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It’s an idea spelled out in Tupac’s concept of “ T.H.U.G.L.I.F.E.” and in the movie itself: “The hate u give little infants fucks everybody.” The movie’s most profound performance isn’t Stenberg’s, although their emotional lucidity makes them a good proxy for its intended young adult audience, but Hornsby’s, as a father fighting to prepare his children for a world in which the people who are supposed to protect them can be a profound threat. But she’ll still have to put her hands on the dashboard, no matter where she gets pulled over or how expensive a car she’s driving. Sure, it would be safer if Starr’s family could afford to move out of the neighborhood where her father, who now owns a successful market, once ran with a street gang whose leader (Anthony Mackie) still shoots him menacing glares as he slowly drives by.
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But mostly she’s worried about what will happen to her at Williamson Prep, the wealthy, largely white private school where her parents have sent her in hopes it will help her escape the neighborhood she’s growing up in.Īs adept a code switcher as she may be, there aren’t really two separate Starrs, and The Hate U Give forces her-and, more to the point, its audience-to confront the idea that the push for self-improvement and escape encoded in so many Hollywood narratives is a double-edged one at best. Partly, she’s justifiably scared of the police, who rush to paint Khalil’s death as a tragic accident that could have been avoided if he’d only complied-an argument the movie, for better or worse, doesn’t wholly discount. Even in the face of his colleague’s racist conduct, the blue wall holds.) Khalil’s death becomes a political cause, taken up by a Black Lives Matter stand-in called Just Us for Justice embodied by Issa Rae’s all-business activist, but Starr is hesitant to join the fray.
(Later, her mother’s brother, also a policeman, tells her that it’s dangerous for a cop on the street, and they don’t have the luxury of giving people the benefit of the doubt. He reaches into the car for a hairbrush, and the officer shoots him dead.
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Perhaps no one gave Khalil (Algee Smith) the Talk, or perhaps he’s just still full of the excitement of seeing a girl he grew up with for the first time in a while, and feeling a hint that they might now be more than friends, but when a white cop pulls them over after a party, he ignores Starr’s pleas to stay calm and cooperate. The movie’s most profound performance isn’t Stenberg’s but Hornsby’s. But the movie, which was adapted by Audrey Wells and directed by George Tillman Jr., moves the Talk from the middle of the story to the front, so it functions as both a point of entry for viewers who’ve never heard (or given) the Talk and an affirmation for those who have. The scene, which also includes a pop quiz on the Black Panther Party’s Ten-Point Program, comes from Angie Thomas’ best-selling YA novel, in which Mav’s teenage daughter, Starr (Amandla Stenberg), becomes the only witness to the fatal police shooting of a young black man.
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Maverick Carter (Russell Hornsby) gathers his three children at the family dinner table and tells them how to behave if-or, more likely, when-they’re questioned by the police.
The Hate U Give opens with the Talk-the one white parents never have to give their children. Lifetime’s First Lesbian Christmas Movie Made One Joke That Nearly Destroyed Me Why Don’t Look Up Is Jennifer Lawrence’s First Movie in Years Insecure Had One Last Trick Up Its Sleeveĭenzel Washington’s Personal Obsession Takes Over His Latest Movie.
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