One Night in Miami

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.

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.

This movie was powerful, insightful and beautifully done. Regina King did an amazing job

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

"One Night..." was decent. Nothing spectacular. The dialogue was forced and unrealistic. Not enough happens. The actors look like they are rehearsing instead of performing. It's too bad because a great movie is hidden somewhere within this story, but it never came through for me.

(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].

bruh what is this movie......there is no literal point cuz nuthing like this actually happened in real life.......i'm pretty sure the four never met in real life.....this movie is a **** bout you make a movie based on only one of them......utter garbage