QueenAndSlim updates the outlaw-couple-on-the-run story for our current racially charged moment—it's a bold piece of protest art, says Peter Travers. Our review
Waithe’s script refuses to indulge in police stereotyping and introduces a white couple, played by Chloë Sevigny and Flea, who offer sympathy and assistance. But Queen and Slim’s notoriety also backfires when an impressionale boy attacks a police officer just for wearing a uniform.
As Queen and Slim make their getaway to Florida and, hopefully, a flight to freedom in Cuba, Matzoukas slows the pacing to show the couple getting to know each other. They stop at a roadside bar where, of course, they are recognized; they’re also given the chance to stop the world and dance in a slow, sensual rhythm that they once took for granted. The sense of community in that scene, of black brothers and sisters offering the fugitives shelter from a gathering storm, is deeply moving.
The longer that Queen and Slim make their way across the American South, like runaway slaves in a millennial underground railroad, the more you find yourself rooting for them to get to safety. Matzoukas keeps the film moving to the beats of a spectacular hip-hop soundtrack and a potently percussive score by Dev Hynes. Working with cinematographer Tat Radcliffe , Matzoukas paints with light and shadow. The film’s one sex scene, as tender as it is erotic, is all about release.
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