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  1. Oct 23, 2020 · Still, it’s easier and cheaper than a weave. “Bad Hair” spends more plot time dealing with trifling-ass men like Anna’s thieving ex-boyfriend, Julius (Jay Pharaoh) than any of the female relationships that might shine a light on the hair-related issues. Zora recommends a beauty salon run by Virgie (Laverne Cox).

  2. Oct 22, 2020 · Many modern horror movies set their narratives in the 80s for either nostalgia cash-in, avoiding pesky technological plot holes, or both. Simien locates his story in the shifting music industry of 1989 with intent and purpose; it was a time when New Jack Swing and “all that rap shit” (to quote a white exec in the film) was gaining currency within the mainstream pop culture consciousness.

    • a.m.novak@outlook.com
  3. Rated: 2/5 • Jul 14, 2024. Justin Simien braids a clever and funny allegory whose central themes are intelligible without being pushy. Rated: 8/10 • Jul 20, 2023. Simien's intentions are noble ...

    • (85)
    • Elle Lorraine
    • Justin Simien
    • Sight Unseen Pictures
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  4. Jan 24, 2020 · It's a good 10-15 minutes too long, and featured one-too-many endings for my liking, as Simien gets caught over-explaining things. This is a movie about a killer weave, and not everything needs to ...

  5. Bad Hair: Directed by Justin Simien. With Zaria Kelley, Corinne Massiah, Elle Lorraine, Moses Storm. In 1989 an ambitious young woman gets a weave in order to succeed in the image-obsessed world of music television.

    • (4.4K)
    • Comedy, Horror, Music
    • Justin Simien
    • 2020-10-23
  6. Bad Hair is a 2020 American satirical black horror comedy film written, directed, and produced by Justin Simien. The film stars Elle Lorraine, Jay Pharoah, Lena Waithe, Kelly Rowland, Laverne Cox, Chanté Adams, James Van Der Beek, Usher Raymond IV, Blair Underwood, and Vanessa Williams. Bad Hair had its world premiere at the 2020 Sundance Film ...

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  8. Oct 22, 2020 · With “Bad Hair,” the writer and director Justin Simien, best known for the TV series and movie “Dear White People,” enters the post-“Get Out” renaissance in Black horror.

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