One Night in Miami

?nspiring.. Gentle.. and a bunch of Actors who played very well ..

A middlebrow pageantry of black idols that briefly catches fire when Malcolm X tears into Sam Cooke for the superficiality of his songwriting. The rest is the dramatic equivalent of establishing shots. Everybody is dressed up (in nice suits) and ready to go but nothing much happens. Though it reminds one of the cultural richness of the civil rights movement.

The additions for film (the boxing matches, etc.) never feel necessary; it's the scenes in the room that compel. Even inside an ugly motel, the film is never ugly: it's shot well, and no scene takes too long. Some of the transitions and segments feel theatrical, a bit stilted, but the compelling subjects and the performers' strong efforts keep any from dragging. Never transcendent, but interesting.

I got lost in this. The premise itself is interesting but it perfectly captured the essence of what a dialogue heavy film should be. The performances by the four are delectable--they deserve awards as an ensemble if those were given--and the flick accomplished a feat in which I forgot that I was even watching a movie at certain points because the interactions and words spoken were so organic. A nuanced look at different perspectives; everything else is great but that's the standout.

fun but slight. it is difficult to watch this knowing what happens to all four of these men, because the film never makes clear if we should be watching with such ironic foresight or if we're meant to be assumed ignorant. the most memorable part of it was my mom thinking it was based on a true story and I had to spend five minutes explaining what the word "fictional" means. the most courageous performance is Beau Bridges, who showed up for five minutes to say the N-word.

Guess it works better as a microscope portrait of the 60s through four wondrous historical figures than an actual thought-provoking, kind of philosophical, theater-goes-to-cinema chamber piece. Still, what a cast this is and King directs their interactions with affection and sharpness. Better than 95% of Oscar-bait biopics out there.

Found this very interesting and well-done. It takes fictional but plausible dialogue from the play and I'm assuming adds the open scenes for each character for some background and change of pace since this is a movie.I thought all four main actors did very well, although some looked much more like the historical figure than others. I was rarely fatigued despite it being so dialogue heavy.

This film has a great script and outstanding direction. The cast all hit their roles out of the park. The film is fascinating and interesting. Overall I would highly recommend this film.

(MUHAMMAD OVER MY HAMMY)

A snappy film (filler character intros aside) with a unique historical/thematic approach to the plight of Black people in the 60s. It's well-acted (Ben-Adir's multi-faceted turn is a highlight) and looks good, but while Clay's youthful energy and Brown's quiet wisdom each pair nicely with the main sparring partners X and Cooke to create some more interesting interplay, they ultimately feel like spectators to the film's dramatic centre, so a tighter focus in the script would've been good.

King does excellent work here, and put together a fascinating dramatic exploration of the perspectives within '60s social movements without white studio heads stepping in to change it.

Too long and quite boring after the first 30 minutes.

Circumstances surrounding my physical and mental exhaustion dictated that I've experienced 50% of this movie with my eyes closed (unasleep), and I must say that the dialog, at no point, felt real at all. No matter how hard the handsome cast (I noticed during the other 50%) tries. This is a pretty disappointing feat for a movie that takes place in a hotel room and is all about the dialog? Maybe a better script could have convinced me that this was an interesting or important meeting.

The main quartet of actors are great (particularly Kingsley Ben-Adir) and Kemp Powers' script eloquently tackles its well-worn but evergreen themes of protest, influence, and equality. And yet, it still just feels like eating vegetables. And regardless of how well-written the dialogue is, the barrage of lecturing that occurs over the film's nearly-two-hour runtime becomes a bit monotonous.

1960s figures delivering 2010s dialogue. Takes some suspending of disbelief to get into the idea that these historical figures are each exclusively talking about the few things that make them notable on Wikipedia, but I do like the script overall so it's not as big of a problem as I'm making it sound. Direction is nothing to write home about but that's par for the course on stage play adaptations.

Brilliant screenplay does what all great literate scripts do: give a convincing evocation of its time and place while still speaking to the concerns of the contemporary climate. King's direction never feels claustrophobic or stagey, and she elicits great performances from her dynamic foursome; Ben-Adir (the anchor of the piece) is an aching X, though Odom's conflicted Cooke sneaks up as the poignant scene stealer. Beautifully ugly, set-the-stage cameo from Bridges is also a memorable highlight.

Inspiring movie with real philosophical discussion and contemplation.

I wish this movie aimed higher, because it looks like it could've surely achieved more.

A confident and elegant debut for Regina King. I don't know if it's the pandemic or mere happenstance, but there have been many play-to-films this year, and this one has felt the most conscious of its medium, the most interested in the empowerment of the camera rather than focused on getting the dialogue out as quickly as possible, so kudos to King. All four leads are wonderful, but the real soul of the piece seems to be Odom Jr. His performance sneaks up on you. Hope he wins the little gold man

XthinksSnotdoinpart-correctshim/youdontbelonglol+Sdontwantapieceofthepiewantstherecipe+XwantedMinownnewgroup+ChangeGon'Come

I sort of feel like I saw a different film than everybody else. Everything just screamed stage play and I thought even the performances were a little ham fisted, with the exception of Leslie Odom Jr's Cooke. Nonetheless, it was interesting to really think about these four icons getting together and the impact it had on them, and by extension, the civil rights movement.

homework-y. reminds me of one of those two-night network TV miniseries my parents would make me watch in the 90s.

Seriously this movie only got one acting nomination? Shocked all 4 main leads didn't get respective nods. One night in Miami suffers from the classic "based on a play" syndrome, but the script is so well written it's a play I now desperately want to see. The lives of these 4 men are all deserving of movies in there own right (some already had), so it's refreshing to get a smaller scope, mostly one location take of hearings ideas crash and there different viewpoints of fighting for the same goal

Assured direction and well-crafted performances. It's a good film.

1 boksör, 1 şarkıcı, 1 sporcu ve 1 aktivist buluşursa. 4 ünlü siyahi arkadaş, Muhammed Ali'nin başarısı için otelde buluşurlar. Kendi içlerinde 1 hesaplaşma başlayacaktır. Oyuncu performans filmi olarak izlediğimiz yapım, farklı olduğu kadar, aşırılıktan kaçmamış. Sistem eleştirisi başarılı. Tek mekanda geçen film, ilk 20 dakikasını karakterler ile tanıştırıyor. Filmin sonunda, hepimiz kardeşiz. Ben pastadan pay istemem. Pastanın tarifini yaparım

I don't think every film about history needs to be a history lesson, but if you're not already sold on it by the premise of these four famous people meeting for a group discussion (or might not even know anything about them), this movie is probably not for you. The cast is great and the discussions get more interesting as you get deeper into the movie, but it takes a good long while to get going.

The movie really elevated itself late with its treatment of Malcolm X, who turns from a frantic bore into a sacrificial general of the cause. I did not expect to be surprised by a movie like this...

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7+

Four men, two that I've never even heard of before, argues in a motel room for close to two hours. Not my kind of movie...

A great directorial debut from Regina King. The screenplay is often fire, with the scenes at the hotel working quite a bit better than those outside. The camera work is solid with several inspired dashes thrown in to stray from the filmed-play aspect of the piece. The four leads are great but it is Kingsley Ben-Adir that is really something else.