Malcolm & Marie (dir. by Sam Levinson, 2021)

Stars John David Washington and Zendaya spark, seer and sizzle in this red-hot romantic drama from writer-director Sam Levinson. Malcolm & Marie’s synopsis is quite simple. Filmmaker Malcolm (Washington) and his girlfriend Marie (Zendaya) return from his debut film’s premiere to their luscious home. Malcolm’s elation at his success is met by an indifferent Marie who resents her partner for not thanking her in his speech. The argument spirals into an evening of cruel revelations, honest confessions and loving testimonials as the pair attempt to reconcile their complicated relationship.

The film does exactly what it sets out to do with little to no surprises along the way. It’s no criticism though, as Washington and Zendaya’s undeniable chemistry as an imperfect complicated couple brings a real energy to the story’s limited reach. They’re both quite phenomenal, confirming their ‘stars in ascendance’ label. They bring the melodramatic and comedic chops needed to pull off the needs of the very theatrical script.

The arguments ebb and flow with the power struggle constantly shifting from one scene to the next. A fair amount of time is given to each character, allowing for there to be a necessary balance established throughout the film. The dialogue is flashy and dramatic which can be a tad over the top at times, but the actors deliver it so convincingly that Levinson gets away with most of it. There’s also a sharp wit that brings a much-needed comic relief to what could have been a real heavy and rich romantic slog.

Despite the occasional flaw in his script, Levinson’s direction is really good. As well as overseeing the two masterful performances, his gorgeous and carefully crafted black and white camerawork is powerfully atmospheric. His choice of shots and sounds are often instrumental in raising the film’s tension.

However, Malcolm & Marie is divided between an ambitious yet enjoyable depiction of modern relationships and a filmmaker’s quarrels with his critics. Although some of Malcolm’s comments on the racial politics involved in arts criticism hold a lot of truth and are worth discussing, his rambling eventually descends into a pointed tirade at a single white female critic from the LA Times. Its uncomfortable to watch Levinson channel his own frustrations through the character of a black filmmaker, as the scene feels all too much connected to a negative review Levinson received from an LA Times critic for his previous film Assassination Nation (2018).

The film would undoubtedly benefit from wholly focusing on the relationship rather than being a conduit for Levinson’s own frustrations, especially as Malcolm & Marie suffers from being about twenty minutes too long. In lieu of Levinson’s mistakes, the two leads carry this story and make it a really enjoyable watch. They (along with the fancy camerawork) provide enough charisma to hold an audience focused on just two people in a confined setting. Although the chances of having a relationship go through so much in one night feels a tad unlikely, Washington and Zendaya bring a natural flow to Levinson’s lofty ambitions.