Read on Twitter
Shaka King's @JATBMFilm turns the murder of Fred Hampton into bold, capital-C Cinema: a large-scale American sociopolitical epic, forged in the fires of the GODFATHER films, PRINCE OF THE CITY and MALCOLM X, but shaped by King into something distinct and blisteringly urgent.
It is a portrait of a nation divided released into another such moment; a movie that puts the Black Panther Party front and center after many that have relegated them to the sidelines of the '60s counterculture narrative; and a staunch refusal to romanticize history for the sake
of bigger ticket sales. In its very choice to frame things through the eyes of the "Judas" Bill O'Neal - the Robert Ford of this particular frontier- @JATBMFilm forces us to contemplate an American tragedy from the perspective of its enabler, along with the larger systemic forces
that drew him into Faustian pact. No bromides are proffered. Many discomfiting questions hang in the air long after the end credits roll - as does the electricity of @lakeithlakeith's and Daniel Kaluuya's genius performances, and the aching tenderness of @Domfishback.
