I want to give the director, Lorene Scafaria, Constance Wu, and Jennifer Lopez the proper recognition for a job well done! Also, shout 👏🏾 out 👏🏾 to the production team, costuming, casting, the music department, and the sound and film editors. Bravo, y’all! 

And while I don’t 100% agree with the ‘Scoresce-esque’ characterization used in the film’s promotional materials, which I guess was in reference to the basis and tone of the film, nor do I agree with the sentiment that Scafaria should be elevated for a great product by being compared to a male counterpart, I do appreciate the idea that both directors’ themes and execution of crime family dramas were compelling and kept my interest throughout the runtime. 

There was just the right amount of Trace Lysette, Lizzo, and Cardi. Perfect balance—featured right in the beginning and then…poof, gone. 

Constance Wu is growing on me, more and more. I loved her in “Fresh Off the Boat,” and in “Crazy Rich Asians.” But situational comedies on primetime television and romantic comedy films, especially ones produced in the past decade, tend to err towards the rinse-and-repeat plot points of its predecessors that did it WAY better.

Appreciated the direction.  Scafaria focused the narrative on dual framing: part post-criminal activity reflective interview, part retrospective storytelling.  This gave a great balance to the rowdy moments at the New York City exotic dance club where most of the criminal activity occurred, and to its aftermath. 

Jennifer Lynn Lopez, finally sis. F I N A L L Y.  

Look, I have been waiting for what feels like my entire life for a role in which J.Lo, Jenny from the COTDAMN Block, really made me believe I wasn’t watching her just play a role and collect a check. She was Ramona. Jennifer bodied (literally) this role. I would not be surprised if she’s nominated as a Supporting Actress for this project. Her final monologue to Elizabeth (played by Julia Stiles) was so moving that I actually shed a thug tear 😢😢.

I wasn’t familiar with this film’s backstory, and I still have no idea who Ramona is, what she looks like, or how she speaks. And, it doesn’t matter. Jennifer did something in this role that took me out of seeing her,  the mogul, on screen. I mean we all know not to be fooled by the rocks that she’s got, cuz she’s still (she’s still) J.F.T.B. She used to have a little now she has a lot, and no matter what she KNOWS where she came from (The Bronx). But, in all seriousness, she made this film feel special. Her camaraderie with Destiny (played by Constance Wu) and with all the other women in the minor and supporting roles felt genuine. Like a family, a crime family, but a loving one nonetheless.

Social context of why this film is necessary, and what I think it means for the #MeToo/#TimesUp movements:

Aight, check this, had the crimes that fueled this film’s backstory taken place during a more recent time, I suspect the lenient outcomes of the criminals would’ve be used as a weird martyrdom for the staunch contrarians of the Me Too Movement/Time’s Up, and for good reason. Hear me out: these women took advance of their clients by drugging them and stealing from them to live the high life. According to the film’s screenplay, and I’ve yet to read the original article, it seems these women were able to embezzle so many assets that they leased NYC high rises and expensive vehicles for years!  Shit 👏🏾 was 👏🏾 lit-lit 🔥 until it all came tumbling down. But yea, I feel like had this crime happened today, the Southern District of New York would throw the entire book at all parties involved. Ain’t no probation, bih—can you spell PRISON.