'Truman & Tennessee' Review: An Immersive Portrait of Literary Icons, Friends, and Rivals Height: Unknown. Experienced on its own terms, this delightful snapshot of boozy dance-floor seduction plays like an artist unleashing years of repressed good vibes by applying his lyrical style to pure, unbridled bliss for almost the entirety of its 68 minutes. The film is an ode to the romantic reggae genre called “Lovers Rock” and to the Black youth who found freedom and love in its sound in London house parties, when they were unwelcome in white nightclubs. There isn’t too much dialogue, but that works out fine, because the music does the talking. Height: Unknown. One night, one homemade dance club, one slow-burn reggae reverie that culminates, by the end, in an exultant moment of fist-raising Black Power, and one connection that just might last: “Lovers Rock” is nothing more (or less) than a snapshot of an era, a moment, a series of lives. When he sees his father assaulted by two policemen, he finds himself driven to revisiting a childhood ambition to become a police officer; an ambition borne from the naïve hope of wanting to change racist attitudes from within. (It’s also McQueen’s boldest maneuver since he held that disturbing closeup of Carey Mulligan singing “New York, New York” for the same duration in “Shame.”). Copyright © 2020 Penske Business Media, LLC. Movie, TV, whatever: It’s one of the best dance parties ever filmed, full stop. Halloween in Hollywood: Where to Celebrate the Spooky Season, Yes, 68 minutes! Small Axe is executive produced by Tracey Scoffield and David Tanner for Turbine Studios and Steve McQueen for Lammas Park. It remains to be seen exactly how this concise tale of West Indian Londoners at an all-night rager fits into the larger context of “Small Axe,” the BBC-produced anthology five feature-length stories about the Black West Indian struggles to which “Lovers Rock” belongs. As a salute to the potential for lovers rock music to capture the mood of the moment, these sequences careen through one small wonder after another, from the giddiness of “Kung Fu Fighting” that finds everyone gleefully chopping through the air to the unquestionable apex of the movie, an a cappella rendition of Janet Kay’s 1979 single “Silly Games.”, Here, as the music drops out and the crowd keeps singing — for five mesmerizing minutes — one woman’s high-pitch wail resolves on the same bluesy note, the feet stamping coalesces into a mighty beat, and the collective performance transforms into a dazzling, hypnotic representation of cultural solidarity coalescing in real time. Education was co-written by Alastair Siddons and Steve McQueen.
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