Keeping Starr mostly ignorant of that threat, the film focuses on her worries over what would happen to her life at school if she went public about having seen the shooting. (The script, eager for us not to judge Khalil, tells us he only sold drugs to help his cancer-struck grandmother.) King is almost completely undeveloped as a character, but his menacing shadow will hover over the rest of the film. As the man for whom Khalil was “selling that stuff,” he wants to make sure Starr doesn’t tell police about his connection to the case. Her father, understanding PTSD, watches her sleep and has a trash can ready when the nightmares make her vomit her uncle Carlos (Common), a cop himself, shields her from the insensitivities of a post-shooting investigation and tries to make the ways of government sensible and an estranged part of the family circle, the drug dealer King ( Anthony Mackie), takes her for a ride and assures her he has been in her shoes.īut King has more than Starr’s mental health on his mind. One of the film’s more subtle points is showing us how well equipped the black men around Starr are to respond to this horror’s aftershocks. (And only occasionally suffers from that engineering.) Marking a career highlight for Tillman creatively, it’s likely to be a commercial one as well. Not the only current film to address this dilemma - god help us, the phenomenon continues to be so commonplace it demands several different kinds of stories in response - it is one solidly engineered to engage viewers across racial/economic/political spectrums. A vivid dive into the human cost of police shootings that never feels like a movie of the week, George Tillman, Jr.’s adaptation of Angie Thomas’s novel The Hate U Give makes an unlikely girl the sole witness to an unarmed boy’s death and watches her struggle to decide whether to speak up.
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