Writer/director Greg Kwedar teams up with A24 for his sophomore feature, Sing Sing. With it, he not only helms a highly connective, personal story centered on an unlikely theater production, but also showcases Colman Domingo at his best. 

The film is based on the actual Rehabilitation Through the Arts program at the Sing Sing maximum security prison – which allows inmates to craft and participate in live theater productions. For the film though, Domingo plays the role of Divine G – a longtime participant who sometimes writes original plays for the group to perform. However, as new member Divine Eye (Clarence “Divine Eye” Maclin) enters the program, the group shifts out of its usual tragedy/drama trappings and dives headfirst into comedy. With developing power struggles and rising personal stakes looming over everyone, Divine G and the rest of the group must find their way as they go in a new direction. 

Frankly, the opening defines the film perfectly. Through an opening monologue performed on-stage by Divine G, you’re instantly drawn into every word because his line delivery is so compelling. All of his passion is poured into this performance and afterwards, there’s a warm sense of comradery backstage that’s equally as touching. Then though, the handcuffs come out and Divine G is escorted alongside others back to their cell block. The reality of where we are and who we’re watching immediately sinks in – causing us to think deeper how stage performance connects with Divine G and the other inmates. It’s what Sing Sing is all about, and Kwedar does an excellent job nurturing this comforting atmosphere without stripping away the grim reality that surrounds it. 

Despite the setting though, Sing Sing mostly remains uplifting because its central group displays such a strong love for what they’re doing. Right from the start, there’s no denying that everyone is dedicated to their craft – regardless how silly this play is. Sure, it might be a goofy time-traveling epic involving Egyptians, Spartans, and even Freddy Krueger. But, it means everything to them and the effort they put in makes them so surprisingly loveable. It’s so fun to watch them ham up their characters, and this first trip into comedy ignites a spark that allows these men to be free. Kwedar also makes a smart choice to place viewers right alongside the group during their creative process – so they feel just as involved and connected. 

Whether you’re a theater lover or not, it’s incredibly special to see this group create something of their own that’s lively and fun. Yet, this program has a deeper impact beyond letting its participants run wild with their imagination. It’s a therapeutic exercise in humanity that allows these men to explore their own vulnerability. In between all the comical combat scenes and people messing up their lines are moments that dig deep into what these men are searching for. There’s an amazing monologue during a brief conflict where someone reminds the group of what this experience means to them that’s so guttingly real and raw that you nearly tear up. The scenes of group director Brent (Paul Raci) bringing out dormant emotions within these men are perfectly heartfelt and get at the source of what’s holding them back. And, because Kwedar excellently immerses viewers into this group, you feel all the weight of their expressions. 

Sing Sing has a palpable soul, and dissects masculinity in such a unique and necessary way. Kwedar’s ability to rip down surface-level stereotypes and showcase the inner complexity of these people is unparalleled. He’s so good at letting the often buried emotions and pain of these inmates flourish through captivating dialogue and expression. It’s how the film shows a rarely seen vulnerability in men that’s captivating and sometimes leaves viewers misty-eyed. It’s also a realistic portrayal of the power that theater can have in letting someone escape damaging parts of reality to see new sides of themselves. 

But, if the theater program is where the film’s soul is, its heart is within the intertwined arc that Divine G and Divine Eye share. Strangely enough, these two initially embody separate outlooks on the program and their own fate. Divine G’s dedication to crafting original work within his messy cell and the leadership he brings to the group is deeply admirable. Not to mention, his focus on achieving parole gives him a motivation outside the program that viewers can connect with. Divine Eye, on the other hand, is sort of trapped between two worlds. One where his bad habits feel inescapable, and another where he finds an irresistible path to self-discovery. At first, these two seem like they’ll endlessly clash and the film kind of plays up that angle for a while. 

With Divine Eye stepping into Divine G’s turf in certain ways and not exactly fitting the group’s mentality at first, there’s definitely some underlying tension between these two. Plus, there’s a looming desire for both these men to finally be outside these walls – which Kwedar emphasizes perfectly. The shots outside of the prison really evoke their yearning for a fresh start and this narrative thread surrounding Divine G’s attempt for parole is very well woven throughout. Yet, that’s not what makes their arc so powerful. Rather, it’s how they come together. 

After a gutting turn that’s expected for both men but stings greatly, it’s so heartwarming to see them build a genuine bond. Their experience together magnifies the meaning and impact of the program to a tee and persists long after the play is done. The final moments of them together are legitimately moving and will deliver the type of storybook ending that audiences love. Yet, it never loses the realism of their situation, and ultimately culminates in an inspiring instance that’s immensely satisfying – largely because Maclin and Domingo are so damn good. 

Sing Sing is a breakout moment for Maclin – who essentially plays himself – as he gives the film an audience surrogate with a grounded perspective. His performance embodies the change the program is meant to achieve and his personal shift is one that audiences will share in. As for Domingo, it’s another award-worthy effort in his already stunning career. Divine G embodies all the qualities of a crowd-favorite – including a heartwarming selflessness and genuine care for everyone around him – and matching that with Domingo’s wide emotive range and line delivery is just sheer perfection. He’s absolutely fearless in bringing out some of the raw frustration and fear that Divine G eventually feels, and Domingo absolutely crushes and heals your heart throughout the entire experience. It’s a career-defining performance from Domingo that deserves eyes and an Oscar nomination to boot. 

Sing Sing is a triumphant experience everyone should take the time to appreciate as it delivers crowd-pleasing laughs and heartache that’s necessary to understanding people better. Domingo takes his craft to a new level of excellence alongside astounding direction from Kwedar that constantly keeps the engaging and real emotions of the story as high as possible. Sing Sing is a must-watch like no other and could possibly be one of the best films to come out of A24.

Watch the Trailer Here: