EXCLUSIVE:Lamar Johnson and Jerod Haynes have joined the cast of Native Son, A24s adaptation of the Richard Wright novel. The duo joins Ashton Sanders, Margaret Qualley, Nick Robinson, Bill Camp and Sanaa Lathan who already have been cast. Suzan-Lori Parks adapted the script and Rashid Johnson is directing the pic set in contemporary Chicago.
Johnson and Haynes will play the longtime friends of Sanders lead character Bigger Thomas, who goes to work as a chauffeur for a local real estate magnate, triggering a chain of events that will have devastating consequences.
Johnson most recently starred in Oscar-nominated director Deniz Gamze Ergüvens Kings opposite Halle Berry. In addition, he is set to star in X-Men: Dark Phoenix, as well as The Hate U Give based on the New York Times bestselling novel of the same name.
Chicago native Haynes was most recently cast in NBCs pilot The Village and can currently be seen in Benji for Netflix and Blumhouse. He previously appeared in Southside with You and Blueprint, the latter of which he co-produced and co-wrote.
Johnson is repped by WME, Stride Management and Jackoway Tyerman. Haynes is represented by WME, Marsh Entertainment and attorney Patti Felker.
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.