![]() ![]() “Black Is King,” Beyoncé’s visual album built on that album’s songs, goes even further. They approach another of the film’s strengths: rebuke - of, in its title and closing sequence, the gospel opportunism in Kanye West’s film “Jesus Is King.” “We were beauty before they knew what beauty was” and “your skin is not only dark” are two of the recital’s most exhilarating lines. The interstitial language that Beyoncé recites hails, just as it did in “Lemonade,” in part, from the earthen poetry of Warsan Shire. ![]() “Black Is King” extends more than innovates. “Beyoncé” and “Lemonade” were triple-impact shocks (new music, new images, new ideas). You could sense that those were good afternoons for everybody. There’s a real Baz Luhrmann zaniness working here, from the synchronized, Esther Williams pool party (everybody side-dives in except our star) to the manic instant grins that Beyoncé, the movie’s wee boy-prince and her mother, Tina Knowles-Lawson, flash. (That brown-on-white passage is from “Nile.”) The strongest come during “My Power,” and “Mood 4 Eva.” The latter finds itself on somebody’s estate and features the Knowles-Carters a-floss and a-flex. Tableaux do exist here, minced as they are. ![]()
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