I often try to avoid knowing too much about a film beforehand. From skipping trailers to sometimes not even reading the synopsis, I strongly believe the best experience comes from being surprised by the movie. However, films “based in real events or real people” sometimes call for a little background research. Before watching One Night in Miami, I read up on each of the main characters’ lives to understand who they were and what impact they had on the Black community, as well as whether the night depicted in the film actually happened. The gathering of these friends that night did indeed occur, but the conversations they had are fictionalized through Kemp Powers' screenplay and Regina King's directorial debut. Honestly, I’m surprised by how much I enjoyed this film. It would still surpass my expectations even if I hadn't had low ones to begin with. It's one of those films where it’s difficult to find significant flaws. King delivers outstanding directing work, demonstrating impressive control and a deep understanding of filmmaking. Much of the story takes place in a small, inexpensive motel room. Directing a movie confined to a single location is a challenging task for any director, especially a first-time filmmaker, particularly when there’s no action or comedy to provide entertainment. However, King's skillful blocking, framing, and shot composition make each scene feel unique with the help of beautiful cinematography (Tami Reiker), despite the unchanging setting. These technical aspects may seem unimportant to some viewers, but they are a major reason why this film remains remarkably captivating and thought-provoking. Powers’ screenplay—adapted from his own play of the same name—is as innovative as it is insightful. Every line of dialogue is worth listening to carefully. Many of the debates and interactions between the main characters remain relevant today. This is a great accomplishment for the script, although it's also somewhat disheartening that important arguments about civil rights still resonate so strongly almost sixty years later. Malcolm X and Sam Cooke are the two characters who engage in the most discussion on this topic. Their conversations can be enlightening regarding what Black people can do to help their community and change the social-economic system. However, watching them argue over which approach is best or who’s more successful isn't quite as pleasant as one might expect. The intention isn't for the viewer to feel comfortable during these exchanges. While the first act serves as a quick introduction to the characters—perhaps even too quick—the remaining two acts are dedicated to these debates, intended to stimulate thought and reflection on our society’s current state. The ensemble cast is another major factor in this film's success. Everyone delivers terrific performances; Kingsley Ben-Adir (The Photograph, King Arthur: Legend of the Sword) as Malcolm X stands out particularly. He drives the necessary conversations forward with an emotionally powerful performance. Leslie Odom Jr. (Hamilton, Harriet) follows closely with a phenomenal and charming interpretation of Sam Cooke, contributing his beautiful voice to the film’s music (Terence Blanchard). Aldis Hodge (The Invisible Man, Hidden Figures) delivers a grounded yet engaging performance as Jim Brown, while Eli Goree (Race) plays a cocky, overconfident Cassius Clay (later known as Muhammad Ali), who initially seems annoying but quickly proves to be much more. I struggled to find significant flaws throughout the film and even after I finished watching it. It’s one of those few movies that come out each year where it's difficult to criticize any specific component. My Top 10 list for the year was already pretty set, but this exceptional film has earned a place on it. I hope everyone will watch this before the Oscars so it can gain enough support to win some awards. It would be disappointing if One Night in Miami wasn’t recognized as an Oscar-winning film. One Night in Miami is a magnificent piece of filmmaking and storytelling, boasting one of the best ensemble casts of the year. From Regina King's masterful directorial debut to Kemp Powers’ thought-provoking screenplay, it's hard to find fault with such a well-made movie. King's skillful blocking and framing keep each conversation fresh and unique despite the limited location, while Powers’ narrative is filled with impactful arguments about civil rights that still exist today. Kingsley Ben-Adir and Leslie Odom Jr. have more opportunities to shine than Aldis Hodge and Eli Goree, but all deliver phenomenal performances, especially the former. The first act moves a bit too quickly, but the rest of the film is surprisingly captivating until the very end. It may feel depressing at times, but that’s precisely the point – to encourage audiences to reflect on today's society and its socio-economic system. I didn't anticipate it would make my Top 10 for 2020, but here we are… Rating: A-

Source on TMDB