The Last Black Man in San Francisco

Though his character bears Fails’ name and the picture is autobiographical, it’s not a documentary. Fails and co-screenwriter Rob Richert have embroidered on his experiences to create a story that melds realism with make-believe.

Like Barry Jenkins similarly set Medicine for Melancholy, The Last Black Man in San Francisco supplies positivity to the struggle.

The drama is an endlessly inventive and devastating work, a lyrical ode to a city that has turned its back on its most devoted citizens.

Half mood-piece, half character study, The Last Black Man In San Francisco is a deeply moving lament on the effect of gentrification on the people on the Bay Area’s margins.

A patchwork of impressions, ruminations and unsolved mysteries, The Last Black Man in San Francisco teems and even overflows with life and love, some might argue at the cost of narrative focus or momentum. That strikes me as precisely the point.

The Last Black Man plays like a poetic portrait, part tender ode and part cartography of lived experience, bringing a nuanced and hard-earned perspective to the screen.

While Talbot and Fails claim to have walk-and-talked their way all over San Francisco, the script — and especially the dialogue — is the most disappointing element of their first feature.

Through the sweeping soundtrack with its moments of tension and **** the daydreamy views of the city and the moments of gorgeous minutiae...this film elicits the youthful dreams/illusions of grandeur in the viewer, if you let it. Preoccupied with ourselves, we all get caught up in justifying our faults and finding societal failures. This film allows our daydreams and grim realities to coexist, for a time.

Smart shots,good acting and editing... It had all the ingredient to be a great movie but somehow couldn't manage to get **** a bad first experience for Joe **** definitely raised the bars for his next works

This semi-autobiographical film revolves around Jimmie Fails (who stars and also co-wrote). Along with his best friend (Jonathan Maators), he dreams of reclaiming the beautiful Victorian home that his grandfather built. This film is loaded with introspective musings, interesting imagery and stylized situations (even a trash-talking Greek chorus). There's a basic story underlying all of this, but it's much more about creating an artistic exploration of the issues than narrative.

This film strikes me as wildly self-indulgent. I saw it with my brother and we agreed to walk out after about an hour. The script is largely non-existent. Much of the dialogue is impossible to follow and cries out for sub-titles. Within the first hour we get to see about 1 minute of Danny Glover, which is a terrible waste. I so enjoyed Glover's performance in Jim Jarmusch’s very impressive “The Dead Don’t Die” that the fact that he was in this movie got me wanting to see it. All in all a very disappointing and disorganized mess that goes to the "whimsy well" at least once too often and then makes a habit of it. Final note: because only young black male actors are allowed to use the N-word, the film goes overboard and uses it "in your face" ad nauseum. Who knows maybe that’s why so many white, middle class, liberal film critics felt compelled to give it a glowing review after squirming and sweating in their seats for a couple of hours?

Definitely not for the first time, and certainly not for the last, I was once again taken in by very positive word of mouth. After being shown at the Sundance festival the Internet lit up with raves. When I came home, after seeing "The Last Black Man in San Francisco", I went to the metacritics web pages to find out what they saw that I didn't. "...poignant filmmaking with an invigorating spirit" (Detroit News), "A story that melds realism into make-believe" (Seattle Times), "Lyrical, visually stunning, the poem to loss, lies and making peace with the past" (Washington Post), "It's the kind you fall into with your whole heart" (Entertainment Weekly) and "A fresh and original story of two outcasts..." (The Hollywood Reporter). The only words I agree upon from all these are '..story of two outcasts.' The film is based on the true story of Jimmie Fails, who stars as Jimmie, and Jonathan Majors, playing his buddy called Montgomery, who is a writer and Jimmie's 'love' with an old home that he states as fact that his grandfather had built in 1946. One of the problems I had was the ages of Jimmie and Montgomery but without giving any spoilers it didn't jibe with quite a few points in the story. There are hints of what could have been but that make-believe prevents the film from going to make it deeper including the friendship between two men that is strong without being homoerotic. There is a Greek chorus of sorts made up of 5 men that are always 'across the street' that provides a reason for a factor near the end of the film but only takes up a lot of unnecessary time. This is only one incident that slows up the film but though we meet Jimmie's father, aside from knowing they don't have a relationship we don't get much further than that and even less of the relationship with his mother who he meets, 'accidentally' on a bus. The film really revolves around the two guys and the house but strays too far in many other parts of the script. There are some beautiful shots of San Francisco including Fails and Majors skateboarding together and singularly through the streets of the city but a scene of a white man running and stripping through the streets and another white man, nude, sitting on a bus bench next to Fails may seem to want to show some of the vibes in San Francisco but it is nothing you won't see in New York, New Orleans, Houston or any other big city. Are they white for a reason? If so I didn't get it. Obviously I didn't get a lot in "The Last Black Man in San Francisco" but except for, maybe, a half hour, I found the movie to be slow and in some episodes, for instance, the play, to be way too much make-believe to take seriously or just a simple question of at their age why are they living in a very cramped place with Montgomery's blind grandfather, why doesn't Fails have a phone though he works, now and then, it seems. By the way, Danny Glover plays the grandfather and it feels like his part was drastically cut! It was a choice of seeing "Yesterday" or "The Last Black Man In San Francisco" and Allen picked the latter so I'll blame him. (Mmmmm--should I mention that he slept through most of the first hour?)