There’s no sense in trying to bury the lede here; “American Fiction” is a certified banger. An unrelenting, razor sharp satire that takes no prisoners and never stops delivering the laughs while also packing itself with a ton of heart. It is a near perfect storm of great filmmaking, elevated further by the fact that it is a directorial debut. This has been the year of newcomers, and Cord Jefferson firmly cements himself as an explosion of talent poised to be a leader of new generational filmmakers for the future. “American Fiction” is one of those gems that is actually hard to review because it’s just so damn good from top to bottom. It can easily be summed up as “it’s great, go see it immediately” and not a whole lot more needs to be said. Obviously I wouldn’t be very good at my job if I couldn’t articulate that sentiment in more critical and examining ways, but that should tell you all you need to know about “American Fiction” and whether or not you should see it. Spoiler alert: you should, because “American Fiction” is a can’t miss comedy and one of the best films of the year.
Written and Directed by television comedy writer Cord Jefferson (“Watchmen” series, “The Good Place“) “American Fiction” is a film adaption of the 2001 novel “Erasure” by Percival Everett. It follows Monk, a struggling novelist and professor who’s work is good but no one wants to read. After he stumbles into a book reading by a new best selling author that he believes to be pandering and stereotypical, he decides to write his own “black” book under an alias out of spite. The book titled “My Pafology” is laden with outlandish stereotypes about black and hood culture. He asks his manager to send it to every publisher thinking they will understand his anger and get the joke. Instead, it snowballs into the biggest hit of his career, with publishers and PR agents and even Hollywood all wanting a piece of this instant success. As he tries to put the pieces of his family back together, he must wrestle with his own identity and voice as a writer and as a man, all while trying to contain this lie that continues to spiral out of control.
Jefferson’s work as a comedy writer pays massive dividends here, as his razor sharp script and biting wit leaves no stone unturned when it comes to his satirical eye. The sheer volume of humorous critiques he’s able to pack into “American Fiction” is astounding, and even more impressive that he does so with such intentionality behind every theme. The film is laugh out loud funny, with so many hilarious moments and quotes and scenarios that in less capable hands could devolve into an almost parody of itself. Instead, Jefferson uses his intellect and focused vision to channel his satire into a smart, introspective purpose. It is the kind of comedy that will have you laughing until it hurts and then leave with brain worms that force you ponder what it all means. Black stereotypes, cultural appropriation, white guilt, class disparity, capitalism, race, literature, corporate America, and literary and Hollywood industry can all get Jefferson’s smoke, as he takes a buckshot to it all and leaves no survivors. And yet somehow, beneath the wit and introspective critiques, “American Fiction” is also a touching family drama and romance story, all things that inform Monk and his worldview.
It is so rare to find a satire with this much to say and frankly this bold in its sprawling (but very true) attacks that also has characters that feel real and ones we instantly invest in as they navigate their personal lives. “American Fiction” never falters when it takes a break from its satire and explores Monk’s family and friends, adding another nuanced layer to both the story and characters. Jeffery Wright has never been better, which is saying a lot because I don’t know that Wright has ever really given a bad performance. Wright sinks his teeth into this meaty role that requires both comedy and drama, and he is so committed to all of it that he delivers knockout performance. Truthfully, if this wasn’t such a crowded year in the above the line categories, Wright could see a Best Actor nomination. Everything about his performance in “American Fiction” is pitch perfect, proving that he can be a leading man who can sport a wide range of talents in a single role.
It helps too that the rest of the cast is equally as wonderful. Sterling K. Brown is another stand out here, delivering a hilarious but somehow deeply emotionally resonate performance. Issa Rae only has a few scenes, but her back and forth with Wright is one of the most introspective and humorous scenes in the film. John Ortiz is probably one of the most overlooked character actors working today, and “American Fiction” gives him plenty of moments to shine and remind us that given the right material he can rise to the occasion. Erika Alexander is so sweet yet guarded, and the chemistry between her and Wright feels organic and meaningful. And yes, even 2 minutes of Keith David is enough to instantly love the film, and the context with which he shows up is so funny I missed a lot of the lines because I was laughing so hard. “American Fiction” doesn’t have a bad performance, and their work is yet another testament to not just their own talents but Jefferson’s ability to get the most out of them. Everything is firing on all cylinders, and its ability to be as entertaining as it is introspective is a feat unto itself.
“American Fiction” is as good as they come, packed with humor, heart, and biting satire that, while it takes shots at everyone and everything, never feels condescending to its audience. It will leave you in tears from laughter and emotionally connected to its characters, but it will also leave you with something to take with you and consider and discuss long after the credits roll. “American Fiction” is packed with ideas, and Jefferson’s impeccable script and clear vision paired with his incredible cast giving career best performances invites you in and then deconstructs it all once it has its hold on you. “American Fiction” constantly asks you laugh at the things we recognize, but then also turn that reflection back to ourselves and ask if we are part of the problem. And it’s fine if we are, and Jefferson wants to assure us that our culture has issues, our stereotypes and conversations about race need work, and if we can laugh at it all then we can start the real work when “American Fiction” concludes. I’m not saying it solves racism. That’s a “Green Book” problem. But I am saying that this is a bold new step in a direction that uses satire to dig deeper into the things we should talk about with the same kind of insight and purpose with a few laughs along the way.
“American Fiction” is sharp intellect beautifully blended with gut busting humor, a concoction that feels fresh even if its following some of the standard blueprints of its genres under the surface. It is rare we get a film that is this smart while also being this entertaining, and “American Fiction” is a genuine crowd pleaser with something honest to say.
And that’s my pafology.
Rating: 4.5 out of 5 Stars
“American Fiction” hits theaters December 15th. You can watch the trailer below.
