Review: ‘Black or White’ has the uncomfortable conversations (Includes first-hand account)

Preliminary judgement based on physical traits is virtually engrained in our psyche. When you look at someone, the first thing you notice is their physique, desirability and/or skin colour. No level of education can reverse this process, but as a character in this film suggests, “What matters is your second, third and fourth thought.” Race relations are at the centre of Black or White, but it earnestly explores covert prejudices that many are hesitant to admit and are difficult to eradicate.

Elliot (Kevin Costner) is the loving, Caucasian grandfather of Eloise (Jillian Estell), a mixed race seven-year-old girl. However his wife was her primary care giver, so when she suddenly dies Elliot is at a loss. He drowns his sorrow in alcohol while trying to fill the hole his wife left behind. In the meantime, Rowena (Octavia Spencer), Eloise’s paternal, black grandmother, wants to help fill that void as well — permanently. Eloise’s father (André Holland) is in no condition to take care of her, but Rowena petitions on his behalf in an attempt to obtain full custody. The battle in and out of court is complicated as both grandparents accuse each other of racism while attempting to shield Eloise from becoming a casualty of their tug-of-war.

There is a lot of grey in writer/director Mike Binder’s picture. Neither grandparent is ideal with Elliot’s alcoholism and Rowena’s attention spread across six businesses and the rest of her extended family, but each believe they know what’s best for Eloise and acting with the best of intentions. Furthermore, Rowena’s self-imposed ignorance of her son’s failures is maddening, even if it’s often unclear if all his current behaviour is improper. Though each legal team threatens to throw dirt, the narrative avoids ever making either character the villain even though it has plenty of opportunity to cross the lines of propriety.

At a time when race is once again a hot-button issue, a film that raises uncomfortable but moderate conversations is worth watching. If nothing else, it’s a reminder of how we relate to each other sometimes without even acknowledging it.

Director: Mike Binder
Starring: Kevin Costner, Octavia Spencer and Anthony Mackie

Similar Posts

  • Review: ‘The Revenant’ earns accolades by expertly traumatizing audiences (Includes first-hand account)

    Man vs. nature and man vs. man are two of the oldest tales to be told by the campfire as nothing seems to be more pleasing than people’s ability to dominate something or someone else. The root of evil – and most quests – is said to lie in money, sex and power, though the latter is often the most motivating since it can initiate the other two. Vengeance, however, can make one blind to anything else but its fulfillment. Someone truly bent on revenge will stop at nothing to get it, which both gives them strength and makes them weak. In The Revenant, a man returns from near-death to get retribution from his betrayer.

  • Review: Robin Williams moves and inspires in his last role in ‘Boulevard’ (Includes interview)

    Just days after the one-year anniversary of his passing, one of Robin Williams‘ most moving performances will be going to theatres. His last year was a busy one with four titles slated for release, this being the last to reach audiences. Williams built his career on being a reliable funny man, but he was equally effective in more serious roles. While some parts required a mix of his comedic and dramatic talents, others were much more sombre and meant to rouse rather than amuse audiences. Boulevard is the touching tale of a man who’s lived a lie most of his life.

  • Review: ‘Dead Men Tell No Tales’ except for familiar ones (Includes first-hand account)

    When studios find a cash cow, they’re generally unwilling to let it go even when it seems past due. But as long as audiences are willing to head to the theatre to see the latest installment, studios will keep a franchise going long past its last good movie. That’s not to say there can’t be a return to glory after a bunch of duds, but it’s a rare occurrence. Fortunately dedicated fans keep the hope alive, eager to see if this one could finally be the one. On that note, Pirates of the Caribbean: Dead Man Tell No Tales is new to theatres.

  • This week’s releases are preoccupied with the past

    This week’s releases include the latest season of a horror series and an Australian crime drama; a director’s final action movie; an amusing video game adaptation; a movie from a director’s early career; an intense mini-series; and a number of library releases.

  • Review: ‘Sing 2’ aims for a high note

    ‘Sing 2’ takes the group to the next level as they head to a bigger stage and attempt to impress a cutthroat showrunner with their impressive covers.

  • Review: ‘Banksy Does New York’ captures the chaos, good and bad (Includes first-hand account)

    When graffiti artist and political activist Banksy announced a one-month residency in New York, it immediately piqued people’s interest. It wouldn’t be the first time he created works overseas, but it would undoubtedly be the most anticipated. By broadcasting his arrival, Banksy was guaranteed an audience for his social commentary that would prove to be some of his most provocative statements to date. The documentary Banksy Does New York is not an authorized account of his visit, but rather a chronicle of how it was experienced by the city’s residents.