. All just classic and cinematic for the canon. Beyond the words you read here with tasteful tact, when you see it, you'll believe. You'll realize. This is art and the art of war and emotional warfare that is relationships and this modern love were we count hearts not in our lovers beats, but our friends emojis and retweets. "All she wanted was a thank you", people will say and "all he wanted was a ready meal". No...that's not it. Far from the truth that maybe they can't handle as we play pretend it's all good and love on the socials that are about as social as having your head down all day starring at a screen you think is making everything brighter, but instead is just highlighting the point for anyone willing to read it instead of scroll through it. And who is he? Starring at Zendaya's Marie holding a knife on the living room floor with real, cutting authenticity. Well, the Malcolm in the middle of this picture is no other than the star of the only big blockbuster to come out in cinemas last Summer, John David Washington. The former 'Ballers' and American Football running back going in a new direction and quarterbacking Christopher Nolan's terrific 'Tenet', now taking his career to infinity with inspired indies and a great building idea for a LEGO movie that will really stick it to you. Malcolm's Washington actually made his debut in daddy Denzel's 'Malcolm X' movie (is the name a nod?) before being directed by Spike Lee himself in one of the 'Do The Right Thing' dynamic directors best in 2018's 'BlacKkKlansman'. His director character is even compared to him here and the 'Moonlight' of the most slept on, Oscar winning director of the moment like his last film ('If Beale Street Could Talk') Barry Jenkins. John David his own man brings that Oscar powered acting that could even translate to a Tony the way he sings for the fences. But whilst father is taking time producing August Wilson plays with Viola Davis for Netflix like this Christmas last and best Chadwick performance in 'Ma Rainey's Black Bottom', son is a star in his own right. From getting on up to James Brown in a suit and tie like a Boseman biography tribute, to breaking down in a vest and slacks. We'd say more...but we've seen how his character reacts to reviews in this movie. King Kong aint got s### on it.

Kid Cudi (or should we say Scott Mescudi?) produced. Labrinth (or should we say Timothy Lee McKenzie?) scored. Music plays an instrumental part in this films influence and this labyrinth of a soulful playlist sees beneath your beautiful like kids see ghosts. None bigger of more brutally beautiful then John David singing "have I told you lately that I love you/Well if I didn't darling I'm sorry/Did I reach out and hold you in my loving arms/Oooooh when you needed me" off William Bell's 'I Forgot To Be Your Lover' as Zendaya's reflection reaction from outside says it all. He really didn't remember like a forgotten anniversary, or apology for a misplaced thank you, forever being left on a notes scrap of paper like an I.O.U. that will never be paid back in kind. A far cry when he was whiskey and soda gyrating to the Godfather of Soul's 'Down and Out In New York City' with the J.B's, as we thought this night was about giving all your love like the Alabama Shakes. But between the 'Flor de Azalea' of Frankie Reyes or the 'BOA' of Sam Gendel and Wilkes, this relationship that is about to be DOA if it does not tread or talk carefully is in need of a 'Sentimental Mood' like Duke Ellington and John Coltrane if this love ever wants to be supreme again. Otherwise before we see a love 'Liberation' like an OutKast, Cee-Lo, Erykah Badu and Big Rube's 'Aquemini' classic, we'll see Zendaya decked out on a garden chair like a classic black and white photo or painting singing along to Dionne Warwick's 'Get Rid Of Me' passive aggressively, but beautifully as John David knows it. Hey, even does the soul queen and everyone's auntie as Miss Warwick took to her favourite medium right now of Twitter to congratulate Zendaya on her real and raw rendition. All underscoring Levinson's levitating direction to the cinematography canvas of Marcell Rev. This 35mm vivid and visceral film may be missing a few steps away from the modern classic we hoped it would be in five stars, especially in this cinematically starved time, but that is no real knock. It's still one of todays greats and even the lack of a resolute ending just holds up a mirror reflection through a windows view of relationships these days as this one rolls up the shirt sleeves and stockings down to fight another day. There's more grey areas to this and what's black and white. No matter what you take from this movie, or to who in your everyday life. It's clear to see through all the forgetful mistakes and things this cinematic couple could wish they could take back (or even give more of) that the 'Euphoria' of Zendaya's 'Marie' is clearly Levinson, Washington and our very own muse. TIM DAVID HARVEY.

Further Filming: 'Queen & Slim', 'Pieces Of A Woman', 'Ma Rainey's Black Bottom'.