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'They Clone Tyrone' Review: Jamie Foxx and John Boyega Are Cool Conspiratorials in a Stylish Netflix Comedy

Everyone gets a role in Glenn, here’s the setting for Juel Taylor’s directorial debut, They cloned Tyrone .

The manager of the food market has a fridge full of cold tall boys and a counter full of lilo’s and scratch cards. An old man pulls up outside the dimly lit store and offers cryptic advice (“It’s in the water, young man”) in exchange for copious amounts of beer. Strip club dancers and sex workers form a kind of makeshift CCTV to monitor what’s going on nearby; they’ll spill the beans for the right price. Their pimps, the hustlers in croc-print shoes played a role – as did the drug dealers, who patrolled their territory wearing old-fashioned whips.

They cloned Tyrone

Bottom line

Stylish and surreal.

release date: Friday, July Throwing: John Boyega, Teyonah Paris , Jamie Foxx , Kiefer Sutherland director:Jul Taylor Writers: Tony Rettenmire, Jule Taylor Rating R, 2 hours 2 minutes

Community events seem somewhat typical. There are picnics and turf wars, Saturday nights sweating in the clubhouse and Sunday mornings on the benches. But on closer inspection, some details distort the image. An unsettling mood creeps in, calling for some questions: What year is it? Where is this place? Who are these people? What do they mean to each other?

By dodging these questions and creating a sense of dramatic mystery, the director has crafted a sorry to interrupt story (with Atlanta Surrealism) about anti-black violence, community, and conspiracy. “They Clone Tyrone” — coming to Netflix soon — is also reminiscent of George Schuyler’s dystopian satire “Black No More” and Zakia Dalila Harris’ novel thriller Another Black Girl . The former is propelled by the invention of a device to whiten black skin; in the latter, the protagonist is curious about the presence of a new black colleague whose obsequious attitude hints at a deeper, more sinister deception. Like those books, they cloned Tyrone and incorporated a mystery into their sci-fi fantasy.

In the film, Fontaine (John Boyega) must figure out why Glenn, a place he thought he knew, felt both real and unreal. It takes him a minute to get there, though. Fontaine is a brooding drug dealer and a conformist, and Boyega plays him with a decidedly steely attitude, rarely smiling to show off his array of gold grilles. A contemplative air surrounds the character as he goes about his daily routine: In the mornings, he stops at the food market to buy beer and cigarettes, scratch off tickets, and chats with his neighbor, an elderly frog (Leon Lamar) chatting. wise man. Fontaine takes his unofficially adopted child Junebag (Trace Malachy) as his apprentice, and together they spy on trespassers: The dealer resents the subordinates of his rival boss trying to steal his customer.

Fontaine’s investigation is sparked by a death – oddly enough, his own. After hunting down payments from one of his customers, pimp Srick Charles (Jamie Foxx), Fontaine ends up with his rival P-Valley J. Alphonse Nicholson) had an argument. . Their tension culminates in a hail of bullets and dead bodies. When Fontaine reappeared the next day, Slick Charles and his employee Yoyo (Teyonah Paris) were very confused when they saw Fontaine’s lifeless body.

Tyrone they cloned is not a ghost story, but an unknown entity does haunt its characters. After Fontaine’s evil resurrection, he is reluctantly joined by Slick Charles and Yoyo to find out what’s going on. Their adventures are riveting without nerve-wracking: Taylor and co-writer Tony Rettenmire work hard to maintain the tension, often adding inconsequential comedic relief and exposition to the narrative’s most suspenseful moments. The closer Fontaine gets to exposing the nefarious activities in the Rift, the more their cloned Tyrone wobbles under the weight of its logic. A condensed explanatory monologue can be helpful, preventing unwieldy information dumps that distract from the flow of the story. It’s worth noting that the movie’s big reveal hasn’t been as popular as the gradual reveals.

Still, overall, it was a compelling ride. That’s largely down to the actors, whose ability to deliver comedy and drama makes their characters worth supporting. Fox is certainly entertaining as a pimp trying to evade his cocaine dealer (Fontaine) and manage his toughest employee (the Yo-Yo). Mixing one-liners with subtle physical comedy, he spices up many of the funniest scenes in “They Clone Tyrone”

. Some kind of magic happens when Fox and Paris are onscreen together. The two’s verbal battles with their characters are like rappers in Code: Their metaphors are smooth, and their sense of self is strong.

Their interplay complements that of composers Pierre Charles and Desmond Murray and Philippe Pierre and Stephanie Diaz-Matos Music supervision of the soundtrack. The latter makes brilliant use of Alicia Myers’ “I Want to Thank You,” Diana Ross’ “Love Hangover,” and Erykah Badu’s A new remix of “Tyrone” and other hits.

The aesthetic of Tyrone They Clone is well put together, Taylor creating with eerie specificity There were surreal scenes – one during a church’s Sunday revival and another in front of a small supermarket where locals hung out. Trade conspiracy theories. The filmmakers paint a realistic portrait of a community subtly shaped by the politics of Ella Baker, a civil rights activist whose belief in working-class self-determination fueled many movements. In the flash of their cloned Tyrone , there was an idea that Taylor, an up-and-coming director, finally got, but could allow for a clearer construction of the story: when each When individuals know their roles, a community is an unstoppable force.

Full credits

Distributor: Netflix Production company: Macro Media Cast: John Boyega, Teyonah Paris, David Alan Greer, J. Alphonse Nicholson, Tambera Perry, Eric Robinson Jr., Kiefer Sutherland, Jamie Foxx Director: Jules Taylor Writers: Tony Rettenmire, Jules Taylor Producers: Charles D. King, Stephen “Dr.” Love, Tony Rettenmaier, Juel Taylor , Jamie Foxx, Datari Turner Executive Producers: Mark R. Wright, Kim Roth, Jack Murray, Dana Sano, Monte Lipman Director of Photography: Ken Seng Production Designer: Franco-Giacomo CarboneCostume Designer: Francine Jamison-Tanchuck Edit: Sierra Haider Music: Desmond Murray, Pierre Charles Casting Director: Kim Coleman, CSA Rated R, 2 hours 2 minutes

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