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Movie Review

Selah and the Spades thinks high school is all drama and no fun

Alex Bentley
Apr 16, 2020 | 2:51 pm
Selah and the Spades thinks high school is all drama and no fun
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Movies about high school or kids of high school age are rarely experimental with their stories. They tend to deal with ideas like young love, budding sexuality, cliques, and bullying, things that are universal no matter where a person attended school. But every now and again, filmmakers attempt to stretch the boundaries of what a high school movie can be.

That’s definitely the case with Selah and the Spades, which is set at a private school where different factions help the student body engage in vices like cheating in classes, illegal parties, gambling, and, of course, drugs and alcohol. That last vice is the purview of the Spades, led by Selah (Lovie Simone), who rules over her small kingdom with an iron fist with the help of her friend Maxxie (Jharrel Jerome).

When a new student, Paloma (Celeste O’Connor), comes in, Selah takes her under her wing in a bid to groom her as the new leader of the Spades when Selah graduates. Her crusade, however, is complicated by the ambitions of the leaders of the other factions, a suspicious administration, and her own hubris.

Written and directed by first-time feature filmmaker Tayarisha Poe, the film feels like a mixture between Dear White People and Heathers, although it has no interest in having fun. The usual high school film would use the presence of the factions’ vices to engage in all manner of hijinks, but those things are deadly serious in this film. More than one student winds up getting a beatdown when they don’t abide by the code of keeping the goings-on secret.

More to the point, Poe is only truly interested in one faction – the Spades. She shows the factions meeting and interacting on multiple occasions, but everything revolves around Selah and her controlling personality. How the other factions go about their business is barely touched upon, but we get lots of details about what types of drugs the Spades sell, how they keep track of who orders what, and more.

What the film doesn’t have is much narrative momentum. There are teases of a story, like allusions to a past incident that haunts Selah or the factions bickering about who’s really in charge. But none of it adds up to much and there doesn’t ultimately seem to be anything at stake. A moment toward the end that would be a game changer in any other film falls flat, feeling more like the status quo for these particular characters.

Also, it’s unclear what to make of the fact that the faction called the Spades, a term that has been used as a slur toward African Americans, is made up entirely of black students. Did Poe, who herself is black, intend it as a reclaiming of the word? The film does not address any racial divisions that may exist at the school, although it’s notable that the headmaster, portrayed by Jesse Williams, is black.

On the positive side, the majority of the actors come off well, delivering performances that never undermine the dramatic material. Simone, best known for the OWN series Greenleaf, has a cool confidence that makes Selah a force with which to be reckoned. Jerome, who won an Emmy for his role in When They See Us, makes the most of his time on screen. O’Connor and Anna Mulvoy Ten make roles that could have been one note into something much more interesting.

Selah and the Spades is not an escapist film by any stretch, so it’s hard to say if it will have an appeal for the high school crowd or adults. But given that it’s premiering on Amazon Prime Video instead of in theaters, it might stand a chance to garner an audience looking for something new.

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Selah and the Spades premieres exclusively on Amazon Prime Video on April 17.

Lovie Simone in Selah and the Spades.

Lovie Simone in Selah and the Spades
Photo courtesy of Amazon Studios
Lovie Simone in Selah and the Spades.
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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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