A Thousand and One

A social drama that is not as predictable as first thought. Fashion model, actress and artist Teyana Taylor stars as the restless and determined Inez. I have never seen her in a film role before, but I can say that she carries this film to a great extent. The film is written by A. V. Rockvell, who also directs. The film largely succeeds in being an engaging drama about an era from the mid-90s and 10 years into the future. The film depicts difficult social conditions, this time the action is set in New York. The liberating thing about the film is that even though the main character faces a lot of opposition and is far down the ladder financially and socially, she never gives up. The film could easily have ended as a description of misery, but Teyana makes sure to give life and commitment to the main character who appears as a primal force who fights fiercely for what she believes in.

I won't reveal the surprising element here, but I'm looking forward to upcoming films from A. V. Rockwell. We need films that give us insight into exciting characters. Not everything has to be popcorn movies.

It's a drama about what makes a family set in New York City, mostly Harlem, between 1994 and 2005. It follows a high-energy but emotionally-damaged young African American woman who tries to create a family in compensation for the one she never had.

In 1994, Inez (Teyana Taylor) has just been released from a prison term for stealing. She is hot-headed and confrontational and has difficulty maintaining relationships. Inez sees her son on the street, a ward of the state, and in foster care. When Terry (Aaron Kingsley Adetola/Aven Courtney/Josiah Cross) is injured in a fall, Inez goes to the hospital and convinces him to leave with her secretly. She cautions him not to leave their living quarters because the state would seize him again. She arranges fake papers for Terry under a different name.

We follow a deep relationship grow between Inez and Terry. Later Lucky (Will Catlett), Inez's partner who has just emerged from prison, joins the small family. Lucky and Terry also develop their own relationship, even as Inez and Lucky have a sometimes rocky one. We learn that Terry is brilliant but has a very reserved personality. Counselors at school encourage him to attend a tech school for gifted children, to which Terry reluctantly assents. Finally, before Terry turns 18, multiple events cause chaos for Inez and Terry, with a particular twist at the film's end.

"A Thousand and One" is a taunt, well-done drama. Teyana Taylor, who is very striking in appearance and dominates the screen any time she is on it, carries the movie. Will Catlett is an excellent Lucky. Aaron Kingsley Adetola is remarkable as the six-year-old Terry. However, I found Aven Courtney and Josiah Cross less impressive as the teenage Terry. Perhaps the problem was the script; for someone as smart a teenager as the film portrayed Terry, he seemed too passive concerning his surroundings and his questions about his early personal history.

I was SO looking forward to this and the trailer really made it seem like it was going to be both really intense and a tearjerker.

For me, it failed to deliver on both of those points. I was bored and struggled to stay engaged. It wasn't until the final 15 or 20 minutes of the film that things started to get interesting enough to warrant sticking it out to the end.

Until then, it felt like a bunch of rather jumbled-up plot lines that didn't come together coherently. There wasn't a strong thread of a story, or at least there didn't seem to be, until the final act.

Plus, I never felt the emotional connection between the son and either of his parental figures -- or between the two parents themselves. None of them seemed particularly attached to each other, so even the final act carried a lot less emotional weight for me, because it didn't feel they'd "been through something" together -- it just felt like they had spent their lives living side by side, but never strongly connected emotionally.

There were a few lines here and there that were meant to telescope the parental figures' devotion to the kid... but they honestly fell flat, because they were just inserted into the middle of what felt like a bunch of random scenes of people just living their lives (I guess I should give points for realism... but I do watch movies to do more than just observe people living ordinary lives).

To be clear, it wasn't the actors' fault. Their performances were really, really good. I just don't think they were given a good enough script to bring things together. The story should have been tighter, more focused, and the script more intense, and then the underlying plot would have really sucker-punched the viewer (because it DOES have a unique plot).

The score is great. And with such good acting and a unique plot, I just wish the final product would have come together better.

The first 10-15 minutes of this film had me wriggling in my seat and wondering if I was going to be able to sit through it. It starts with the central character, Inez, a hard-faced inmate leaving Riker's Island and re-starting her life back in New York after an unspecified prison term. Inez is clearly a tough cookie and even her first meeting her son Terry on the street had me silently screaming "run, kid, run!" It turns out that Terry had been put in foster care and, when he ends up in hospital shortly after, Inez goes to visit him and decides to kidnap him from the authorities under whose care he had been placed.

However, I found myself getting sucked in to the story, as grim and sometimes hard to watch as it was. Here we had a woman who had nothing - no money, no home and few prospects - grabbing a child because she somehow believed she could give him a better life. Her first act after snatching him was to phone around former acquaintances to beg for a free place to stay and it was truly heartbreaking to watch her desperation and the glimpse of the life she had brought this child into.

Yet she manages to get on her feet and the rest of the movie follows her, Terry and the man she marries, Lucky, as they if not thrive certainly survive. As compelling as the human characters become, there is another star of this film and that is the New York neighbourhood of Harlem. With the liberal use of overhead shots and long street scenes we see the neighbourhood go from grungy through a gradual gentrification. This is reflected more intimately in a sub plot where their new landlord tries to manipulate the family out of their low rent home, and leave them with fallen ceilings, broken pipes and a non-functioning shower.

There is a plot twist at the end that made my jaw drop which I see some people didn't like, but which I thought fleshed out the character of Inez quite well and gave depth to her motivations. All in all a gritty movie that was hard to watch in some places, a raw and honest depiction of the brutal poverty in which people sometimes live, but underscored by excellent performance by all.

"Why do you keep leaving me?" Terry ( Aaron Kingsley Adetola)

While this lament in the remarkable A Thousand and One is from a 6-year-old Harlem kid to his ex-con mother, Inez (Teyana Taylor), it stands for those who regret the quickly gentrifying part of NYC that is losing its black identity to white incursions.

So goes one of the best dramas of the year as that feisty mom steals the son she lost from a foster home to create a home that she regularly leaves to fight for with "no tools" other than her remarkable energy and combativeness. As we navigate the many episodes of her fight and watch her Terry grow into an intelligent albeit muted young man, first-time writer/ director A. V. Rockwell nimbly shows the changes overcoming Harlem in the nineties and the young Terry during 15 years rising academically to qualify for NYC's noted tech schools. As in Moonlight, we see a seamless transition among the three actors in the three stages of Terry's life.

One of the stars of this accurate and humane melodrama is DP Erik K. Yue, whose lens captures the changes with a sharp eye for the telling detail, like graffiti and corporate businesses replacing long-lost street artistry and bodega charm. Not needing such eye-pleasing photography are the aggressive policing tactics, notably the stop-and-frisk action that affected young black males more than any other minority. When Terry is accosted, his muted reaction emphasizes the quiet terror that dogged young men in nineties Harlem.

Not all is gloom in A Thousand and One, for Lucky (William Catlett, a combo of Idris Elba and Delroy Lindo) exemplifies strong black males with big hearts and the flaws that too-often accompany such gifts. Lucky marries Inez perhaps not realizing the collateral damage mother and son can inflict. Yet, he does contribute to their welfare, mostly in wise counsel. For Terry, he provides the impetus to make his own decisions. As in the drama itself, Lucky shows that tough conditions accompany a tough life, and self-reliance, like Mom's, is the key to eventual deliverance.

My guest critic on It's Movie Time, Mindy Mcfann, claims this is the best movie she's seen in years. Pay attention to her-she has impeccable taste about street drama.