Hardly the first time an acclaimed/award-bound film opening early in the year was soon revealed as something less than it was cracked up to be. In writer/director Ryan Coogler’s case, it's his attempt to add import to horror tropes by grafting on racial commentary between shock cuts and grue (a la GET OUT/’17), here with vampire dogma, but leaning more toward INVASION OF THE BODY SNATCHERS/’56 than THE WALKING DEAD/’10. A pity too, as the first hour (before any vampires comes into frame) is strong, handsome moviemaking thanks to fluid tech* and a handsome physical production. Especially in a look that doesn’t smother its 1932 setting with cliché faded visuals, instead ramping up dye saturation to pudding-rich 1940s TechniColor levels. Michael B. Jordan and Michael B. Jordan star as twins, home in the South after seven years in Chicago, flush with seed money to open a ‘Blues’ Juke Joint they somehow put together in a day. (Musicians, caterers, security, space, ballyhoo.) An instant success on opening night until a trio of close harmony Whites are refused entry and show their true Vampiric colors. Worse, turns out they’re something of an Advance Front for the local KKK who come along after sunrise takes out the Living Dead. Coogler reducing the true horror and evil of the KKK, letting them off the hook by taking away full responsibility. ‘The vampire made me do it.’
ATTENTION MUST BE PAID: As an old Blues Man along for the ride, Delroy Lindo is the film’s true survivor.
SCREWY THOUGHT OF THE DAY: *Sure, modern digital techniques have made doubling techniques all but invisible. But they’ve also taken away much of the fun in them as a visual trick and physical feat.
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