Flawed (aren't we all) but boldly creative. First, LeRoi is responsible for the inimitable "Everybody Hates Chris". Second, it's a sincere attempt to analyse the reality of "driving while Black". Third, certain elements of this film are unlikely to have happened at all without Barry Jenkins's "Moonlight" (2016); but where Jenkins wove a thread of class critique throughout his landmark black-on-black outing, LeRoi's piece is set in a body-temperature porridge of privilege, be that black or white. The fact that Tunde's paramour is a classic white jock in denial is key to the huge difference in tone and intention between Jenkins and LeRoi. That said, LeRoi was wise to choose someone with the depth of Steven Silver, whereas the actor Neville tends to be two-dimensional. The mix of sci-fi, Groundhog Day and drama is an adventurous one with all the attendant risks. I recommend partnering the film with the outstanding "Fruitvale Station" (2013, Ryan Coogler), a director Tunde claims to adore, along with writer Teju Cole (Nigerian) whose debut novel "Open City" knocked the critics sideways. Certainly, LeRoi is anchored and has done his homework, which suggests his collaboration on Chris Rock's turkey "Head of State" was to pay off some grim lawsuit. Interestingly, the undercurrent of this movie explain the extraordinary friendship between the "hated" Chris and his white sidekick Stanley and LeRoi's evident understanding of the many faces of love. But back to the class issue: note that most of the young blacks recently slaughtered in the US are from the so-called "lower" classes. Meanwhile, the roadside pullover by white cops references the parallel scene in "Crash" with the wealthy black couple's humiliation. Driving while black is neither a joke nor a media fantasy, it's an everyday reality for thousands of American citizens whose deficit of whiteness puts them in the wrong place at the wrong time. "I will no longer die, I have become two hundred hills rolled into one, I am immovable," quoth Tunde on his nth round of assassination (the right word for his mode of death). Screenwriter Stanley Kalu has done an astonishing job, especially since he and the director anticipated George Floyd's murder and the consequent BLM movement, whose echoes will continue to resound worldwide as long as race continues to divide: the dying Tunde is on the ground in a police stranglehold and tries to utter the words "I can't breathe".
