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In "Malcolm & Marie", a couple returns home from a celebratory evening of one's film premiere when an oversight during an appreciation speech causes long simmering tensions in their relationship to boil over. This film from Sam Levinson, the creator of the hit HBO teen drama series, "Euphoria", was quickly put together when the show had to delay production on the next season due to COVID-19 concerns. Shot in secret last summer with a minimal crew and only his "Euphoria" star, Zendaya and John David Washington in the cast, the writer/director has boldly set about crafting an intimate, character-driven drama (filmed artfully in black & white by Marcell Rév) that could be made under the safety protocols required during this time. But that's the problem with "Malcolm & Marie". He has not delivered a contemplative indie feature film but something that feels more like an extended, underdeveloped episode of a television drama.
Malcolm (Washington) is a film director, jubilant over the audience's response to his new feature. But what he's really waiting for are the critics' reviews to come in. Meanwhile, his long-time girlfriend, Marie (Zendaya), silent and clearly agitated, begins to prepare Malcolm a late-night meal of macaroni & cheese. Finally noticing that she's perturbed, he asks what is bothering her. And what Marie reveals, that she's upset she wasn't thanked in his speech at the premiere, begins a long night of lengthy, intense conversations involving perceived grievances and bitter accusations. Their exchange starts with an uncomfortable discussion before gradually becoming far more destructive personal attacks.
There is a lot of talking in "Malcolm & Marie"; some of it is shrewd and provocative. But what it mostly feels like is an endless therapy session with a couple who have failed to communicate properly, something I really didn't want to listen to. The film has been set up to be modern love story, dealing with issues facing young people today set in the new woke Hollywood. Yet Malcolm's passionate declarations of unwavering love for Marie that follow his ugly and brutal takedowns of her is not romantic. He manages to be both disdainful of her presence yet fearful he will lose her. That is not love. It is co-dependency.
Zendaya, who has gone from virtuous Disney Channel starlet to playing a struggling teenage drug addict in Levinson's acclaimed drama series, delivers a compelling performance as Marie. Full of pent-up rage and nagging insecurities, she effectively battles Malcolm for recognition of her contributions to his life and his career. The actress won an unexpected yet well-deserved Emmy for her work on the show last year (making her, at the age of twenty-four, the youngest winner for Outstanding Lead Actress in a Drama Series) and this film certainly solidifies that she has a bright and promising career ahead of her. But even with only a twelve-year age gap between her and Washington, Zendaya still comes across much younger, a distraction that mutes some of what she brings to the film.
As for Mr. Washington, what he brings to the film is loud, a bit screechy and lacking in nuance. The actor does not possess a natural charisma on screen and his character is a tough sell; self-involved, insensitive and manipulative. And these are qualities that will require someone with a lot of effortless charm to make us even consider his side of the argument. After he finds a review online, Malcolm rants and raves about a "white lady" film critic who dares to assume that there are racial politics in his film while comparing his work only with fellow African-American filmmakers. And while his point is certainly valid, the way he expresses his frustrations with this at the top of his lungs is exasperating, making one want to tune out instead of leaning in.
With "Malcolm & Marie", Mr. Levinson seems like he had much he wanted to say regarding relationships, identity, Hollywood and race. Yet he has not put in enough time with these thoughts and opinions to make much of an impact in his story and Levinson (who is white and son of the filmmaker, Barry; the Oscar-winning director behind "Diner", "Good Morning, Vietnam" and "Rain Man") using African-Americans as stand-ins to articulate his views does leave a feeling of some discomfort. But the real problem is after enduring this attractive couple bickering and fussing, "Malcolm & Marie" just lacks a strong emotional payoff to be an engaging experience.
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