The Films of 2024: Shirley (dir by John Ridley)


In 1972, a New York Congressperson named Shirley Chisholm made history when, in January of that year, she announced that she would be a candidate for the Democrat presidential nomination.  Chisholm, who had already made history when she became the first Black woman to be elected to Congress, was also the first Black woman to run for a major party’s presidential nomination.

(For the record, U.S. Senator Margaret Chase Smith of Maine and the Rev. Channing Phillips were, respectively, the first woman and the first Black to run for a major party’s presidential nomination.  Smith lost the Republican nomination to Barry Goldwater in 1964.  In 1968, Phillips was the first Black to have his name officially put into nomination at a major party political convention.)

Of course, Chisholm did not win in 1972.  She was one of many liberal candidates who declared that they were running as an alternative to the presumed front runner, U.S. Sen. Edmund Muskie.  When Muskie’s campaign stalled in New Hampshire, it was George McGovern (and not Shirley Chisolm, John Lindsay, Eugene McCarthy, or Fred Harris) who benefitted.  For the most part, the media viewed Chisholm as being a protest candidate, one who had a small but loyal activist base but which couldn’t compete with candidates like McGovern and Hubert Humphrey.  Still, Chisholm went into the convention with a handful of delegates and, with McGovern not having enough pledged delegates to win outright, it was expected that Shirley Chisholm would at least be able to get some concessions from him in return for her support.

Political conventions being what they are, things didn’t work out that way.  Due to several backroom deals, George McGovern was able to secure the nomination during the first round of voting.  McGovern went on to suffer a landslide defeat and for years, his general election campaign would be held up as an example of how not to run for President.  Chisholm returned to the U.S. Congress, where she served for another ten years.

Featuring Regina King in the title role, Shirley is a dramatization of that primary campaign.  In many ways, it’s a typical Netflix docudrama.  It’s well-made and it’s tasteful and occasionally, it’s a little bit boring.  Political junkies will enjoy it, particularly if they’ve studied the 1972 presidential election.  My inner history nerd was thrilled as largely forgotten historical figures were casually mentioned in the dialogue.  Who would have guessed that a film released in 2024 would have featured characters talking about the presidential campaigns of Sam Yorty, John Lindsay, and Walter Fauntroy?  Sadly, no mention is made of Patsy Mink.  While Shirley Chisholm was making history as the first Black woman to run for president, U.S. Rep. Patsy T. Mink of Hawaii was doing the same as the first Asian-American woman to run.

It’s an uneven film, one that takes it time getting started.  Filmmaker John Ridley is a better writer than director.  Some of the scenes, like the ones of Chisholm mentoring a young Barbara Lee (Christina Jackson), felt a bit too much on the nose.  (That said, Barbara Lee did start her career as a volunteer with the Chisholm campaign and, while in Congress, she regularly cited Chisholm as an inspiration.)  But then there were other scenes that worked wonderfully, like Chisholm visiting segregationist George Wallace (W. Earl Brown) after Wallace had been shot.  The film is at its best when it reaches the Democrat Convention and Chisholm goes from being elated to disappointed as one of her strongest allies goes from supporting her to announcing that it’s time for all the black delegates to line up behind McGovern.  Regina King’s performance, especially towards the end of the film, captures both Shirley Chisholm’s strength and her vulnerability.  It’s not always easy being a trailblazer.

Finally, if you want to learn more about Shirley Chisholm’s 1972 presidential campaign, I suggest the 2005 documentary, Shirley Chisholm ’72: Unbought and Unbossed.

Film Review: Deliver Us From Evil (dir by Scott Derrickson)


Deliver_Us_from_Evil_(2014_film)_posterI had high hopes for Deliver Us From Evil, largely because it was directed by Scott Derrickson who, in 2012, gave us the wonderfully atmospheric and disturbing Sinister.  Unfortunately, having now seen Deliver Us From Evil, I can only call it the anti-Sinister.  Whereas Sinister took the viewers by surprise, Deliver Us From Evil is predictable.  Whereas Sinister was full of genuinely disturbing moments, Deliver Us From Evil is full of jump scenes that are scary for a few seconds but then swiftly vanish from the memory.  Whereas Sinister was fascinating for featuring a morally ambiguous hero, Deliver Us From Evil features a hero who is so mundanely heroic that you find yourself hoping that he’ll fail just as punishment for his smug hubris.

Perhaps the only way that Deliver Us From Evil tops Sinisteris that it features none other than the King of Television Snark, Joel McHale.  As someone who loves both The Soup and Community, I’m always happy to see Joel but he’s oddly cast here, playing a muscle-bound, adrenaline junkie cop.  It’s not that Joel does a bad job.  In fact, he’s probably the most likable and compelling character in the entire film.  It’s just that you can’t look at him on screen without asking, “Joel, why are you here!?”

Anyway, Deliver Us From Evil is pretty much your standard demonic possession/cop thriller hybrid.  Mysterious murders are being committed.  The murderers speak in a weird language and, it soon turns out, all of them are linked both to the discovery of ancient tomb in Iraq and to a painting company that was started by a group of returning veterans.  It’s up to cops Ralph Sarchie (Eric Bana) and Parker (Joel McHale – why, Joel, why!?) to solve the crime.  Helping them along the way is a former drug addict priest named Mendoza (Edgar Ramirez).  If you’re guessing that the whole thing leads to a violent exorcism on a stormy night – well, you’re definitely on the right track.

Scott Derrickson does the best that he can with the material but he’s hampered by the fact that the film is based on a book that was written by the real-life Ralph Sarchie.  Perhaps as a result, the film’s Ralph is such an upright and moral hero (though he does yell at his daughter in one unpleasant moment but even that is excused as simply being evidence of how personally Ralph takes his job) that he’s also not that interesting of a character.  Eric Bana, who is actually a pretty good comedic actor, struggles to find some sort of depth to Ralph but ultimately, it’s just not there.  And since 90% of horror is psychological, Deliver Us From Evil cannot recover from revolving around such a flat protagonist.

As a result, Derrickson has little option but to fill the film with standard horror movie scenes.  The scenes, as themselves, work well enough but the story is so predictable that they don’t make much of an impact.  The end result is a film that you’ve seen a hundred times before.

The only difference, of course, is that this version features Joel McHale dancing around with a knife.