Film Review: Steve McQueen’s ‘Small Axe’ Opener ‘Mangrove’

With three weeks to go until Election Day, new public opinion polls in two key battleground states that President Trump flipped four years indicate that Democratic presidential nominee Joe Biden holds sizeable leads over the president. The New York Times surveys conducted by Siena College show the former vice president topping Trump 48%-40% among likely voters in Michigan, and Biden leading the president 51%-41% among likely voters in Wisconsin.

Playing a 65-year-old New York high-society widow who burns through her savings and moves to Paris with her son in Azazel Jacobs'French Exit, Michelle Pfeiffer sucks the juice from each line like a Louisianan devouring a crawfish. It's a full-on diva turn — a smorgasbord of side-eye and shade, of lacerating one-liners dispatched between drags on cigarettes and slurps of martinis.

Owen Gleiberman Chief Film CriticIn “Red, White and Blue,” the fifth and final film of Steve McQueen’s Small Axe anthology (and the third to be shown at this year’s New York Film Festival, after the lilting reggae house-party movie “Lovers Rock” and the wrenching social-protest courtroom drama “Mangrove”), Leroy Logan (John Boyega), a British research scientist, figures that he’s had enough of the lonely work of staring at tissue specimens through a microscope, so he decides to become a member

Todd McCarthy Red, White and Blue, the third and final installment of Steve McQueen’s Small Axe quintet of films about racial issues specific to Great Britain being world premiered at the New York Film Festival, zeroes in on the ordeal of a young black Londoner set on helping to definitively break the color barrier at London’s Metropolitan Police Force in the early 1980s.

One of the great joys of the New York Film Festival has been watching Steve McQueen’s new film anthology “Small Axe.” Composed of five works set between the late-’60s and early-’80s, the two recently screened films — “Lovers Rock” and “Mangrove” — are intimate slices of life of a little-represented community, British Black folks from the West Indies, resiliently thriving amidst a racially hostile environment.

One of the great joys of the New York Film Festival has been watching Steve McQueen’s new film anthology “Small Axe.” Composed of five works set between the late-’60s and early-’80s, the two recently screened films — “Lovers Rock” and “Mangrove” — are intimate slices of life of a little-represented community, British Black folks from the West Indies, resiliently thriving amidst a racially hostile environment.

NEW YORK -- In a movie year mostly lacking big, ambitious releases, Steve McQueen’s “Small Axe” anthology is an unqualified main event. While many other filmmakers are on hold, the “12 Years a Slave” director has raced to finish not one but five new films.The movies, spanning 1968 to 1985, are each individual stories about the West Indian community in London.

Naman Ramachandran BBC Studios sells Steve McQueen’s “Small Axe”; ZDF commissions natural history series “Africa From Above”; “Married at First Sight” gets live wedding; ITV orders game-show format “Game of Talents”; travel format “Heads and Tails” goes to Spain; Jellyfish promotes Natalie Llewellyn; German Film Office opens in New York; and Monte-Carlo TV Festival sets 2021 dates.BBC Studios has secured several global pre-sales for Oscar, BAFTA and Golden Globe-winning filmmaker Steve McQueen‘

Steve McQueen's ravishing Lovers Rock summons a potent sense of a community gathering that caresses and cocoons those present, shutting out the hostilities of the city outside. The second movie to premiere at the New York Film Festival from the director's Small Axe anthology for Amazon and BBC, Mangrove, which is set a decade earlier, in 1968-70, shows how another regular gathering place for the same immigrant community provides a cherished home away from home.

Machetes, myths and murky storytelling all find their way into Tragic Jungle (Selva Trágica), the lushly made, if highly enigmatic, fifth feature from Mexican writer-director Yulene Olaizola (Fogo), which screened in the main slate of the New York Film Festival after premiering in the Horizons section in Venice.

Also Read: 'One Night in Miami': Regina King Opens Up About Directing 4 Men Portraying Real-Life Icons (Video)Boyega and Wright’s entries were featured at this year’s New York Film Festival, which was held virtually due to the COVID-19 pandemic.

“If you are the big tree, we are the small axe,” this is the Jamaican proverb that has inspired filmmaker Steve McQueen‘s, “Small Axe,” a collection of five films inspired by real-life events about ordinary people showing courage, belief, and resilience to overcome injustice and achieve something transformative in their West Indian community.

Earlier in the week, the 2020 incarnation of the New York Film Festival got underway officially, with one part of Steve McQueen’s Small Axe anthology, Lovers Rock, serving as the Opening Night Selection. Having seen it, the movie serves as both a strong start for NYFF this year, as well as a smaller and far less awards friendly selection.

Like most aspects of life, the New York Film Festival looks a little different this year, switching to a mostly virtual format in light of the pandemic.

Also Read: Sofia Coppola, Pedro Almodovar and Orson Welles Doc Added to New York Film Festival LineupWhile there’s always a sense that Walsh is enough of an innate politician to always be aware of Wiseman’s camera without ever acknowledging it – even in more intimate settings, he always talks like someone making sure he can’t be misquoted – he brings a real personal touch to the job, whether he’s relating to those veterans and their need for counseling and outreach by sharing stories of his own

Owen Gleiberman Chief Film CriticIn the most transporting scene of Steve McQueen’s “Lovers Rock,” we’re at a London house party that has just hit its smoky seductive dirty-dancing groove. It’s 1980, and most of the revelers have West Indian roots.

Todd McCarthy Watching Lovers Rock is akin to going to see Romeo and Juliet and only staying through the first act, to departing a basketball game after the first quarter, to sipping the soup and skipping the rest of the meal. A mere wisp of a thing, Steve McQueen’s 68-minute feature, the only fictional section of a five-film anthology called Small Axe about London’s West Indian community between the late 1960s and 1980, steeps you in the atmosphere and music of the latter date.

Also Read: Steve McQueen's 'Lovers Rock' Set as New York Film Festival Opening Night FilmCinematographer Shabier Kirchner (“Skate Kitchen”) gets us so close to the action that we’re reminded of why students at Catholic high-school dances are always admonished to leave room for the Holy Spirit.This is very much an ensemble piece, introducing us to various members of London’s West Indian community, but our protagonist is Martha (Amarah-Jae St.

As his “Lover’s Rock” opens the New York Film Festival, Steve McQueen says he’s delighted to return to the festival seven years after “12 Years A Slave”.