Film Review: ‘Don’t Look Up’ Uses Satire to Condemn U.S. Government on Climate Inaction

Editor’s Note: This review contains spoilers.

Millions of people in the United States believe the justice system—from the cops in the street right on up to the judges in the courthouse—is fair and unbiased. Millions of people also believe systemic racial and class biases are relics of a bygone era washed away by progressivism, the election of the First Black President, and the great healer called Time.

But those millions of people need to wake up and watch Jason Pollock’s documentary, “Finding Kendrick Johnson” (2021), for a healthy and horrifying dose of reality.

The film begins with Kendrick Johnson, a 17-year-old Black student, who was found dead in 2013 inside a rolled-up mat that was propped up against a little-used wall in the gymnasium of Lowndes High School in Valdosta, Georgia.

If the justice system in this country was fair, this documentary would not exist. But it does because everything about this case—from the moment Kendrick’s body was found—reveals how this system still is excruciatingly racist and classist.

The callousness of the police, officials at Lowndes High School and even other parents is revealed early in the documentary. For example, the police dismissed Kendrick’s mother, Jacqueline Johnson, when she reported her son had not returned home, which was unlike him. Police said Kendrick was probably “laid up with some fast-tail girl.” Later, when Kendrick’s body was found in the gym during school hours, neither the police nor school administrators locked down or closed the school, allowing classes to go on as if everything was normal. Meanwhile, police refused to allow Kendrick’s mother into the gym to see her son’s body and openly disrespected her grief. Then as a local TV news station reported news of Kendrick’s death, one of the parents—a white woman—tearfully told the reporter she was thankful it wasn’t her son. She also wondered how people would retaliate, even though no one knew what happened. Why would she assume anyone would retaliate? Why did she feel comfortable saying she was thankful it wasn’t her son, rather than express any sympathy for the mother whose son had been found dead?

But this was the attitude of not only those at every level of authority. This also was the way much of the community that was not connected to the Johnson family related to the case as the family doggedly pursued the truth behind Kendrick’s murder.

And it is accurate to characterize what happened to Kendrick Johnson as a murder. As the documentary points out, the police quickly gave an explanation for Kendrick’s death, in what could not under any circumstances be called an investigation. That is ridiculous from a purely logical standpoint. As the documentary goes on to reveal, no physical or forensic evidence from the scene corroborated the explanation.

Kendrick’s father, Kenneth, raised grave questions about how the medical examiner’s office handled his son’s body. He also realized the official police narrative that no foul play was involved was grotesquely untrue.

Pollock offers a gripping examination of the similarities between Kendrick Johnson’s case and that of Emmett Till, the 14-year-old Black boy who was lynched in Mississippi in 1955 after a white woman lied that he inappropriately interacted with her. Pollock also places the questionable actions of the Federal Bureau of Investigation (FBI) within the context of the racism upon which the agency was founded and continues to carry out.

We also witness the lonesome pursuit for justice that Kendrick’s family embarked on. We are shown a grieving family, knowing their child has died from circumstances that are neither natural nor accidental, regardless of what the police continued to say. And so, they fought for the truth the only way they knew how: Through protest and direct action. Beginning with sidewalk sign-holding and community marches, to ultimately blocking the entrance to the courthouse to demand an actual investigation into their son’s death, the contempt with which they were treated by the cops, the school administrators, and the racist community was stomach-churning to watch, but too important to turn away from. We are reminded these protests took place in 2014 and 2015 in a community where Kendrick’s aunt recounted white community members still request Black employees not wait on them in stores.

And Pollock also connects modern-day racism to the long history of racism and lynching in the area around Valdosta, Georgia, highlighting the town is named after a slave-owner’s plantation. It becomes clear while the town is majority Black, the political power continues to reside in the hands of the white minority, because that is what white supremacy is.

The vice-grip on power that white supremacy has in the town remains so tight, when Kendrick’s family paid an independent investigator for a second autopsy because of the sham city investigation, they found out their son’s remains were desecrated in the process and his organs were replaced by crumpled balls of newspaper. Yet, no one has been held accountable for that desecration.

Pollock goes on to expose the heights that white supremacy reaches outside of Valdosta to protect the two white boys implicated in Kendrick’s death. This is because not only are they white, they are sons of an FBI agent, Rick Bell. Bell resigned as a result of the investigation into his involvement as well as his sons’ connection. But the large web of complicity involving the people who refused to investigate Bell and his sons includes seven judges who recused themselves from the case. SEVEN.

But it is the evidence uncovered by Pollock—an independent filmmaker—that makes the documentary truly worth the emotional investment required to sit through it. Not because the evidence legitimizes the allegations of a cover-up that Kendrick’s family makes. How the facts have been tossed around like a nuclear potato over the years makes it clear a cover-up was involved. 

Pollock did not find evidence because an informer clandestinely provided documents or because they were secretly accessed in a hack. All it took was researching the FBI’s case files. Just another addition to the lexicon of the FBI’s racist legacy. This entire case should serve as another reminder of why we don’t trust the police to serve the interest of the people.

Seeing the evidence the FBI refused to pursue was too much for the parents. A Black homicide detective, who once served in Washington, D.C.’s Metropolitan Police Department, was so shocked at seeing footage that was withheld from him during his independent investigation, he was overcome with emotion. But this should be a lesson for Black people trying to change the system from the inside: The inside won’t ever treat us like them. We are never as “inside” the system as we think we are.

The ending of the documentary, with the family talking to the now-deceased Kendrick, is just heartbreaking. But it also speaks to the strength and enduring love of family, even in the face of the horrific injustice we have had to deal with in this god-forsaken white-supremacist country. We should not still have to have this kind of strength. But as this documentary, “Finding Kendrick Johnson,” proves, we do.

This film can be viewed on several platforms.

Jacqueline Luqman is a radical activist based in Washington, D.C.; as well as co-founder of Luqman Nation, an independent Black media outlet that can be found on YouTube (here and here) and on Facebook; and co-host of Radio Sputnik’s “By Any Means Necessary.”

 

 

This webinar took place December 2, 2021.

To ensure Toward Freedom publishes more independent journalism, please consider contributing a one-time or monthly donation. You also can mail a check to Toward Freedom, 300 Maple Street, Burlington, VT 05401 USA

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Toward Freedom has 69 years of experience publishing independent reports and analyses that document the struggles for liberation of the majority of the world’s people. Now, with a new editor, Julie Varughese, at its helm, what does the future look like for Toward Freedom and for independent media? Join Toward Freedom’s board of directors to formally welcome Julie as the new editor. She will be reporting back on her time covering Nicaragua’s critical presidential election. New contributors Danny Shaw and Jacqueline Luqman also will speak on their work for Toward Freedom as it relates to the value of independent media. Danny will touch on the rising Pink Tide in Latin America while Jacqueline will discuss an increase in films that have documented the Black struggle in the United States.

Toward Freedom tiene 69 años de experiencia en la publicación de informes y análisis independientes que documentan las luchas por la liberación de la mayoría de la población mundial. Ahora, con una nueva editora, Julie Varughese, a la cabeza, ¿cómo se ve el futuro para Toward Freedom y para los medios independientes? Únase a la junta directiva de Toward Freedom para darle la bienvenida formal a Julie como nueva editora. Ella informará sobre su tiempo cubriendo las elecciones presidenciales críticas de Nicaragua para Toward Freedom. Los nuevos colaboradores Danny Shaw y Jacqueline Luqman también hablarán sobre su trabajo para Toward Freedom en lo que se refiere al valor de los medios independientes. Danny tocará sobre la creciente Marea Rosa en América Latina, mientras que Jacqueline hablará sobre un aumento en las películas que han documentado la lucha negra en los EEUU.

A scene in Nia Dacosta’s film, “Candyman” (2021), might go unnoticed, but it signifies the theme of representation appearing throughout the film. Representation refers to oppressed people being seen in media and politics, but it does not mean they wield power in those sectors.

Actor Yahya Abdul-Mateen II plays the central character “Anthony McCoy,” whom we aren’t sure can be called a protagonist or an antagonist, even by the movie’s end. In the aforementioned scene, he stands at the intersection of a long-abandoned neighborhood, which is composed of former row-house apartments that used to surround the high-rise tower of Cabrini-Green, a public-housing project in Chicago. The street he is facing is empty of typical neighborhood life—adults going to and from work or errands, kids playing, teens hanging out. But remnants of their neighborhood, including the doorless, windowless apartment units that offer nothing but a foreboding darkness, stand as empty, haunting reminders of a people who used to live there but are long gone. The street is marked by a sign for “Mohawk St.”, and as he walks around the corner, another street sign reads “Locust St.” These are actual streets in the Cabrini-Green neighborhood in Chicago, lending credibility to the storyline by anchoring the tale in the actual remains of the infamous neighborhood, whose residents had been long displaced through gentrification.

But the street names seem to also juxtapose the disappearance of Indigenous tribes, like the Mohawk. They are relegated to outposts that are out of sight, out of mind for the rest of us. The impetus behind the mass displacement of both the Black and poor residents of Cabrini-Green and Indigenous people is the locust-like swarm of gentrification, which could be argued is a modern day form of settler-colonialism. It might be a stretch to make this kind of observation of this scene. It might not have been one that DaCosta might have been intending to make. But it is a connection I couldn’t help making, considering “Candyman” is less of a horror film than an indictment of white supremacy and the terror that it inflicts upon the communities it ravages.

I will try not to provide many spoilers in this review. I will say seeing the first “Candyman” (1992) is critical to understanding the expansion of the story and themes in the current iteration. But those themes that are outside of the conventional horror narrative are as important to the experience as continuing the urban legend of “Candyman.”

Abdul-Mateen is convincing in his portrayal of “Anthony,” a young Black aspiring artist struggling to make his mark on the art world. Ebulliant actor Teyonah Parris plays McCoy’s partner, “Brianna Cartwright,” also a young Black up-and-comer working as a curator at the gallery where her partner’s work is being shown. 

The characters live together in one of the trendy, expensive apartments in the gentrified Cabrini-Green neighborhood, long after the towers had been torn down. Brianna and Anthony appear to have a loving, committed relationship, a lovely expression of Black Love that we all enjoy seeing so much, and we need to see more of. That is until Anthony learns about the legend of Candyman from Brianna’s brother, “Troy,” played by actor Nathan Stewart-Jarrett. Anthony is fascinated with the legend and pursues inspiration for new art by visiting what is left of the old Cabrini-Green neighborhood. He meets one of the last remaining residents, seemingly neighborly “William Burke,” portrayed by veteran actor Colman Domingo. 

Here is where I’ll leave off describing the timeline of the movie, because how things happen almost take a backseat to what some of those things seem to represent. 

Anthony slowly transforms into… something, and his physical transformation coincides with what seems like the fraying of his mental state. Anthony attempts to protect his partner, Brianna, in a pivotal scene that exposes something far more sinister in real life than a horror movie boogeyman: The horrifying and lasting effects of trauma and the unaddressed mental illness among Black people, particularly how Black men are misunderstood or ignored when they suffer mental health crises and trauma.

The tendency for many of us to dissociate ourselves from mental illness and trauma is touched on in a seemingly disconnected flashback that Brianna has of a traumatic childhood experience with her father. No, it’s not sexual abuse, but it is traumatic. But because she never confronts what happens, when her partner, Anthony, begins to display behavior that suggests his mental health is fraying, Brianna responds with less and less understanding, and more and more hostility. Focusing more on moving up in her career than her partner’s obvious growing difficulties, she ultimately leaves Anthony alone to face whatever he is experiencing.

Brianna’s brother, Troy, is also pointedly critical of Anthony as the Black Man Living Off a Black Woman. But Troy himself is settling into a relationship with his new partner, “Clive” (played by Brian King), who Brianna accepts and notes is a welcome change from her brother’s usual unsavory choices. It is another interesting play on the trope of listless Black men being leeches on successful Black women that doesn’t sting any more or less because the one employing it in this case is a gay man. Rather it seems that this represents the pervasiveness of the deadbeat Black man stereotype—even other marginalized Black men believe it.

Much of the first third of the film revolves around Anthony’s transformation. That is where the trauma of centuries of racist violence against Black men emerges.

Much of Anthony’s transmogrification occurs in front of mirrors. That is obvious to the storyline and the myth of Candyman, but it doesn’t quite apply to Anthony because he isn’t sure if he is hallucinating or not. When he realizes that what he is seeing is real, the scene conveys less horror movie scare than a deep reflection into what happens to Black men’s souls living in a white supremacist system that loves their culture, their swag, their art and anything else from which society can profit. But this society doesn’t love them, and it will not hesitate to express its disregard for Black men in the most violent, inhumane ways possible.

That long history of racist violence against Black men is told in cleverly laid-out shadow puppetry, which simultaneously removes the physical gruesomeness of the acts portrayed while delivering their inhumane brutality. Each shadow-puppet story relates to a different iteration of Candyman, and the collective trauma of centuries of violent racist brutality against Black men turns the Candyman figure into something other than a villain. Terrifying in his visage and actions, certainly, but the question emerges as the connections are made between this history and the urban legend come to life: Is Candyman the monster, or is the monster what created Candyman?

As viewers hopefully make this connection, they are invited if they are thinking further to ask a larger question: Are Black men, who lash out at a society that finds every way imaginable to destroy them, the monsters society says they are, or is the monster really society?

Indictments of white supremacist society and privilege, and the impact of the trauma of community having been erased, are woven throughout the film, reflecting ways Black people are either dismissed or used before being discarded.

The contempt and condescending paternalism of society’s gatekeepers is represented by the gallery owner and the art critic—and even the Black major-gallery curator—as they have little regard or use for Anthony as he struggles to produce content that will elevate his profile. They do not hesitate to disregard him when he is no longer of use to them.

The ease with which an oblivious white society appropriates Black culture, traditions and even urban legends—believing no consequences exist for that appropriation because they have no connection to the community those things come from—is reflected in a scene that is on the surface typical horror-movie, high-school kid hijinks.

The crushing trauma of surviving the systematic eradication of one’s community, and the desire to get back or revive what was taken or destroyed, is an underlying aspect of the actions of neighborly-seeming sole survivor/resident of Cabrini-Green, William Burke. 

The way society is more accepting of a Black women’s efforts to climb the ladder, and how easily they dismiss Black men as they fall down it—even as they watch—can be extrapolated as we witness Anthony’s growing instability as it manifests itself when he and Brianna are trying to court a renowned gallery owner.

The way that our parents may have been doing the best they thought they could by moving their children out of the ‘hood and into “better” neighborhoods, encouraging them to forget where they came from in an effort to give them a better life, seeps through the cracks as Anthony confronts his mother about a past she has kept from him. The toll of keeping that secret trauma seems to have weighed heavily on his mother, as well, as family secrets are wont to do…  

The running theme of racist police violence in the film—from beginning to end—is reminiscent of… well… every story we know about racist police violence. Brianna is ultimately put in a horrific situation, and then cynically used against Anthony in a way that shouldn’t be unfamiliar to our real-life experience with racist police terrorism. Brianna realizes then who she is, who Anthony is, and that he is the only one who can save her.

I have noticed among online fan reviews wildly divergent reactions to this movie, almost strictly along racial lines. If the reviewer is a white person, they almost unanimously and unequivocally hate this movie. I see these people as those who do not want to face the traumas and horrors of the history and continuing legacy of racist violence against Black people, which I believe this film effectively expands upon from the original “Candyman.” Although, I find it odd some who have seen this film say they loved the original, but hate this one because it’s “too political,” because they clearly missed the political history of Candyman in the original. They’re mad Candyman only kills certain people, but aren’t bothered at all by the historical track record and legacy of the broken bodies and souls of Black men, women, and children that created Candyman. So they do not see the connection between real life reflected in the film’s themes. But selective memory is what this society is great at, so this response is actually not a surprise at all.

But for others who understand what DaCosta’s “Candyman” is trying to say and why, it may not be scary in the traditional slasher/spine-tingler sense, so it’s hard to say whether or not the movie is “good” as a traditional horror film. However, the real-life nightmares and horrors reflected in this film are what many Black viewers will be all too familiar with.  

As Brianna’s brother, Troy, says early in the movie, “Black people don’t need to be summoning shit.” 

We don’t have to summon supernatural boogeymen. The horrors we live are real.

Jacqueline Luqman is a radical activist based in Washington, D.C.; as well as co-founder of Luqman Nation, an independent Black media outlet that can be found on YouTube (here and here) and on Facebook; and co-host of Radio Sputnik’s “By Any Means Necessary.”