X
- 2020
- R
- Amazon Prime Video
- 1 h 54 m
- 2020
- R
- Amazon Prime Video
- 1 h 54 m
Summary On one incredible night in 1964, four icons of sports, music, and activism gathered to celebrate one of the biggest upsets in boxing history. When underdog Cassius Clay, soon to be called Muhammad Ali, (Eli Goree), defeats heavy weight champion Sonny Liston at the Miami Convention Hall, Clay memorialized the event with three of his frien...
Directed By: Regina King
Written By: Kemp Powers
- 2020
- R
- Amazon Prime Video
- 1 h 54 m
- 2020
- R
- Amazon Prime Video
- 1 h 54 m
One Night in Miami
7.1
Where to Watch
Summary On one incredible night in 1964, four icons of sports, music, and activism gathered to celebrate one of the biggest upsets in boxing history. When underdog Cassius Clay, soon to be called Muhammad Ali, (Eli Goree), defeats heavy weight champion Sonny Liston at the Miami Convention Hall, Clay memorialized the event with three of his frien...
Directed By: Regina King
Written By: Kemp Powers
Where to Watch
Top Cast
Metascore
Universal Acclaim
Based on 51 Critic Reviews
83
94% Positive
48 Reviews
48 Reviews
6% Mixed
3 Reviews
3 Reviews
0% Negative
0 Reviews
0 Reviews
Metascore
Universal Acclaim
Based on 51 Critic Reviews
83
94% Positive
48 Reviews
48 Reviews
6% Mixed
3 Reviews
3 Reviews
0% Negative
0 Reviews
0 Reviews
Malcolm’s manner can be didactic, but One Night in Miami is anything but. Instead of a group biopic or a ready-made costume drama, it’s an intellectual thriller, crackling with the energy of ideas and emotions as they happen.
A quintessentially American tale; profane, profound, and beautiful.
User Score
Generally Favorable
Based on 130 User Ratings
7.1
70% Positive
91 Ratings
91 Ratings
21% Mixed
27 Ratings
27 Ratings
9% Negative
12 Ratings
12 Ratings
User Score
Generally Favorable
Based on 130 User Ratings
7.1
70% Positive
91 Ratings
91 Ratings
21% Mixed
27 Ratings
27 Ratings
9% Negative
12 Ratings
12 Ratings
The movie’s gathering momentum, even as it grows more claustrophobic, is owed to a few things. It comes from Ben-Adir’s artfully calibrated performance as Malcolm — here more consumed with doubt, worry and self-awareness than the usual firebrand portrayal. It comes from Odom’s deft sense of Cooke. And it comes from King’s remarkable elegance as a director.
The ensemble cast electrifies Powers’s dialogue, jockeying between black power and integration, activism and commerce, spiritual clarity, pork chops and sex.
To some extent, One Night in Miami remains high-quality filmed theater. But the conviction and stirring feeling brought to it elevate the material, making this an auspicious feature debut. Here's hoping that King, one of our most consistently excellent screen actors, continues to spread her wings in this direction.
As one might expect from a movie based on a play and directed by a famous actor, dialogue and performances are the driving force.
As unbalanced as it might be, One Night in Miami is a well-acted history lesson and a sincere tribute to the men, their friendship, and their inspiring cultural importance. It’s just that King and Powers’ treatment of that outstanding premise hasn’t quite made the leap from stage play to big-screen film; it has landed in TV-movie territory instead.
Would have been better if the story actually went somewhere, the first half and probably more seemed unimportant and only the last 30 mins or so were actually interesting and showed something worth seeing
Report
Regina King in her directorial debut gets a solid film.
And it helps her that the script is based on a play because from her own experience as an actress, she seems to know very well what is the best she can get from her actors, besides that she manages to prevent the characters from becoming caricatures, considering the class of recognized figures they are.
But the problems are triggered by the lack of a clear narrative structure and that Regina King is unable to give a faster pace to her film.
It's not that the famous protagonists stop being interesting, it's only the situations lose impact by not being able to become more active.
One Night in Miami doesn't turn out to be a bad film, but what it represents, despite being convincing, is not enough to carry the full weight of the story.
Good, but just an average good
Report
(Mauro Lanari)
In 1990 Gore Vidal, Venice Film Festival jury president, behaved like many today with this work, and caused a scandal with a "very fragile opinion, at the limits of ridicule": "for him the true author of the film is not the director but the writer, the one who drew up the script and screenplay" (Beniamino Placido: ****/repubblica/archivio/repubblica/1990/09/22/venezia-scatenata-la-vendetta.html). If true, then the debutant Regina King with Kemp Powers and his stage play should be judged for the script published directly as a literary text, if she does not know how to transform it into a different code, the audiovisual one of cinema that demands the "instant cult" of shots and sequences that should scratch the so-called collective imagination, while in this case, seen (heard?) the slew of chatter about chatter, soliloquies, monologues, dialogues, I dozed off. Long live "Rosencrantz and Guildenstern Are Dead" (Stoppard 1990) and the endless reboot of "The Big Sleep" [Hawks 1946].
Report
