Bruce Steele: The new Amazon Studios film One Night in Miami imagines a meeting of four famous friends in February 1964: civil rights leader Malcolm X, boxer Muhammad Ali (then known as Cassius Clay), NFL star Jim Brown, and singer Sam Cooke. How do you think director Regina King did in taking us back to that fraught moment in U.S. history?

Edwin Arnaudin: It’s an impressive directorial debut from the recent Oscar (If Beale Street Could Talk) and Emmy (Watchmen) winner, but I give more credit to screenwriter Kemp Powers, who’s adapted his stage play by the same name. In addition to his co-writer/co-director involvement on Soul, our mutual #1 film of 2020, he’s having an amazing year.

Bruce: That's for sure! And it's a smart screenplay, once you suffer through the four introductory scenes that provide clumsy exposition to establish each man's claim to fame. But soon enough we get to a fun staging of Cassius Clay's title fight, and then to the Blacks-only motel room where Nation of Islam bodyguards stand sentry outside the four friends' reunion. It was soon after that my husband Christopher asked, "Was this based on a play?"

Edwin: The limited number of locations, emphasis on dialogue, non-showy direction, and, frankly, the premise are all giveaways. But the ensemble’s dynamic largely compensates for the film's cinematic shortcomings. Eli Goree’s turn as Clay is by far the flashiest part, but it’s also my favorite of the bunch. Unlike hyper-famous Will Smith’s portrayal in Ali, Goree’s relative unknown status keeps the focus on his performance without carrying in celebrity baggage, allowing viewers to more fully connect with the character — particularly Clay's intriguing struggles regarding whether to publicly embrace his conversion to Islam. Does one performance stand out to you?

Bruce: Kingsley Ben-Adir's Malcolm X had me fascinated, constantly thinking, "Could the angry firebrand we saw in public have been this likable in private?" It's a carefully calibrated performance, at times personable, at times preachy, and it all coheres and offers a fascinating perspective on this historic figure. I also agree with you about Goree — indeed, the fact that none of the actors will be overly familiar to most viewers is a big plus. It's interesting that Aldis Hodge, playing Jim Brown, has the most movie credits, including memorable turns in Hidden Figures and Straight Outta Compton, and yet he has the least developed role here.

Edwin: Denzel Washington’s portrayal of Malcolm X remains (and may forever be) the definitive interpretation for me, but Ben-Adir’s handling of the man’s “kinder, gentler” period is impressive. I’m also with you on Hodge. I don’t think Powers’ script quite captures the magnitude of Brown’s celebrity, nor the pressures of his job and the consequences of walking away from professional football.

But why are we just now getting to Leslie Odom Jr. (Hamilton) and his work as Cooke? He gets some of the film’s showiest moments — the final scene is likely to earn him an Oscar nomination, if not more — and, considering how critical Malcolm is of his use of fame and the amount of time Powers devotes to that conflict, is arguably the central character.

Bruce: Odom is terrific, both acting and singing, and certainly Cooke has the most layers to peel away — even if you're already a fan of his many hits, which included "You Send Me," "Twistin' the Night Away," and dozens more. Indeed, Cooke may have had more layers than even the film reveals, given the bizarre circumstances of his death just 10 months after the events of the film. (Look it up, but only after you see the movie.) I digress, but only to make the point that Powers and King aren't recreating history so much as crafting a message that speaks as much to 2021 as it does to 1964.

Edwin: The timeliness and overarching theme of fighting the same battles today that existed in the '60s is nicely consistent with such fellow 2020 releases as The Trial of the Chicago 7, Da 5 Bloods, and Mangrove. And I think modern audiences are hungry for those connections to reinforce the importance of today's socio-political movements. Do you think One Night in Miami's version will result in a major awards haul or will it wind up being largely an entertaining also-ran?

Bruce: I hate to call it an "also ran," but I think its ensemble nature and less-than-explosive demeanor may keep it out of the awards mix. It's also got to compete with Ma Rainey's Black Bottom, another stage adaptation inspired by an event from African-American history, and one that's got more flash and celebrity. I'd like to think Odom could pop up in the same acting category with Chadwick Boseman, but it doesn't usually work that way. Not that it really matters. One Night in Miami is a fine work with or without awards cred. Viewers may find it a little slow to get going, but stick with it and it will reward your attention. I give it a B-plus.

Edwin: I’m glad it exists and the timing is kind of perfect, serving as a catalyst to start this elongated awards season’s second stretch. But unless it gains considerable momentum over the next month, I doubt it will disrupt the current frontrunners. Still, I’m thankful for it putting Goree and Ben-Adir on my radar, furthering my appreciations of Odom and Hodge, and introducing a new side of King’s talents. I expect her filmmaking to only improve from here and am excited to see what she does next. I give her first try a high B-plus.

Grade: B-plus. Rated R. Available to stream via Amazon Prime Video

(Photos: Patti Perret/Amazon Studios)