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FILM REVIEW: Queen & Slim

NNPA NEWSWIRE — Queen & Slim is on its own path. Groundbreaking for its rich, layered storytelling (Lena Waithe, Emmy-winner TV’s Master of None), stylish direction (Melina Matsoukas, Grammy-winner Best Music Video Beyoncè: Formation), provocative contemplations on race and police abuse and two performances that will redefine how black men and women are portrayed on screen.

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Daniel Kaluuya and Jodie Turner-Smith in Queen & Slim

By Dwight Brown, NNPA Newswire Film Critic

It’s lyrical. Like an extended poem with waves of emotion, heady rumination, love proclamations and lost souls gathering around a common issue.

Some will recollect the true-life story of Bonnie and Clyde, but they gained fame for crimes and robbing banks. A closer comparison is Thelma & Louise, two feminist icons who were pushed into rebellion. Yet their story never involved an intimacy between the two that included sexual attraction and love.

Queen & Slim is on its own path. Groundbreaking for its rich, layered storytelling (Lena Waithe, Emmy-winner TV’s Master of None), stylish direction (Melina Matsoukas, Grammy-winner Best Music Video Beyoncè: Formation), provocative contemplations on race and police abuse and two performances that will redefine how black men and women are portrayed on screen.

(from left) Slim (Daniel Kaluuya) and Queen (Jodie Turner-Smith) in "Queen & Slim," directed by Melina Matsoukas.

(from left) Slim (Daniel Kaluuya) and Queen (Jodie Turner-Smith) in “Queen & Slim,” directed by Melina Matsoukas.

They meet at a diner in nowhere Ohio. She, Queen (Jodie Turner-Smith TV’s Jett), is an aloof and exacting criminal defense lawyer, with braids down her back and a disposition more sour than a lemon. He, Slim (Daniel Kaluuya, Get Out), a salesclerk, is her polar opposite. Congenial, funny, sardonic sloppy. He chews his food with his mouth open, making noises that could wake the dead. It annoys her. He’s completely oblivious. Fate didn’t bring these disparate souls together. Blame it on Tinder.

Driving home from their rendezvous, a siren flares, red and white lights flash and his porcelain-colored Honda Accord is pulled over by a very white and overly aggressive cop (Sturgill Simpson, Grammy-winner Best Country Album “A Sailor’s Guide to Earth”). The car is searched. Nothing is found.

Bokeem Woodbine as Uncle Earl in "Queen & Slim," directed by Melina Matsoukas.

Bokeem Woodbine as Uncle Earl in “Queen & Slim,” directed by Melina Matsoukas.

It’s as if the police officer is extra pissed because he can’t find drugs or alcohol. His anger grows. Slim is calm. Queen, as attorneys can be, is indignant. The situation escalates. A gun is drawn, and shots are fired. Queen and Slim go on the lam, driving down endless highways, trying to escape. He’s not sure what to do. She: “Keep running until we come up with a better plan.”

In the first five minutes the tension between the two draws you in. Contrary personalities, yet common cultural threads. Conversations about the movie Love Jones and other Black pop knowledge banter set their personae: They are hip, smart, modern African Americans. People you may have known in college, on your 9-5, from a dinner party… They’ve got urbane exteriors. Underneath they are scarred and vulnerable. You want to watch them court and spark. You want them to survive.

(from left) Uncle Earl (Bokeem Woodbine), Slim (Daniel Kaluuya) and Naomi (Melanie Kalfkenny, standing) in "Queen & Slim," directed by Melina Matsoukas.

(from left) Uncle Earl (Bokeem Woodbine), Slim (Daniel Kaluuya) and Naomi (Melanie Kalfkenny, standing) in “Queen & Slim,” directed by Melina Matsoukas.

This is the mark of brainy, sensitive and socially aware screenwriting that will likely propel Lena Waithe from TV gigs to steady feature film work. Her mixed bag of indelible characters include: an ex-con uncle (Bokeem Woodbine, Jason’s Lyric); the con’s ladyfriend (Indya Moore, TV’s Pose); a good-willed sheriff (Benito Martinez, TV’s 13 Reasons Why); and a war vet (Flea, bassist for The Red Hot Chili Peppers).

Police aggression in the black community ignites a journey that’s laced with intrigue, thrills, narrow escapes, family drama and a romance that goes from highly unlikely to sensual bliss. All of it keeps viewers guessing what’s next—right until the end. For good measure, provocative dialogue expresses the characters’ subjective attitudes. Queen: “Nothing scares a white man more than a black man on a horse.” Slim: “Why?” Queen: “Because they have to look up to them.”

Jodie Turner-Smith as Queen in "Queen & Slim," directed by Melina Matsoukas.

Jodie Turner-Smith as Queen in “Queen & Slim,” directed by Melina Matsoukas.

Taking a script that is as rich and descriptive as a Toni Morrison (Song of Solomon) or Bernice McFadden (Gathering of Waters) novel and turning it into eye-catching cinema requires the talent of a gifted director. Music video turned cable TV director Melina Matsoukas (HBO’s Insecure) is up to that challenge. Action sequences have verve. Dramatic scenes are well staged and crafted. Romantic moments duly erotic.

Between intense conversations, conflicts and deaths, Matsoukas gives the footage time to breath, with carefree moments: Queen sits on the windowsill of a gold-colored Mercedes-Benz station wagon, as it travels down a two-lane road. Sun on her face, wind in her hair. In endless sequences of supreme tension, it’s an oasis moment. The kind video directors imagine freely, when other filmmakers do not.

Daniel Kaluuya as Slim in "Queen & Slim," directed by Melina Matsoukas.

Daniel Kaluuya as Slim in “Queen & Slim,” directed by Melina Matsoukas.

The keen eye of cinematographer Tat Radcliffe (’71) frames scenes perfectly and makes chocolate skin look incandescent. The creations of production designer Karen Murphy (A Star Is Born) make a stately Georgia home and a mechanic’s shop equally impressive. An engaging playlist includes the most modern neo soul music and old gritty blues. Shiona Turini’s costumes steal the show. To her credit, Slim’s borrowed wine-colored velour track suit and Queen’s tiger-striped mini-dress and reptile skin white boots could become iconic film garb.

Daniel Kaluuya is a photographer’s gift. The camera lens loves his guy-next-door face, large eyes, full lips and dark complexion. He plays Slim completely understated, tender in the right moments, brave in others. His is a subtle performance, fueled by inner strength. Turner-Smith’s character arc shines as she takes Queen from the impervious, to the needy, to the courageous. In the beginning her long braids weigh her down, just like her cranky disposition. Later, when she’s shorn, it’s as if a duck has left and a swan arrived. Happier. Adaptive. In the mood for love. With a beauty that would shame a goddess.

It’s been a minute sense Bokeem Woodbine was in a film that properly displayed his talents. It’s as if his career has come full circle. Moore, Flea, Simpson, Colby Boothman as a convenience store clerk and Jahi Di’Allo Winston as a young martyr complete a compelling supporting cast that turns in superb ensemble acting.

More judicious cutting (editor Pete Beaudreau, Beast of No Nation) could have trimmed the 2hr 12 min. run time. Scenes at the uncle’s house could have been shorter. Chopping off a couple of road sequences might have made the film tighter. But it’s doubtful the target audience will complain about the movie’s rhythm or compass.

The mix of racial/social hot-button issues may make some squirm. Crime/drama/thriller elements will likely keep viewers engrossed. The love story and carnal scenes could inspire couples to hold hands.

These engaging qualities should attract and satiate urban audiences and romantics looking for a unique, soul-searching allegory hidden inside a crime getaway film. Queen: “I’m scared.” Slim; “I’ll be brave enough for the both of us.”

Visit NNPA News Wire Film Critic Dwight Brown at DwightBrownInk.com and BlackPressUSA.com.

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2026 Lucid Air Grand Touring Review — Is This $136K EV Sedan Worth It?

AUTONETWORK ON BLACKPRESSUSA — Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, but it still feels elegant instead of trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

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The 2026 Lucid Air Grand Touring is the kind of luxury EV that makes people stop and ask a simple question: Is this really better than a Tesla Model S, Mercedes EQS, or BMW i7? At $136,150, it has to do more than look futuristic. It has to feel special every time you get in it.

Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, yet it still feels elegant rather than trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Inside is where the Air Grand Touring really makes its case. The 34-inch Glass Cockpit Display and retractable Pilot Panel screen give the cabin a clean, modern look that still feels different from other EVs. The Tahoe Extended Leather and Lucid Black Alcantara headliner lifts the sense of occasion, and the front seats are a highlight. They are 20-way power-adjustable, heated, ventilated, and include massage. That matters because luxury buyers at this price expect comfort first.

Rear passengers are not ignored either. You get 5-zone heated rear seating, a rear center console display, and power rear and rear side window sunshades. Add in the Surreal Sound Pro system with 21 speakers, and the Air feels like a true long-distance luxury sedan.

Lucid also gives this car serious EV hardware. The dual-motor all-wheel-drive system, 900V+ charging architecture, and Wunderbox onboard charger are big talking points. Buyers in this segment care about range, charging speed, and everyday ease, not just raw performance. That is where the Lucid continues to stand out.

On the technology side, the Air Grand Touring includes DreamDrive Premium, with 3D Surround View Monitoring, Blind Spot Warning, Automatic Park In and Out, Automatic Emergency Braking, and a Driver Monitoring System with distracted and drowsy driver alerts. This one also has DreamDrive Pro, which adds future-capable ADAS hardware.

There are still some real-world annoyances. Based on your notes, the windshield wiper control is hard to find and use, and that matters more than people think in a high-tech car. When controls become less intuitive, even a beautiful interior can feel frustrating.

Still, the 2026 Lucid Air Grand Touring succeeds where it matters most. It feels luxurious, advanced, comfortable, and thoughtfully engineered. For buyers who want an EV sedan that feels truly premium and less common than the usual choices, this Lucid makes a very strong case.


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Snoop Dogg Celebrates 10 Til’ Midnight at the Compound

LOS ANGELES SENTINEL — The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles.

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Snoop Dogg celebrated the premiere of 10 Til’ Midnight at his Inglewood recording studio & multipurpose facility, The Compound, but the night felt like much more than an album release. It felt like Los Angeles. It felt like legacy. And it felt like another major move from one of the city’s greatest cultural architects as he continues to prove that he is not just dropping music — he is building moments, shaping narratives, and pushing the culture forward in real time.

What made the event so powerful was the clarity behind the vision. During a panel conversation with DJ Hed, Snoop opened up about the heart behind 10 Til’ Midnight, explaining that the project was created to help bridge older and younger generations while also speaking to the long-standing divisions between Bloods and Crips in a unique way through film. That alone gave the project a different kind of weight. This was not just about songs. This was about using creativity as a tool for connection. This was about taking a story rooted in Los Angeles and telling it in a way that could bring people together.

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles. The film was shot in the city, including at WePlay Studios in Inglewood, which gave the entire project an even deeper hometown feel. It was not just a West Coast story in content — it was a Los Angeles-made production from the ground up.

That matters because, in a city like this, authenticity still carries weight. Snoop understands how to make sure that what he creates does not just represent Los Angeles on the surface, but actually comes from it.

What also makes 10 Til’ Midnight significant is that it represents another major step in Snoop’s evolution as both an artist and executive. Public reporting around the project identifies it as his 22nd studio album, but the bigger story is what it represents in this season of his life. This is one of several consecutive moves he has made in his 50s that show he is still building, still expanding, and still finding new ways to reinvent what the next chapter looks like.

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Now, as the head of Death Row Records and the newly aligned leader of Death Row Pictures, he is taking the brand into a new dimension. That is what made this moment feel bigger than music. Snoop is not just protecting the legacy of Death Row — he is stretching it. He is expanding it beyond records and into film, visual storytelling, and larger creative worlds that can continue carrying the label’s impact forward. Public reporting has noted that this project arrives as part of that broader cinematic push.

That is a major Los Angeles move because the city has always been built on the intersection of music, film, neighborhood identity, and cultural storytelling. With 10 Til’ Midnight, Snoop is leaning all the way into that intersection.

The room at The Compound reflected that. It felt like a private premiere, but it also felt like a statement — a reminder that Snoop Dogg’s staying power has never been based only on nostalgia. It comes from his ability to remain connected, remain visionary, and remain in tune with how to move the culture without losing the essence of who he is.

That is why this premiere mattered. It was not just about celebrating another album. It was about witnessing a Los Angeles legend continue to evolve, continue to unify, and continue to use art to tell stories that hit deeper than entertainment alone.

In that sense, 10 Til’ Midnight became more than a project launch. It became another example of how Snoop Dogg is still taking Los Angeles to the next level — using music, film, and legacy together to build something bigger than a moment.

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OP-ED: Small Businesses Need Minnesota to Act on Pass-Through Tax Policy

MINNESOTA SPOKESMAN RECORDER — A Twin Cities immigrant entrepreneur who built several businesses including grocery stores in underserved neighborhoods is calling on Minnesota lawmakers to extend the Pass-Through Entity tax option before it expires, warning that its loss would hit small businesses already recovering from Operation Metro Surge with higher federal tax bills.

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A Twin Cities Small Business Owner Is Urging Minnesota to Extend a Tax Policy That Could Save Thousands of Businesses

By Daniel Hernandez | Minnesota Spokesman Recorder

I came to the United States as a teenager with a clear goal: to build something meaningful through hard work. I put in long days in construction, restaurants, and landscaping; doing whatever it took to learn, save, and eventually start my own business.

Over time, I built and ran several successful ventures, including an event photography company, a magazine, a tax and accounting firm, and now grocery stores serving neighborhoods across the Twin Cities where other retailers chose not to invest. I’ve created jobs, supported families, and committed to communities that deserve stability and opportunity.

That’s why I’m speaking out now.

Small business owners in Minneapolis and the communities we serve are recovering from serious disruptions, including the impacts of Operation Metro Surge. That event hit immigrant communities especially hard. In my own case, I lost nearly half of my 60 employees and saw revenue drop by about 85%. While I worked to provide competitive wages, health benefits, and paid time off, the real hardship fell on the people who lost their jobs and income.

Even as we rebuild, small businesses are facing another challenge. The Minnesota Legislature is considering letting an important tax policy expire: the Pass-Through Entity tax option.

Here’s what that means in plain terms.

Many small businesses, including mine, are pass-through businesses. That means the business itself doesn’t pay income tax. Instead, the owners report the income on their personal tax returns. But under current federal rules, there’s a limit on how much state tax we can deduct. That often leads to higher federal tax bills.

The Pass-Through Entity option fixes that. It allows the business to pay the state tax directly, which means the business can fully deduct those taxes on its federal return and lower the total amount of income taxed federally. The result is straightforward: small business owners pay less in federal taxes, without reducing what the state collects.

This policy is not new or controversial. Thirty-six states already offer it. It doesn’t cost Minnesota anything, it’s revenue neutral. And it benefits more than 66,000 businesses across the state.

In a state where the cost of doing business is already high, it’s hard to understand why we wouldn’t offer the same basic tax treatment as states like California and Illinois.

Small businesses have carried a heavy load in recent years, through a pandemic, rising costs and public safety disruptions. We’ve adapted, reinvested and stayed committed to our communities. What we need now are practical policies that support that work, not make it harder.

If the Minnesota House does not act soon, many businesses will face significantly higher federal tax bills. That’s money that could otherwise be used to hire workers, raise wages or reinvest in local neighborhoods.

I urge Gov. Tim Walz and members of the House Tax Committee to pass House File 3127 and extend the Pass-Through Entity election.

Small businesses are the backbone of our communities. We’ve proven our resilience. Now we need our state leaders to show the same commitment to us.

Daniel Hernandez is the owner of Colonial Market located at 2100 E. Lake St.

 

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