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    Movie Review

    Legal drama Just Mercy illuminates infuriating racial injustice

    Alex Bentley
    Jan 9, 2020 | 1:43 pm
    Legal drama Just Mercy illuminates infuriating racial injustice
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    Legal dramas can often feel less than interesting as, with a few exceptions, their outcomes are preordained. A real-life case ups the ante a bit more since people, as opposed to characters, are not as predictable. Numerous elements are combined in the new film Just Mercy in a bid to make it stand out from the many similar films that have come before it.

    Harvard Law graduate Bryan Stevenson (Michael B. Jordan) moves to Alabama in the early 1990s to try to help prisoners on death row who may have been wrongfully convicted. One of those prisoners is Walter “Johnny D” McMillian, who was convicted of killing a woman based almost entirely on the testimony of another convicted killer, Ralph Myers (Tim Blake Nelson).

    With the help of clerk Eva Ansley (Brie Larson) and others, Stevenson works day and night for McMillian and others like him. This being the South and Stevenson being black, he runs into absurd obstacles and racism of all types in his quest. It’s only through sheer perseverance and the help of some people willing to stand up against the system that he and McMillian stand a chance.

    Directed and co-written by Destin Daniel Cretton (Short Term 12), the film holds a steady pace that lays out the story well. There are the expected ups and downs of the appeals process, but Cretton and co-writer Andrew Lanham keep things sharp by not solely relying on clichés and mixing up the perspective of the story.

    Stevenson is the main character and it’s his work that is highlighted throughout, but secondary characters are given a lot to do. While we don’t get to know Ansley all that well, it’s clear that she is a person of great depth and compassion. Time spent with McMillian in prison yields some of most emotion of the film thanks to his friendships with fellow death row inmates Herbert Richardson (Rob Morgan) and Anthony Ray Hinton (O’Shea Jackson, Jr.).

    Unlike some other films with race at their center (cough, Green Book, cough), Just Mercy is rarely heavy-handed with its depictions of racism faced by Stevenson, McMillian, and others. There are instances when a situation feels over the top, but a step back makes you realize that what African Americans face in a state like Alabama is immensely more complicated than most people can even fathom.

    Jordan, as he’s shown many times in the past decade, is a strong presence even when the role calls for him to take a backseat to others. Both Larson and Foxx are saddled with some distracting hair at times, but the talent of each actor shines through despite that hinderance.

    Just Mercy would be an Oscar contender if 2019 weren’t already one of the strongest movie years in recent memory. As it stands, it’s another great showcase for Jordan, Larson, Foxx, and Cretton, and a reminder that advocates like Stevenson are needed to ensure our justice system remains fair for everyone.

    Michael B. Jordan in Just Mercy.

    Michael B. Jordan in Just Mercy
    Photo by Jake Giles Netter
    Michael B. Jordan in Just Mercy.
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    Movie Review

    Zendaya and Robert Pattinson face pre-marriage jitters in The Drama

    Alex Bentley
    Apr 2, 2026 | 12:50 pm
    Robert Pattinson and Zendaya in The Drama
    Photo courtesy of A24
    Robert Pattinson and Zendaya in The Drama.

    Robert Pattinson and Zendaya will be seen together a lot at the movies in 2026, with mega-films like The Odyssey and Dune: Part Three coming out later in the year. But fans can get a much more intimate look at the two stars in a film that offers a unique take on relationship struggles, The Drama.

    Emma (Zendaya) and Charlie (Pattinson) are a New York couple who are engaged to be married. After a quick-but-effective montage of their courtship, the story joins them as they are just days away from their wedding. As they get all the details like music, flowers, and food finalized, a visit to the caterer with married friends Rachel (Alana Haim) and Mike (Mamoudou Athie) proves fateful.

    A few too many drinks leads to each member of the group deciding to divulge the worst thing they’ve ever done. While each story is slightly shocking, Emma’s takes the cake, so much so that Charlie starts to question their relationship. As they get closer to the wedding date, Charlie finds it increasingly difficult to get beyond Emma’s revelation, with each real or imagined conversation threatening to derail their previously tight bond.

    Written and directed by Kristoffer Borgli, the film is provocative, funny, and cringey as it tries to get to the center of human dynamics. Charlie, Rachel, and Mike have starkly different reactions to Emma’s story, and the way those play out over the course of the film provides, well, the drama. The harder Charlie tries to justify Emma’s past, the more his underlying feelings start to eat at him, causing friction not just between him and Emma, but in other parts of his life, as well.

    Strangely, especially for a character played by Zendaya, Emma recedes more than expected. Her explanations for her previous actions are timid at best, and she mostly seems to be waiting for Charlie to forgive her instead of questioning why she needs forgiveness. Borgli favors the male side of the equation, and in so doing he doesn’t dig as deep into the root of the issue as he could have.

    Still, the downward spiral at the center of the story has a propulsive nature to it, and each successive step proves to be both hard to watch and impossible to turn away from. It also helps that Borgli manages the tone well, keeping interactions between characters relatively light so that the film doesn’t turn into one like Marriage Story.

    Pattinson, who gets to use his own British accent for once, put on an interesting performance that is much better than his last two roles in Mickey 17 and Die My Love. He has good chemistry with Zendaya, who manages to shine despite being laden with a role that doesn’t play entirely to her strengths. Haim and Athie do good work in small roles, while Hailey Grace and Hannah Gross make an impact in brief appearances.

    The situation in which Emma and Charlie find themselves in The Drama is not one to be wished on anyone, but it’s presented well by Borgli, keeping tensions high for the bulk of the film. Despite the two main characters not given completely equal footing, the story finds a way to get to a satisfactory ending.

    ---

    The Drama opens in theaters on April 3.

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