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The Harder They Fall is a western in its truest form and an ode to the real cowboys of America. With a swagger that rivals your favorite music videos, the cast alone excites your nether regions. Regina King and Idris Elba battling it out with Jonathan Majors!!? You would think this was your wettest of dreams, but when you open your eyes, you realize it’s a nitty-gritty spaghetti western, and the buck stops there. My take may be an unpopular opinion, but the story and structure weren’t as strong as their cast. Don’t get me wrong; it gave me a special feeling in my heart to see all the melanin just radiating off of the screen and the badassery. It is important for representation, no doubt about it. But if you are reading this article, you know we have some Black Nerd Problems with representation alone. So, before I’m shut down in the comments, let me tell you how I really feel. Don’t worry, no spoilers ahead, just unfiltered opinions.
The Hateful Eight
I rush to the screening room for The Harder They Fall, sweat dripping and out of breath in excitement. I pull out my phone, promising the PR reps I don’t have COVID and showing them my vaccination records and negative test results. I sit down in high anticipation at what should be a masterpiece in film craft and acting acumen. Of course, with my critic hat on – I’m also ready to tear it to shreds if need be. The film begins with a reminder that these characters may not be real, but they do exist. If you don’t know, let me give you a quick lesson. The real history of cowboys begins as all things do – slavery. The cowboy was the boy who tended to the cows, yea the slave. But I digress in the western reality that tinsel town never wanted to depict, was cowboys consisted of Mexican, Black, and Native people and was run by women. (Forreal look it up). The point is, this cast is a better representation of a western than John Wayne and Clint Eastwood flicks could ever be. It brings a smile to your face as these talented eight play on the screen.
In an interesting choice, (possibly directorial) certain characters use a lower register and accent than they usually have. I only mention this regarding Zazie Beetz, who is taking on a character we have not yet seen her play. She is a badass saloon owner (again historically accurate) “Stagecoach Mary,” playing up her swag with a deep voice and a physicality that favors a shotgun owner. Her hair is inspirational as always to boot. It was refreshing to see her out of her norm, but I couldn’t help but feel it was an interesting casting choice. Nothing against her performance, she did what needed to be done, and I ship her always. However, I couldn’t help feel a more ‘Mischone type’ of actor could have also done it justice. Regina King hits the scene as “Trudy Smith,” of course holding her own. She sits as Idris, “Rufus Buck’s” right hand, along with Lakeith as “Cherokee Bill.” Her lower register and grit resembled a particular Boondocks character. If I closed my eyes, I could just see Huey in a leather hat and gun holster complete with toothpick in mouth, and I loved it. Seeing Regina play what I feel is a villain – was everything and gave further proof we have only yet to see the depths of her range. Then, of course, Delroy Lindo fit like a glove in his role as the ‘justice by any means’ sheriff and Lakeith, the strange muscle who uses his knowledge and skill to justify cruelty.
Idris plays our antagonist in his full-on cowboy “Stringer Bell” and then some. Opposite our protagonist Jonathan Majors, playing “Nat Love” who is still looking fit. Yes – his allure is something most cannot put their finger on – but really want to put their fingers on… I digress. He never holds back, and we thank him for that. I especially want to give props to Danielle Deadwyler, who, along with this seasoned cast, held my attention and gave a stellar performance as Zazie Beetz’s right-hand muscle Cuffee. This character who breaks the confinements of conventional gender norms is so welcomed, and Deadwyler holds her own. I have my gripes on how the writing and direction handled this character at times—forcing them to wear a dress and making light of their outward presenting appearance versus their gender assignment. If I am lenient, as a period piece, that choice is probably accurate for the times.
As predicted, the performances were delightful, from to RJ Cyler as “Jim Beckworth” – the Quick and The Dead ‘Kid’ character who wants to be the fastest hands in the west, the sharp shooting “Bill Pickett” played by Edi Gathegi down to the surprising dramatic role Deon Cole plays as “Wiley Escoe.” Now I know this sounds like the highest praise, but would you have thought any different with this cast? Where the film lacks is obviously not in talent.
The Good, The Bad, and The Ugly
The movie begins with classic bold text splashed across the screen as we’re flown into the credits. The first scene gives us the good ‘ol backstory—the motivation for a lifelong path of revenge. The story stays the course of every classic western to a fault. Instead of innovating for modern storytelling, it sticks by the book. Back in the day, westerns emphasized the shootout, the allure of the cowboy, and the story was avenging their family, protecting their town, farm, or whichever from bandits. They always include the show of skill, a standoff, and a big reveal at the end that mirrors a telenovela twist. This film was no different, and I wanted it to be different. This doesn’t make it a bad movie, but with a cast this appetizing, I wanted something a bit more inventive, with a story more engaging than the performances.
Even when the twist is revealed, you see it coming a mile away. The quality of the film was up to par, the budget was just right, and it was all presented in a nice tight package. However, it just doesn’t wow or engage in a way that you would expect, especially after such a magnetic trailer.
True Grit
The movie also takes on a level of gore resembling a – and I HATE to say it, a Tarantino film. I want to be clear I am not aligning this movie with Quentin Tarantino – not at all. Only as a comparison to a modern storyteller of westerns who leans into the violence of the genre. This film is not shy with blood, flesh wounds, and bullet holes through the head. Limbs are lost, and a lot of blood is spilled – but all of that is standard for a modern western flick. Where the film seeks to innovate is in music and stylistic shot selections. The first low camera angle brought me right back to 90s music videos and good ‘ol SWV and Da Brat kick camera sequence. Instead of kicking cameras, they’re hatching out an ambush plan. Once I took a deeper look at the credits, I noticed the Director Jeymes Samuel is known for his music direction on the Great Gatsby and his experience as a singer/songwriter. The movie is also Executive Produced by Sean Carter himself. Yup, it’s the HOV Jay-Z. No wonder I thought I was watching an extended music video. Soundtracks in films like Belly, Atomic Blonde, and Baby Driver added an underlining element of storytelling through music. The Harder They Fall used it as a mood or swag dripped over these dramatic sequences. I would have enjoyed the former, where the music would enhance the story and engage us in the characters’ plight.
Mr. Samuel also had a hand in writing the film along with writer-producer Boaz Yakin, whose notable works are the New York Indie film Fresh and the iconic Remember the Titans movie. This explains the intensity of the singular plot point, the choice of music, slow motion entrances, and the unconventional camera angles. I wasn’t mad at them. It just gave the movie a certain flair you don’t usually see in feature films and left you wanting a bit more.
It gets top marks for hitting the target right on the bull’s eye and a cast that wears the boots oh so well. As the audience, you just wish you had some skin in the game and more to write home about.
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The post ‘The Harder They Fall’ Review: A True Ode to the Western appeared first on Black Nerd Problems.
The Harder They Fall is a western in its truest form and an ode to the real cowboys of America. With a swagger that rivals your favorite music videos, the cast alone excites your nether regions. Regina King and Idris Elba battling it out with Jonathan Majors!!? You would think this was your wettest of dreams, but when you open your eyes, you realize it’s a nitty-gritty spaghetti western, and the buck stops there. My take may be an unpopular opinion, but the story and structure weren’t as strong as their cast. Don’t get me wrong; it gave me a special feeling in my heart to see all the melanin just radiating off of the screen and the badassery. It is important for representation, no doubt about it. But if you are reading this article, you know we have some Black Nerd Problems with representation alone. So, before I’m shut down in the comments, let me tell you how I really feel. Don’t worry, no spoilers ahead, just unfiltered opinions.
The Hateful Eight
I rush to the screening room for The Harder They Fall, sweat dripping and out of breath in excitement. I pull out my phone, promising the PR reps I don’t have COVID and showing them my vaccination records and negative test results. I sit down in high anticipation at what should be a masterpiece in film craft and acting acumen. Of course, with my critic hat on – I’m also ready to tear it to shreds if need be. The film begins with a reminder that these characters may not be real, but they do exist. If you don’t know, let me give you a quick lesson. The real history of cowboys begins as all things do – slavery. The cowboy was the boy who tended to the cows, yea the slave. But I digress in the western reality that tinsel town never wanted to depict, was cowboys consisted of Mexican, Black, and Native people and was run by women. (Forreal look it up). The point is, this cast is a better representation of a western than John Wayne and Clint Eastwood flicks could ever be. It brings a smile to your face as these talented eight play on the screen.
In an interesting choice, (possibly directorial) certain characters use a lower register and accent than they usually have. I only mention this regarding Zazie Beetz, who is taking on a character we have not yet seen her play. She is a badass saloon owner (again historically accurate) “Stagecoach Mary,” playing up her swag with a deep voice and a physicality that favors a shotgun owner. Her hair is inspirational as always to boot. It was refreshing to see her out of her norm, but I couldn’t help but feel it was an interesting casting choice. Nothing against her performance, she did what needed to be done, and I ship her always. However, I couldn’t help feel a more ‘Mischone type’ of actor could have also done it justice. Regina King hits the scene as “Trudy Smith,” of course holding her own. She sits as Idris, “Rufus Buck’s” right hand, along with Lakeith as “Cherokee Bill.” Her lower register and grit resembled a particular Boondocks character. If I closed my eyes, I could just see Huey in a leather hat and gun holster complete with toothpick in mouth, and I loved it. Seeing Regina play what I feel is a villain – was everything and gave further proof we have only yet to see the depths of her range. Then, of course, Delroy Lindo fit like a glove in his role as the ‘justice by any means’ sheriff and Lakeith, the strange muscle who uses his knowledge and skill to justify cruelty.
Idris plays our antagonist in his full-on cowboy “Stringer Bell” and then some. Opposite our protagonist Jonathan Majors, playing “Nat Love” who is still looking fit. Yes – his allure is something most cannot put their finger on – but really want to put their fingers on… I digress. He never holds back, and we thank him for that. I especially want to give props to Danielle Deadwyler, who, along with this seasoned cast, held my attention and gave a stellar performance as Zazie Beetz’s right-hand muscle Cuffee. This character who breaks the confinements of conventional gender norms is so welcomed, and Deadwyler holds her own. I have my gripes on how the writing and direction handled this character at times—forcing them to wear a dress and making light of their outward presenting appearance versus their gender assignment. If I am lenient, as a period piece, that choice is probably accurate for the times.
As predicted, the performances were delightful, from to RJ Cyler as “Jim Beckworth” – the Quick and The Dead ‘Kid’ character who wants to be the fastest hands in the west, the sharp shooting “Bill Pickett” played by Edi Gathegi down to the surprising dramatic role Deon Cole plays as “Wiley Escoe.” Now I know this sounds like the highest praise, but would you have thought any different with this cast? Where the film lacks is obviously not in talent.
The Good, The Bad, and The Ugly
The movie begins with classic bold text splashed across the screen as we’re flown into the credits. The first scene gives us the good ‘ol backstory—the motivation for a lifelong path of revenge. The story stays the course of every classic western to a fault. Instead of innovating for modern storytelling, it sticks by the book. Back in the day, westerns emphasized the shootout, the allure of the cowboy, and the story was avenging their family, protecting their town, farm, or whichever from bandits. They always include the show of skill, a standoff, and a big reveal at the end that mirrors a telenovela twist. This film was no different, and I wanted it to be different. This doesn’t make it a bad movie, but with a cast this appetizing, I wanted something a bit more inventive, with a story more engaging than the performances.
Even when the twist is revealed, you see it coming a mile away. The quality of the film was up to par, the budget was just right, and it was all presented in a nice tight package. However, it just doesn’t wow or engage in a way that you would expect, especially after such a magnetic trailer.
True Grit
The movie also takes on a level of gore resembling a – and I HATE to say it, a Tarantino film. I want to be clear I am not aligning this movie with Quentin Tarantino – not at all. Only as a comparison to a modern storyteller of westerns who leans into the violence of the genre. This film is not shy with blood, flesh wounds, and bullet holes through the head. Limbs are lost, and a lot of blood is spilled – but all of that is standard for a modern western flick. Where the film seeks to innovate is in music and stylistic shot selections. The first low camera angle brought me right back to 90s music videos and good ‘ol SWV and Da Brat kick camera sequence. Instead of kicking cameras, they’re hatching out an ambush plan. Once I took a deeper look at the credits, I noticed the Director Jeymes Samuel is known for his music direction on the Great Gatsby and his experience as a singer/songwriter. The movie is also Executive Produced by Sean Carter himself. Yup, it’s the HOV Jay-Z. No wonder I thought I was watching an extended music video. Soundtracks in films like Belly, Atomic Blonde, and Baby Driver added an underlining element of storytelling through music. The Harder They Fall used it as a mood or swag dripped over these dramatic sequences. I would have enjoyed the former, where the music would enhance the story and engage us in the characters’ plight.
Mr. Samuel also had a hand in writing the film along with writer-producer Boaz Yakin, whose notable works are the New York Indie film Fresh and the iconic Remember the Titans movie. This explains the intensity of the singular plot point, the choice of music, slow motion entrances, and the unconventional camera angles. I wasn’t mad at them. It just gave the movie a certain flair you don’t usually see in feature films and left you wanting a bit more.
It gets top marks for hitting the target right on the bull’s eye and a cast that wears the boots oh so well. As the audience, you just wish you had some skin in the game and more to write home about.
Want to get Black Nerd Problems updates sent directly to you? Sign up here.
Follow us on Twitter, Facebook and Instagram!
The post ‘The Harder They Fall’ Review: A True Ode to the Western appeared first on Black Nerd Problems.
Writer: Tom Taylor / Artist: Robbi Rodriguez and Adriano Lucas / DC Comics
We’re now halfway through Nightwing’s visit to Gotham and the Fear State arc in Nightwing #85, and while Nightwing was a prominent figure in this issue, it was actually Batgirl who was the point of reference.
In search of an ultra-hacker named Seer who has taken over all of Oracle’s systems, it’s actually Batgirl who we follow internally. It’s her narration we read instead of Nightwing’s. I found that to be an interesting choice.
This is the second issue where Taylor does something that grabs my attention in a crossover story. I think he gets that it’s hard for the reader sometimes to have to navigate these stories, especially when they’re sandwiched between other narratives, but he really does a good job at making them feel fresh, and he really keeps us engaged.
The action in Nightwing #85 does a good job of that as well. We get smoke bombs, Magistrate punches to the face and the gut, and an incredible fear toxin sequence that you know can’t really be happening, but you still can’t believe what you’re seeing. Shoutout to Rodriguez for creating a really captivating moment.
Due to the Magistrate taking over the security of Gotham, the city’s bright lights have been turned all the way up. It’s so weird seeing Gotham like this. We’ve seen it during the day despite its staple being the dark red and dingy skies, but now it’s bright at night. It feels so off. It’s like the unsettling feeling you get with the bright white hospital lights. Whenever these guys defeat the Magistrate, that light bill is gonna be crazy.
I can’t believe I’m saying it, but I’m looking forward to how this crossover ends. Seer is an interesting villain, and I’ll honestly read anything Taylor writes. So, I’ll see you next month to talk about the conclusion.
9 Fear Toxin Nightmares out of 10
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Writer: Skottie Young / Artist: Jorge Corona / Image
Since it’s been a while since we’ve talked about The Me You Love in the Dark, let’s just do a quick recap of the first and second issue. Ro had moved out to a clearly haunted house in the middle of nowhere in an attempt to reset her vibe and get back to being an artist (as many creative types have always dreamed of doing). But the entity that is clearly haunting this house is something much more eldritch than your typical ghost, although it does seem to be a good conversationalist if nothing else.
The Me You Love in the Dark #3 continues the story and Ro and the entity that resides in the house have become close (which as the issue progresses becomes more and more of an massive understatement). Skottie Young takes the middle issue to flesh out the intimate relationship between the two principle characters, and it’s a subtle pivot from what I was expecting, but one that certainly makes for a more interesting narrative.
There is a certain type of fascination watching Ro and the Entity interact so intimately, further compiled by the haunting artwork that Jorge Corona supplies to the story. The playfulness of the shadows in this wonderful set piece of an old house, the glimpses into the entity’s true visage, the way that time passes, and how the existential stress about creativity somehow manages to manifest in a very physical way. This is a visually engrossing book that captivates you as you progress through the pages, and even though by all accords, there are very evident horror aesthetics and elements in play, there is also an odd sort of kindness and care that emanates through the page.
Young and Corona skillfully tinker with the tropes of haunted houses and creative endeavors beautifully and as a midpoint issue of the five-issue series, I am fully vested in seeing how all of this plays out. Ro and the not-ghost that inhabit her house have an weirdly undeniable chemistry, as equally undeniable by the fact that the not-ghost has not shown their full hand of cards just yet. It’s a fascinating read that I’m excited to see conclude over the next two issues.
9.0 “Encounters” out of 10
Enjoying The Me You Love in the Dark? Check out BNP’s other reviews here.
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