Bad Hair (2020) - Movie Review
What happens when I let my wife pick the next movie for Leslie and I to review with no restrictions?
Usually, a terrible time—but this time she found something special.
Let’s discuss.
Bad Hair is a 2020 supernatural horror / creature feature mash-up brought to us by the brilliant Justin Simien. Simien is known most for his work as the writer / creator of both the film and television series, Dear White People. Elements of that work are found here, but it’s a well done mash-up of social commentary and fun as hell creature feature goodness.
Most of the negative reviews I’ve read of the film revolve around the heavy handed social commentary, but most of those reviewers appear to be of the red hat crowd. Considering this film is set in the late 80’s, on the cusp of major cultural milestones for both the rights of women and African Americans—I think it was extremely well handled and gives a look at a side of the decade that Hollywood so rarely shows the public.
I was a child actor from the ages of 3 to 18. I went to cattle call interview after cattle call interview. I experienced the awfulness of being judged and critiqued as a white kid, but I saw the darker side of things with the kids I met who were of more diverse ethnicities. While I felt pressure auditioning for one of 20 roles in a movie or pilot, the kids of color were stressed to the limit auditioning for the 1 token role for someone with dark skin or an accent. Not only that, they were forced to conform to the standards expected of Hollywood at the time, to be as white as possible.
I know I sound super woke, but hear me out. As a child I just thought it was unfair to no allow the kids to audition for the other parts, as many times the kids were incredibly talented and would have made a great lead. As an adult, I see the even sadder elements of how the kids were forced to play a character 24/7. Straightened hair, dorky clothes, fake glasses, and the like were forced on these kids in order to make them subservient and non-threatening to the producers and then the audience. Most had to adopt affected voices, talking at a higher pitch or overly practiced diction in order to sound “smart.”
The world of child acting is gross, but the levels are deeper than everyone ever discusses.
Why do I bring you more depressing memories of my life?
Because this idea, this forced cultural detail—the pressure to be more white, to deny who you are and where you come from—is the basis of this film.
The movie focuses on Anna Bludso, a young executive assistant working at a small—black-centric wing of an MTV type conglomerate. She’s struggling in life and in love, barely able to make rent and stuck in a career rut. When the channel experiences a hostel takeover by the white approved black woman Zora, Anna’s life is thrown into a downward spiral. Her boyfriend ditches her, her boss is terminated, and she’s told she just isn’t good enough or pretty enough to make it at the network. She’s pointed in the direction of a super exclusive stylist to transform her into a more acceptable version of herself. What follows is a blood soaked nightmare of cannabilism, vengeful witches, and a gorgeous head of hair. Will Anna be able to overcome the allure of fame and fight the carnivorous weave that took her to the top or will she just end up with a real bad hair day.
I know that synopsis isn’t my best, but this is hard movie to put into a cage.
This film could best be described as Candyman meets The Grudge.
It’s got a cast worthy of the Candyman comparison. Look at these names—Vanessa Williams, Jay Pharaoh, James Vanderbeak, Laverne Cox, Usher, Kelly Rowland, Judith Scott and an incredible turn by the always dependable Blair Underwood.
It’s got that late 80’s / early 90’s dark comedy air, but then transitions into brutal violence with a mind-blowing suddenness that had me recoiling in horror and disgust multiple times.
This movie doesn’t pull punches, but the special effects budget just wasn’t at the level needed to embody what the filmmakers vision was. However, the wonderfully disgusting sound design and awesome musical score cover up the majority of these flaws—at least for the first hour. The climax of the film is hard to defend as both the acting and the special effects just dive into the gutter and ruin what was a really enjoyable intense dark comedy.
The one scene that will stick with me in the longterm is the powerhouse monologue Blair Underwood gives early in the first act. It’s so authentic and powerful as you, the viewer are first supposed to hate him for his cruelty in embarrassing / brow beating Anna in front of the family—but by the end of the monologue you understand he’s trying to protect her. By the end of the movie, you wish she’d heeded his lesson.
The lesson- Don’t forget the past.
Simple right?
If it was a simple thing—the Nazi party wouldn’t still be a fully operational political force in Europe.
It was a simple thing—we wouldn’t be in a swirling cesspool of fame worship in the face of a looming economic decline.
It it was a simple thing—Logan Paul wouldn’t have a career because no one would buy his newest NFT, Block Chain, Insert new Scam here…
This film tells you upfront what’s coming. It isn’t subtle, and yet you still are hoping that the murderous weave helps Anna find success—as long as the hair only kills the bad guys. She deserves it. Then, as both you and Anna witness the deaths of almost everyone in her life, you finally get it.
But by then it’s too late.
It’s not a great movie, but It’s such a fun watch. Everyone performer gives a knockout performance.
Shout-out to Nicole Byer for 2 hilarious cameos.
This is a fun watch with friends and I can’t recommend it enough—especially if you grew up watching Yo MTV Raps like I did. It’s a fun nostalgia trip.
Bad Hair is streaming exclusively on Hulu.
