A Lot of Nothing

The filmmaker plays with our assumptions around justice and race. While A Lot of Nothing uses elements ripped from the headlines, in this context, what you expect to come from it will say more about you than it does the script. The revelation of the final act changes everything that has gone before. Hang onto the edge of your seat for a wickedly entertaining ride.

Even if the onyx-dark humor and sardonic formal control go MIA eventually, “A Lot of Nothing” is really quite something.

There’s an earnest, yearning passion here that makes the film feel vital even at its clumsiest.

Despite some third act wobbles, A Lot of Nothing marks a strong, stylish, and suspenseful debut from co-writer and first-time feature director Mo McRae.

The film struggles to maintain the verve of this opening sequence (which nails a specific anxiety of liberal middle-class Black people), subsequently becoming a series of set pieces — some more energetic than others — in search of a thesis.

In his feature debut, the director Mo McRae displays a nice way with actors and a gift for visual tension, but in aiming for absurdist humor, he lands on something more vexing. It’s the script — by McRae and Sarah Kelly Kaplan — that’s the problem.

A Lot of Nothing takes a fraction of a stance on how Black people are socially caricatured and systemically discriminated against. So when the film reaches its big reveal and the discussion of it, it spins any assumption of intention into obscurity.

I loved this movie, it's good story, very good stuff, very good photos and sinario , i can watch it again

It seems that the story of this movie revolves around the known of the crime of the neighbor. It seems to be one of those movies about a family with a criminal neighbor

A hard drama with comedic-level misunderstandings about the racial divides and general mistrust that regrettably continue to exist. A Lot Of Nothing starts the conversation, asks critical questions, but cannot seem to come up with a satisfying end note.