Sing Sing (2024) – Review

Quick thoughts: Grade – A – Powered by excellent performances from Colman Domingo, Clarence “Divine Eye” Maclin, and Paul Raci, Sing Sing is a vulnerable piece of filmmaking that will be a major player come awards time. 

Based on a true story about the Rehabilitation Through the Arts (RTA) theater program inside New York’s Sing Sing Correctional Facility, Sing Sing can best be described by actor Colman Domingo who calls it a “beautiful hybrid imbalance that’s kind of meta, but then there’s narrative, it’s real, but it’s not real.” Filmed over the course of 19 days inside decommissioned correctional facilities, and featuring men who participated in the RTA program (which gives it a welcome authenticity), Sing Sing is a movie about how opening yourself up to others and being vulnerable isn’t as horrible as society has led us to believe. There’s something very refreshing about a film that is very specific, but also deals with themes (dealing with anger, hope, mental health, rehabilitation, masculinity) that will resonate with viewers. It’s also nice that the typical prison movie cliches (evil warden etc…) are ignored and instead the film is focused on the humanity of the characters. 

The lead character in Sing Sing is John “Divine G” Whitfield (Colman Domingo), a well-respected member of the RTA who is part of the guiding committee and an aspiring playwright. Whitfield and his friend Mike Mike (Sean San José) also help recruit for the company and they set their sights on Clarence “Divine Eye” Maclin (playing himself), a natural thespian and creative type who has buried that aspect of himself and accepted that he’ll spend the remainder of his days in prison — where he feels the most comfortable. Things get unwelcomely complicated when the company decides to tackle their first comedy after years of Shakesperian dramas and downbeat plays that have become a bit stale. The play involves time travel, mummies, cowboys, gladiators, and Freddy Kreuger (played for some big laughs) pushes the group out of their comfort zone as they attempt to understand the time travel logistics and deal with the difficulty of making audiences laugh (comedy isn’t easy). 

One of the best things to come out of the film is the friendship between Whitfield and Maclin. The two men are completely different, but they’re good for each other because they see through each other’s weaknesses and show loyalty when it’s most needed. Their unique and evolving bond helps them overcome grief and feel hope for the future when everything seems lost. The friendship gives the film a beating heart and provides an acting showcase of Domingo and Maclin (who I hope get a lot of award’s recognition).

Director Greg Kwedar (watch Jockey now) excels at creating intimate situations that feature characters dealing with broken pasts and uncertain futures. He’s been working on this film for eight years and after reading an Esquire article about the RTA’s two night performance of Breaking the Mummy’s Code, he decided to focus on the moment in time when the RTA group prepped for the absurd comedy. After many meetings with RTA alumni and instructors, Kwedar and co-writer Clint Bently became teachers in the program and taught acting classes at Green Haven, a maximum security prison. It’s because of their teaching experience and years of interviews that Sing Sing feels so authentic and mature. 

I know I’ve already mentioned it several times, but Domingo, Maclin and Raci really are excellent and they deliver lived-in performances that are equal parts raw, emotional and introspective. After Zola, Rustin, Euphoria, Selma, The Color Purple, If Beale Street Could Talk and now Sing Sing, I’d love to see Domingo win an Oscar because he’s one of the best actors working today. 

Final thoughts – Watch it in theaters and get lost in the performances.