![]() I wanted to love this movie so much after appreciating "Moonlight," but "Beale St." feels bloated by about 25 minutes, which could've either been filled with more compelling story or deleted entirely. The exception to this is Fonny and Daniel's conversation, where Brian Tyree Henry steals the show as a recently released, PTSD-stricken parolee. ![]() ![]() The same can't be said for "Beale St." Fonny and Tish are often shot just looking at each other, when it is very much established in the opening sequence how in love they are. On a second watch, I found "Moonlight" to be one of the better edited films of the 21st century: not an ounce of fat can be found in that movie's lean 111 minutes that isn't integral to its story. Told scatter-shot to fill in some holes on the story, and for a more dynamic watch, Oscar nominees Joi McMillon and Nat Sanders flounder with the editing scissors. ![]() A dive into love, justice and race relations in the black NYC scene, Jenkins' writing is only assisted by another show of craftsmanship by James Laxton's cinematography and Nicholas Britell's gorgeous score. Barry Jenkins' ambitious follow-up to "Moonlight" features another (doomed?) love story, this time with convict Fonny trying to prove his innocence with the help of his partner Tish. ![]()
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