Blindspotting (2018), R, ★★★1/2

There have been many movies surrounding the obstacles of the fairness of law from the perspective of minorities, more with black characters than white. Here, it is a more of a perspective of how the law is presented with black vs. white. This concept of how laws are presented in society can provide two people's views of how the system works and can threaten their friendship. Friendship, in general, does not restrict race from the equation. Friendship is all about two or more personalities hit it off with charm, commonalities and also differences that could strengthen and lengthen their bond, providing great memories. The movie has a blend of comedy and social commentary that is stylistic and impactful that makes us re-think about why there is a divided country, especially right now.

Collin Hoskins (Daveed Diggs) is released from prison with a one-year probation. He must live in a halfway house, maintain a job and return every night at his curfew at 11pm. Collin is best friends with Miles (Rafael Casal) and also friends with Dez (Jon Chaffin). Miles and Dez carry guns which puts Collin on edge. Later that night, Collin is driving home as a young man, Randall Marshall (Travis Parker), runs in front of his truck. A cop named Officer Molina (Ethan Embry) runs after Collin and aims his gun at him but Randall tries to stop him and he gets gunned down.

Collin is left being haunted as he discusses Miles about the shooting incident from last night. They begin their job as movers and Collin gives a juice he purchased to his ex, Val (Janina Gavankar), who got Collin the job. Miles dislikes Val because she did not visit him in prison because he thinks that she seemed to forget about him since the incident that put him there. But, they go on a journey to find themselves after the shootout and also the potential threat of their friendship regarding race division.

What director Carlos López Estrada and screenwriters and also stars Diggs and Casal does quite well is skewering the cultural appropriation with some comedic chops that seem to be entertaining. Racial cluelessness is throughout the film because one character does not think that it is too big of an issue because it is a normal everyday existence for him whereas the other person wants to address the issues because he is a black person that is not a killer and his "blind spotting" foreshadows the passionate, climactic scene between Collin and the officer.

Diggs and Casal also are gifted, natural actors who delivers such comically, enriching performances that makes their chemistry alive. They seem to know what they are doing with their direction and dialogue. It seems to me that every writer/director wants to chase Get Out's creativity but seems to miss the mark. In my opinion, Sorry to Bother You did not quite work because it spewed off so many ideas towards the end. BlacKkKlansman was great addressing the issues. Here, they seem to find the level of creativity but go astray at times with bothersome rap that took me out of the movie. I could have done something differently and maybe have the climax become a bit more powerful. But, I like this movie a whole lot as a perspective of social commentary hindering on this buddy comedy that lingers on potential violence that could bring important conversation as to why the person committed to killing a person from a minority. This movie delivers a much more fresh and witty commentary of gentrification and race that is advantageous to bringing Diggs' and Casal's screenplay to the spotlight. It is a well-done film.

***1/2