The Angry Black Girl and Her Monster

Death has been marking the life of the young and intelligent Vicaria (Laya DeLeon Hayes) for as long as she can remember. Both her mother and her brother have died, the latter murdered. And she lives alone with her authoritarian father (Chad L. Coleman). "Death is a disease" says Vicaria, a disease that she is about to eradicate by herself. After the brutal and sudden murder of her brother, she embarks on a dangerous journey to bring him back to life, though the results aren't entirely successful. A series of circumstances have led her to become a mad scientist capable of resurrecting bodies and making them a monstrous extension of all the rage and frustration that she has had to live and is having to live. Death can be cured !

A contemporary Frankenstein that examines, through terror, the horrors and brutalities faced by African-American communities living in marginal areas of the United States. Police violence, racism, criminal gangs, and the world of drugs have taken their toll on the protagonists and this is demonstrated throughout the film.

The Angry Black Girl and Her Monster(2023) thematically challenges our ideas of life and death. Bomani J. Story, the film's writer and director, crafts a thrilling tale about a family that, despite the terrors of systemic pressure, will survive and be reborn again. There is plenty of violence, grue and gore, the heart stops several times. The film is somewhat reminiscent of the much better ¨Deadly Friend¨ 1986 by Wes Craven also with a teenager from a simple suburban neighborhood who creates a kind of Frankenstein for his own purposes. The interpretations of everyone around are acceptable, such as: Laya DeLeon Hayes playing the lonely teenage genius, Chad L. Coleman as her daddy, Denzel Whitaker as Kango, Reilly Brooke Stith as Aisha , among others. The motion picture was mediocrely written/produced/directed by Bomani J. Story.

The low-budget film turns out to be mediocre, so it is advisable to see other better versions inspired by the Mary Shelley classic, among which I would include the following: ¨Victor Frankenstein¨ (2015) by Paul McGuigan with Daniel Radcliffe, James McAvoy, Jessica Brown Findlay. ¨Mary Shelley's Frankenstein¨ (1994) by Kenneth Branagh with Robert De Niro, Tom Hulce, Kenneth Branagh. ¨Frankenstein unbound¨ (1990) by Roger Corman with Jason Patrick, John Hurt, Bridget Fonda, Nick Brimble. ¨The Curse of Frankenstein¨ (1957) by Terence Fisher with Peter Cushing, Hazel Court, Robert Urquhart, Christopher Lee. ¨Bride of Frankenstein¨ (1935) by James Whale with Boris Karloff, Colin Clive, Valerie Hobson, Ernest Thesiger. ¨Frankenstein¨ (1931) by James Whale with Boris Karloff, Colin Clive, Mae Clarke, John Boles.

This movie was listed among horror films, but it doesn't belong in that category. The core concept about the struggles of Black people within their own communities is good, but it wasn't portrayed as one might expect. While the attempt to explore it from a sci-fi perspective was interesting, the execution was poor. The trailer gave a vibe of horror and suspense, but it delivered only the latter.

The lead character performs well, and her development is solid. The young girl also fits her role. However, I wish the lead had more depth-perhaps a darker personality and a stronger obsession with her mission.

The VFX are poor. Honestly, the science aspect doesn't make sense. The character is portrayed as a nerd, but she seems to know little about physics or chemistry, although she's good at biology. We see electrical circuits, diodes, gates, and anatomy pictures in her books, but she is far more naïve than her portrayal suggests.

It feels as though the movie was initially written by an adult but later taken over by a child.

For an independently produced movie, this was well done.

They mention she has a German last name but won't tell us... she's obsessed with death. But why don't they tell us the name? Oh....... and her notebook is called "modern Prometheus" I get it now.

I love the restraint the filmmakers used in saving the line "It's alive! It's Alive!" when they did and giving it Aishia instead of the main character.

My biggest complaint is that Vicaria wasn't allowed to be "Mad" in Mad Scientist and makeup of for the monster wasn't strong. Chad Colman as the father character was the strongest character and my eyes were glued to the screen when ever he appeared.

Death is a disease and Vicaria (Laya DeLeon Hayes) intends to cure it. The black teenage genius comes from a rough neighborhood where drugs and death is all around. When her brother is killed, she puts her theory to use.

This is obviously trying to adapt Mary Shelley's Frankenstein into a modern 'ghetto'. There are moments of good tension. I actually find the school more compelling than the monster story. The 'monster' does not have enough screen time. Brother and sister should have more time together before and after the transformation. This movie needs to be about their relationship. The most interesting monster performance is Kango. The father is also interesting. This movie has a few good moments and probably a fine elevator pitch. It struggles to hold together in the second half.

I really did. The cast is uniformly very good to excellent. The lead (the "angry black girl" if you will), Laya DeLeon Hayes, gives a performance that is warm, human, funny, intense; her range is there. The rest of the cast was great with particular props for. Denzel Whittaker, Tracie Frank, and. Chad L. Coleman as standouts for me.

Now for the rest. The direction was spotty but decent. The cinematography was bizarre - the outdoor shots were often actually gorgeous; however, the indoor shots were awkward and sitcom-y, often to the point of taking this viewer out of the moment. Now for the script. This group of extremely talented, mostly young actors deserved so much more. There was no explanation for why anything happened (can't say too much without spoiling the plot). The dialogue started strong but kind of fell flat about halfway through. It's possible editing is to blame for some or even most of that.

All in all, it's a not-unpleasant but disappointing way to blow off some time, but it will leave you wishing for what could have been - because it could have been great.