‘American Fiction’ reviews: Cord Jefferson’s directorial debut ‘spares nobody’ while tackling identity politics with a sense of humor [Review Round-Up]
On December 15, 2023, Amazon MGM Studios released the critically acclaimed “American Fiction” in theaters nationwide. Already in the awards spotlight, Cord Jefferson‘s feature directorial debut follows a frustrated novelist-professor (Jeffrey Wright) who jokingly writes an outlandishly stereotypical “Black” book out of spite, only for the book to be published and receive widespread fame and acclaim.
The film nominated for two Golden Globes and five Critics’ Choice Movie Awards is a dark comedy holding fresh at 94% on Rotten Tomatoes. The critics consensus reads, “Jeffrey Wright and ‘American Fiction’ will forever be inextricable thanks to the actor’s committed approach to the pointedly humorous and insightful material.” The ensemble cast includes Tracee Ellis-Ross, Issa Rae, Sterling K. Brown, Erika Alexander, John Ortiz and Adam Brody. Read our full review round-up below.
SEE Jeffrey Wright (‘American Fiction’) set to become his Golden Globe category’s 3rd Black winner
Pat Mullen of That Shelf writes, “The laughs come consistently in ‘American Fiction’ as writer/director Cord Jefferson leaves nobody outside the crosshairs in this satire of identity politics. However, the laughs take a moment to start rolling. As evidenced by the jam-packed screening at the Windsor International Film Festival, audiences need to read the room with this one. There’s a chuckle here and a giggle there as Thelonious ‘Monk’ Ellison (Jeffrey Wright) lands on extended leave from his teaching gig after offering comments in class that make Lydia Tár seem like the hallmark of political correctness. ‘May I laugh?’ the partly muffled giggles in the theatre ask. ‘Is this ok?’ they wonder as Monk rants and raves. Once everyone realizes that ‘American Fiction’ spares nobody any mercy, laughter consumes the theatre with a collective sigh of relief. ‘American Fiction,’ this year’s People’s Choice Award winner at the Toronto International Film Festival, tackles the essentialism of identity politics with a sense of humour that invites everybody in. Yes, Karen, it’s alright to laugh during ‘American Fiction.’ The manager approves.”
Monica Reid of Far Out Magazine says, “Screenwriter Cord Jefferson’s directorial debut is a hilarious, sharp-edged black comedy-drama, positively dripping with irony and multiple levels of sarcasm. Adapted from Erasure, Percival Everett’s novel in diary form, ‘American Fiction’ takes on issues of identity, racial stereotyping, and the role of literature in either telling minorities’ stories or pigeonholing them. The plot is reminiscent of Spike Lee’s ‘Bamboozled,’ but this film is at once more sober and more mischievous.” Adding, “The humour in ‘American Fiction’ is biting, topical, and often unexpected. No one is completely safe from satire in ‘American Fiction,’ from the clueless publishers who accept Ellison’s book as a genuine memoir to the self-congratulatory ‘supporters of diverse voices’ who buy it. Even the central character is gently mocked for his literary pretensions and his dismissal of any racial issues that don’t affect him directly. Many of his beliefs are called into question over the course of the film, sometimes in surprising or ridiculous ways, and no one’s point of view can be safely dismissed.”
SEE Sterling K. Brown on the ‘genius concept’ of ‘American Fiction’ [Exclusive Video Interview]
Mike Shutt of Slashfilm praises the film, stating, “What makes the satirical bent of ‘American Fiction’ so impactful is that it isn’t a complete cartoon interpretation of the literary world. Cord Jefferson firmly places this film in the real world but just turns the notch on the outrageousness knob about 10-15 percent. The more real the obliviousness of the white publishers (Miriam Shor and Michael Cyril Creighton) or the white filmmaker (Adam Brody) who wants to adapt the novel for an awards-bait movie feels, the harder the laughs are. To some, the tropes are all too recognizable, and all we need is that slight adjustment for the jokes to land. For those who don’t realize how much their vision of Black artists lines up with the white people in the film, this could serve to be a rather eye-opening experience that hopefully allows them to realize they are laughing at themselves.”
Elissa Suh of Literary Hub notes, “Cord Jefferson’s striking debut offers insightful condensations, and its resourceful script finds a way around having to show ‘My Pafology,’ the story-within-a-story that the book fully presents. Other alterations, however, have both understated and significant reverberations, ultimately smoothing the nihilistic edges of the book into something amusingly ironic though less explosive. The characters are animated with a certain vibrancy, exhibiting a zest for life absent in the novel, which is also illuminating in its portrayal of an upper-middle-class Black family.”
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