Hitting the spot

20 January 2019 | Art and Entertainment

Blindspotting swings between high drama and low comedy, between terrifying danger and sweet moments of near-romance.

Then it climaxes with an intense, brilliant monologue that is an almost otherworldly dare, a piece of performance art that some viewers are bound to question.

Like all great movies, Blindspotting is a force to be both reckoned and wrestled with. No matter where you land in your assessment, your expectations are guaranteed to be shattered.

Blindspotting begins with Collin (Daveed Diggs) who is out later than his curfew allows, mere days before his probation ends. When he witnesses a cop shoot a fleeing suspect in the back, he is torn: Should he report it, which could potentially put him back behind bars?

According to The Guardian, where a melodramatic film would have made this predicament the whole show, director Carlos Estrada pushes on. There's hair that needs straightening, receptionists to be wooed, and work for Collin to do alongside grumpy pal Miles (Rafeal Casal).

Still, Collin's internal tensions can only be channelled for so long: The movie around him grows bristlier with every frame, as if reacting to world events in real time.

According to film critic Roger Ebert, much of Blindspotting feels haphazard and digressive. “Only upon retrospection does one realize how cleverly constructed and intricately woven together everything is,” he says.

The cast includes Janina Gavankar as Val and Jasmine Jones as Ashley.

WE give it 4 out of 5 stars.

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