Review by James Lindorf
“Queen & Slim” aspired to spread social commentary on the injustice that spawned the Black Lives Matter movement through a romance story with the most intense meet-cute moment in cinematic history. While on a very forgettable first date Slim, a black man, and Queen, a black woman, are pulled over for a minor traffic violation by every black person’s worst nightmare. The situation escalates with sudden and tragic results, ending in Slim killing the police officer in self-defense. Terrified and in fear for their lives, Queen and Slim decide to go on the run, leaving Ohio and fleeing to the south in search of freedom. When the dash cam footage is released, the couple unintentionally become a symbol of trauma, terror, grief and pain for people across the country. “Queen & Slim” go on the lam nationwide this Thanksgiving.
First-time film director Melina Matsoukas brought a sense of style and surprising emotion, cultivated from directing dozens of music videos, including Beyoncé’s “Formation” and Rihanna’s “We Found Love.” Matsoukas worked with a script from up-and-coming television powerhouse Lena Waithe (Boomerang, The Chi, Twenties) and James Frey (I am Number Four). Though he doesn’t have an expansive background in film, Frey is still a very well-known name after the controversy surrounding his 2003 addiction memoir, “A Million Little Pieces,” and the resulting feud with Oprah. Matsoukas makes a few mistakes along the way, particularly with an odd use of voiceover and the film’s pacing. If the film would have been kept to an hour and 50 minutes instead of 2 hours and 12 minutes, it would have kept the tension at a high level and prevented the romantic moments from feeling prolonged and forced. They also made a few peculiar decisions to keep the characters on the run. Every time they saw themselves in a paper, or heard their names on the radio or television, it was ignored. If they knew they could turn themselves in safely because everyone acknowledged how psychotic the cop was, it would be an end to the story they wanted to tell, not what would be best for the characters.
The film’s strongest element is the acting. Daniel Kaluuya is great as Slim, a young man focused on his faith and family. He may not be above a Tinder hookup but his goal is life long love with a true partner in crime. Unfortunately, Slim is not a substantial character. We don’t know much more about him at the end of the film than we did at the beginning. While the script doesn’t make full use of Kaluuya’s talent, it is his amiability that makes Slim so easy to cheer for. Holding her own with Daniel was Jodie Turner-Smith who made her first appearance in a staring role. Turner-Smith’s Queen is the central character, even though it is supposed to be about a relationship. Queen is the character with an arc and easily out paces Slim in dramatic moments. The best sequence in the film takes place at the home of Queen’s uncle Earl, a veteran turned New Orleans-based pimp. It is where we really get to learn about Queen and why she is the way she is, and it gives Turner-Smith several chances to shine.
Another strength would be the way the film highlights all of the different responses to their situation among other black people. Responses range from ardent support, indifference, and even anger at getting people riled up and potentially making their day-to-day lives more difficult. It is also great to see two dark skinned actors in lead roles playing good people falling in love in spite of the most extreme circumstances; something that is still fairly rare in many large-scale films.
There is a lot to love about Queen & Slim, but between the voiceover, pacing and a few unnatural decisions, it is clear they haven’t reached what they aspired to. The film and its subject matter will be discussed by its viewers, but because it is just a solid 7 and not an all-time classic, it will not help spur a nationwide discussion.
