Directed by Carlos Lopez Estrada
Starring – Daveed Diggs, Rafael Casal, Janina Gavankar
The Plot – Collin (Diggs) must make it through his final three days of probation for a chance at a new beginning. He and his troublemaking childhood best friend, Miles (Casal), work as movers and are forced to watch their old neighborhood become a trendy spot in the rapidly gentrifying Bay Area. When a life-altering event causes Collin to miss his mandatory curfew, the two men struggle to maintain their friendship as the changing social landscape exposes their differences. Lifelong friends Daveed Diggs and Rafael Casal co-wrote and star in this timely and wildly entertaining story about friendship and the intersection of race and class set against the backdrop of Oakland.
Rated R for adult language throughout, some brutal violence, sexual references and drug use
– Offers a refreshing and artistic side to the Oakland landscape. This is the second movie within two weeks that is set and shaped in this ever-changing city, and Estrada’s one-of-a-kind vision offers us plenty of examples of the diverse cultures that have shaped the city as a boiling melting pot. There are split screen sequences to contrast the differences between the way minorities and majorities view their homes, as well as some stylishly shot drive-by sequences that capture the vast diversity in cultures and colorful blends upon the houses.
– For material, ‘Blindspotting’ itself means to perceive something in one way without understanding it from the complex side that is opposite of ones opinion, so this film had a great responsibility in channeling the inner-city rage and paranoia for African Americans when they come in contact with those sworn to protect us. It’s that rare buddy comedy that has plenty to say about social issues, and the overall gentrification of Oakland, as well as other culturally diverse American cities that continue to lose the soul of their beating hearts.
– Much of the dialogue is also original and seamless for the way it starts and stops between friends. When it’s low key between Collin and Miles, it feels naturally consistent in terms of how the changing topics free-flow, but when the movie has something important to say, it does so in rhymes. At first I worried that this gimmick would wear itself out, but it soon became apparent to me that the rhymes become easier for Collin with the darker turn the film takes. By the last time he does it, you’ll understand that the reason he became so good at it goes far beyond casual practice, instead speaking volumes to the level of anger that he channels in this particular scene.
– On the topic of that gentrification, there are many unique perspectives on the two male leads in the film working as movers, and being forced with the task to trash someone’s memories to provide for someone’s future. Scenes like these impacted me in a way that I never before thought about, and the endless examples of family pictures and belongings left to dust and fade away, gave me an up-close-and-personal vantage point of just how quickly the American dream moves on.
– As far as performances go, I was not expecting the whirlwind of emotional registry that I got from Diggs and Casal. In being longtime best friends, the two male leads converse on being a product of a bad environment growing up, and it’s in that influence that has shaped them as adults effectively. Their chemistry feels natural in channeling the trust between them, all the while the distance that has plagued them since Collin got out of prison. Casal himself is a presence on screen that you wind up and watch deliver. Full of off-beat comic timing and persistent charm, you start to fall in love with him the same way Collin has, making it easy to see the building bricks to their foundation as friends. Diggs himself continues to capture the attention with dramatic depth that forces you to feel the indignities that build up within him. You start to wonder if it is indeed to late for his character to change, and a lot of that depends on Diggs impeccable balance between confidence and vulnerability that shape this modern day enigma before us.
– Sonic boom of an ending. It’s rare anymore that my favorite scene in a film is the movie’s closing moments, but ‘Blindspotting’ built through 90 minutes of vital information and experiences to unload on this climax of devastation that left me shaking even through the credits. Diggs in particular during these moments commands your attention, barking out a list of revelations with the ever-flowing tear in his eye that you almost want to wipe because of your empathy for the character. Estrada sends audiences home shortly after the most moving scene, helping to contain that bottled energy during the first moments when you’re able to speak about them.
– Proper balance of tones that never shift violently. Much of the movie swings like a pendulum, between the pleasantries of a casual buddy comedy, leading eventually into the dark and seedy drama needed to explore systematic racism and police brutality. Surprisingly, never does one area of the film so obviously exceed that of the other, as I felt both were equally important in the contrasting atmospheres between them. The paranoia and uncertainty of the closing act certainly wouldn’t be anything without the humor to compare it to that came before it, and vice versa, and ‘Blindspotting’ feels like two movies that are better together than they ever would be apart.
– It would be easy to compare this film to ‘Sorry To Bother You’ another film released recently that takes place in Oakland, and also deals with racism in its own unique perspective. But for everything right with that movie, ‘Blindspotting’ stands out even further for its own grounded approach. Because of this, I feel like more people will relate to the wisdom enveloped in this film as opposed to its predecessor, but they are both a constant reminder of the stories that we are hearing for the first time, and we’re thankful for such an opportunity.
– Much of the psychological spin inside of Collin’s head does feel a bit scatter-brained and schematic at times for how we embrace it to the unfolding narrative. After Collin spots a police injustice, we get a couple of nightmare sequences, but nothing ever that remains heavy in the way he interacts during the day. This feels like a misfire of direction, because we’re never shown examples of how this traumatic experience changes him until the film absolutely demands it to, and I could’ve used slightly more cohesive storytelling for those brief moments when Miles is alone in frame, without anyone to spot his differences.
– There’s kind of a feeling of selfishness as screenwriters that overcomes me in the regards to Diggs and Casal. They are the two biggest characters in the movie, but that idea shouldn’t spread like a cancer to the lack of depth and deposition for the supporting cast around them. There is one character besides the two leads who is given a lengthy diatribe, and it’s about one of the two leads in the first five minutes of the film. There are several subplots along the way involving Collin’s ex-girlfriend, the symbolism behind certain hairstyles, and the ramifications of the police officer that is just sort of glossed over without much emphasis. One could blame this on the 90 minute run time, but I think it’s an example of inexperience for first time screenwriters, and hopefully their next project will be more inclusive.