If you are wondering why it seems like the nation is one step away from a full-blown race war, you can thank the entertainment industry for blurring the lines between reality and fiction.
When black people turn on a television, they see depictions of racist interactions with police officers on the news and in Hollywood entertainment. There is a reason why so many black Americans believe the biggest threat to their lives is death at the hands of white police officers. “American Skin” continues the trend with the subtlety of Spike Lee resurrecting the spirit of Malcolm X.
Written, starring and directed by Nate Parker, Parker plays Lincoln Jefferson, a black veteran whose unarmed son is murdered by a white cop after being pulled over in a white neighborhood. One year later, Lincoln begins to share his thoughts with an indie filmmaker. When the officers involved are cleared of all wrongdoing, Lincoln decides that if the system won’t bring justice, then he will.
Lincoln storms police headquarters with armed supporters as violence takes over the city. They take everyone in the precinct hostage and confront the officer who killed Lincoln’s son, holding the murder “trial” he never received.
American Skin is a vapid celebration of violent resistance with timing worse than its narrative. Parker continues the cinematic trend of creating an “us vs. them” premise that seeks unity through division. The film operates under two beliefs: that white people are allowed to commit violence against black people with impunity, and that the only way to create equality is through force.
The film hinges on Lincoln and a group of armed, disgruntled, black war vets storming a police precinct to take everyone hostage. He then puts Officer Mike Randall (Beau Knapp) on “trial” using inmates as jurors, and if the inmates find him guilty, Randall will be killed. All of this is happening under the guise of a student documentary film.
With a narrative dipped in black nationalism that borders on parody, the film divides its viewership into two camps: those who reject the hypothesis of the film and the choir to whom it is preaching. The failures of this movie lie on Parker and nobody else. Not even an assist from Spike Lee could save this Frankenstein monster of unpolished anger.
Every character in the film struggles to display a second dimension to their personality. Everyone speaks like a caricature of the position Parker believes they hold. It is as if Parker copied and pasted arguments from Twitter and put them into the script. American Skin justifies the violence of one group while condemning the violence of another. Parker can take credit for one thing: turning unity into the latest chase for the white rabbit.
American Skin is over the top and pushes buttons to bring attention to race issues in America, but living today and believing the conversation on race hasn’t been addressed in 244 years of national history is what leads to conflict in the first place.
American Skin is the perfect metaphor for race issues in America, as one side blames another for all of their problems and then literally holds the other at gunpoint to make them listen.
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2 thoughts on “American Skin Review: Presenting Non-Fiction As Dangerous Parody”
What a coincidence, just in time for the Derek Chauvin trial in the Floyd George murder case. The Obama left keeps scratching the sore spot, hoping against hope it turns into a terminal societal cancer.
(((Hollywood))) is only too happy to pit black vs. white, because the one thing they fear above all else is that the races might start to look around and notice that they’re both getting totally screwed by a system that benefits only an elite few and so they start working with each other to overthrow it. But as long as the two (or more) sides can be kept clawing at each other’s throats, the longer the oligarchs can stay in power.