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The Last Black Man in San Francisco

The Last Black Man in San Francisco

2019
Drama
2h 1m
Your probable score
Avg Percentile 60.85% from 460 total ratings

Ratings & Reviews

(460)
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Rated 20 Jul 2019
88
83rd
A poetic yet realistic tale about change in the midst of a city undergoing large-scale gentrification, The Last Black Man in San Francisco subverts expectations by not politicizing its themes but deeply personalizing them, romanticizing every character and little detail of the setting. It feels less like it is depicting a family drama and more like an amicable breakup between a man and the city he used to know, and that makes it deeply moving and satisfying.
Rated 10 Jun 2019
75
75th
please for the love of God, let's hear the full cover of 'I Got 5 On It' by the street singer.... whole movie is beautiful.
Rated 26 Aug 2019
90
91st
This was not what I expected. Talbot announced himself with an artful, visually/tonally interesting meditation of a man and his city. A deeply personal tale with a little bit of subtle humour sprinkled throughout. Though he was instrumental in it in a few different ways, sometimes Fails wasn't able to handle the heavy lifting, but for the most part he was fine. He's the weakest link (but it's not that weak) in an otherwise inspired movie.
Rated 28 Aug 2019
73
78th
People aren't one thing.
Rated 27 Oct 2019
85
76th
A beautiful and confidently-made movie about identity, gentrification, and masculinity, with wonderful direction and lead performances. The only issue is that, likely due to the filmmakers’ relative inexperience, there are occasions, especially towards the end, where the poetic heart-on-sleeve storytelling gives way into mawkishness. But for the most part, a powerful tale.
Rated 03 Nov 2019
85
89th
A beautiful debut with an incredibly assured and confident sense of style. It falters at the conclusion where it gets a little sentimental and perhaps confused about how to end, but everything that comes before it is top notch.
Rated 24 Jun 2019
5
81st
49ers suck
Rated 04 Nov 2019
81
79th
Equal parts poetic and grounded.
Rated 07 Jan 2020
74
29th
Beautiful direction and nearly everyone cast fires on full cylinders. While the overall plot has potential, the lens the film focuses on feels like it narrows to a very personal point that only the filmmakers would find interesting. The film chooses to focus on the personal stuff while letting a lot of the plot threads fizzile out. The lead, Jimmie Fails, is also an awful actor and really can not bounce off the talented cast. A24 brings unique movies but they aren't always gold
Rated 24 Jun 2019
82
80th
Wait the director of this ain't black?? Puts a bit of a weird spin on it. Still very much my kind of flick aesthetically. I got 5 on it is coming back huge in 2019 cinema
Rated 13 Aug 2019
75
59th
A deeply melancholic, gentle, and surprisingly artful examination on the tides of change. On outgrowing your surroundings and dealing with the sacrifices it takes to let go of the memory of home. There are so many innovative fantastic little moments, I hope this gets the recognition it deserves.
Rated 03 Sep 2019
82
80th
"People aren't on thing." And a film isn't one thing. Talbot's stunning gorgeous film is taking a bit of slack for not tackling enough on its numerous subjects, but since when is it the responsibility of a film to start and end the book on particular topic? Gentrification, fragile male masculinity, what home means- maybe the film takes on a bit much which leaves not much meat on the bone. Still, watching the two leads navigate their home with a touch of magical realism is a delight.
Rated 05 Sep 2019
55
10th
Growing up as a 3rd culture kid and a non-American, The Last Black Man in SF loses much of its cultural context appeal and pathos, making the experience a rather dull and disappointing one (for me). I also found the characters rather unsympathetic, attempting to steal a house by squatting just because they had an affinity for it and the city. That said, the film isn't bad (far from it); I enjoyed the music and some of the visual imagery, but less so the dialogue and plot.
Rated 01 Oct 2019
75
64th
I chef kissed my fingers after every scene. It's beautiful to look at.
Rated 03 Jan 2020
80
81st
kağıt üzerinde, son yıllarda *festival seyirci*lerince çok övülen birçok filmin bütün özelliklerini taşıyor film. ancak onların aksine, tamamen samimi. hiçbir kararı, eylemi artık formüle dönüşen o izleyici zevkine yönelikmiş gibi gelmiyor -hatta o izleyici bir nevi anlatının eleştiri odaklarından. sakin, pozsuz, aynı anda farklı kollardan anlatı kurup ana anlatısını kaybetmeyen özel bir film.
Rated 15 Jan 2020
90
91st
This is more of a breakup letter to San Francisco than it is a love letter to the city. I can't believe it flew so under the radar, it should be competing for awards.
Rated 29 Jan 2022
60
62nd
It's a love letter to San Francisco but honestly so many films have been set there and the city is so distinctive-looking that the effect isn't as profound as something like Lady Bird with Sacramento. I was also expecting a lot more racial subjects but we just got a dude skateboarding through town. I'm not sure about making Fails a squatter rather than losing his home as an inheritee. Fav scene: I know he was ultimately proven wrong, but Fails correcting the Segway tour guide was fun.
Rated 15 Jul 2019
4
77th
Filmen har en starkt sorgsen grundstämning (tänk Joni Mitchell's Blue som också förekommer två gånger i soundtracket) som då och då bryts av egentligen ganska svartsynta skämt. Detta sagt har jag ibland dessvärre svårt att följa dialogerna (otextat i amerikansk biograf). Men det är en stark film om ett angeläget ämne med en intressant om än inte helt oväntad twist mot slutet. @BAM
Rated 19 Aug 2020
65
62nd
İki siyahi genç, denize kimyasal karışan San Fransisco'da yaşarlar. Yolculuklarını kaykay ile yapan 2 arkadaş, eski evlerinin boşaltıldığını görür. Eve sahiplenirler. Video klip tarzında çekilen film, konuyu merak ediliyor. Fakat ara öykülerde, netice yok. Kültür çatışması ön planda. Filmin sonunda gerçekler ortaya çıkıyor. Senin dedenin evi yok. Var dendi. Senin dedenin evi yok. Var deeeendiiiii.
Rated 01 Feb 2021
79
44th
A bit tedious
Rated 25 Apr 2020
3
36th
like many films of this type its screenplay relies on platitudes and struggles to unify or flesh out its abundance of ideas, but its vulnerability and yearning seem far more authentic than in, say, blindspotting, and i rather enjoyed talbot's dazed, alienated surrealism; like rolling through your old neighbourhood while tripping on cough syrup, helpless to stop the places you called home mutating and disintegrating at hyper-speed all around you.
Rated 17 Feb 2020
92
83rd
Any movie featuring a cameo from Jello Biafra on a segway gets a gold star from me. Such a great feeling throughout of yearning for a past and innocence that can never come back, and maybe didn't exist to begin with. The attempts to hold onto hope are always lined with a knowing that things won't end well and are already on the horizon, but with that comes so much beauty and humanity within such fleeting moments. Like the city itself, stately dignity and deranged lunacy are constantly at war.
Rated 26 Aug 2019
85
74th
The film captures some beautiful moments that reveal what nourishing roots are held on to by an individual in their "home." Empathy becomes progressive as it is a struggle to find genuine acceptance that accompanies moving on and growing older.
Rated 29 Sep 2019
95
86th
Hit me right in the feels.
Rated 28 Oct 2019
52
39th
Aquário
Rated 23 Dec 2019
67
30th
Abstract, poetic meditation on race relations and related social issues is often times a little frustrating, with Talbot struggling to combine the fanciful aspects of his story with the literal narrative through-line (the central conflict around the literal "ownership" vs "possession" of the house is never really made clear or explored in a meaningful way). As a technical exercise, it is beautifully shot and crafted, with a nice visceral energy to the "street-life" scenes.
Rated 01 Jan 2020
75
71st
"You never own shit." Both lyrical, sharp and funny until the ending, which lets it down quite a bit.
Rated 02 Jan 2020
85
76th
Clearly an incredibly personal film for Talbot and Fails (after all he did name his character after himself). Talbot's sense of style is extremely on point. The cinematography and score are absolutely fantastic. The acting while nothing too spectacular still manages to serve the film wonderfully. It's maybe a little slow, and the scene with Montgomery's play is a mess, but for the most part this is a ridiculously strong debut.
Rated 16 Jan 2020
80
81st
Messy, ambitious, but strongly resonant in no small part thanks to Talbot's excellent eye for composition.
Rated 06 Feb 2020
40
3rd
Grandfatherbuilthouse+trynabesquatter+guysaysthatwasntevenyourhouse+butithinkitis+realtortakesit-saystruebuilder+friendreveals-thinkhealwayskneworforawhile+tellsgirlstheycanthateitunlesstheyloveit
Rated 09 Feb 2020
83
64th
The entire film has a very theatrical feel to it. It's almost unsettling at times how barebones the background is: there's so few people walking the streets, so few cars driving by in this film's version of San Francisco. Our attention is thus drawn to the very personal tale of the two protagonists, but by abstracting away so much of their surroundings, I'm left wondering if more could've been done with San Francisco as a character and setting.
Rated 19 Mar 2020
50
33rd
As far as "elevated hood films" go, I guess I'm more a Blindspotting kind of guy. Lots of striking stuff here -- actor's dynamics seem irresistible, play itself also feels great, as well as those final images at the sea, "people aren't one thing" -- but it's just too bad Talbot's obsessive artsy framing doesn't seem to fit the cathartic, heartbreaking, memory-driven material. It could've been 15 minutes shorter and more straightforward in its "city against myself" approach. Music is awesome.
Rated 31 Mar 2020
80
63rd
It took a while to get me into it, but it was ultimately very interesting especially after learning the personal backstory. I enjoyed the play scene, but I didn't care for the ending.
Rated 06 Apr 2020
79
73rd
How crazy is it that this rather personal story had 5 writers and a white-dude director?
Rated 03 May 2020
67
28th
Joe Talbot, The Last Black Man in San Francisco ile ilgi çekici bir hikaye yazsa da kullandığı dil yüzünden harika sinematografisine ve potansiyeline yazık eden bir ilk film çekmiş. Talbot bir yönetmen olarak gelecek vadediyor ama küçük hatalar yapması üzücü bir sonuca yol açmış.
Rated 25 May 2020
75
77th
It's a strange thing to say that a movie with very little plot really comes together at the end, but it's true. Its themes are rich and numerous, but they all feel mostly hinted at for most of the film. Couple that with very little plot, and it was a little too effervescent for most of its runtime. But then it somehow turns this corner and just feels like everything fits in perfectly. Really interesting and unique.
Rated 23 Jun 2020
80
65th
I was afraid this movie would offer solutions. I was relieved to see it didn't. It waves the white flag of surrender with so much verve and pathos... a true act of artistry and honestly, and so it doesn't matter that individual moments turn out rather clumsy.
Rated 03 Jul 2020
80
66th
Lyrical, sad, sweet.
Rated 12 Jul 2020
71
37th
Well done but just nothing for me to connect with
Rated 18 Jul 2020
95
73rd
Squatters' Rights
Rated 26 Nov 2020
2
18th
Nah, this one flew straight over my head. OK if you look at the technical parts though...
Rated 28 Nov 2020
90
0th
GOOD: Great acting, especially Jonathan Majors who is outstanding in this, beautiful cinematography and visuals, brilliantly off-beat and humorous, great low-key story OF NOTE: flew under the radar when it released BAD: tone change starting in the third act was a little abrupt, vague ending (subjective nitpick)
Rated 28 Nov 2020
90
89th
This is the black movies I wanna watch, not some bullshit, mainstream forced crap we have on the plate if we stick to the big movies. Lyrical, poetic and artsy film that dreams big and lives small. Such is the reality out there, eh? Great movie, would gladly watch it again not too far in the future from now.
Rated 08 Sep 2021
70
65th
Gorgeously shot, and the actors carry their close-ups well.
Rated 21 Oct 2022
7
61st
Gorgeous

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