One Night in Miami…

In the aftermath of Cassius Clay’s defeat of Sonny Liston in 1964, the boxer meets with Malcolm X, Sam Cooke and Jim Brown to change the course of history in the segregated South.

Credits: TheMovieDb.

Film Cast:

  • Malcolm X: Kingsley Ben-Adir
  • Cassius Clay: Eli Goree
  • Jim Brown: Aldis Hodge
  • Sam Cooke: Leslie Odom Jr.
  • Betty X: Joaquina Kalukango
  • Barbara Cooke: Nicolette Robinson
  • Angelo Dundee: Michael Imperioli
  • Bundini Brown: Lawrence Gilliard Jr.
  • Jamaal: Christian Magby
  • Jackie Wilson: Jeremy Pope
  • Johnny Carson: Christopher Gorham
  • Mr. Carlton: Beau Bridges
  • Brother Kareem: Lance Reddick
  • Jerome X: Derek Roberts
  • Emily Carlton: Emily Bridges
  • L.C. Cooke: Amondre D. Jackson
  • Elijah Muhammad: Jerome A. Wilson
  • Jess Rand: Hunter Burke
  • Jules Podell: Robert Stevens Wayne
  • Myron Cohen: Randall Newsome
  • Ronnie: Matt Fowler
  • Ferdie Pacheco: Chris Game
  • Ed McMahon: Alan Wells
  • Miami Announcer: Dustin Lewis
  • Wembley Announcer #1: John Curran
  • Wembley Announcer #2: Mark Allan Stewart
  • Bobby: Amar Khalil
  • Michael: Ian Alexander Desdune II
  • Lamont 3X: Jeremy Anderson
  • Reporter 1: Pierce Lackey
  • Reporter 2: Dave Pileggi
  • Karen: Ashley LeConte Campbell
  • Geraldine Liston: Kimberly B Brown
  • Attallah Shabazz: Nola Epps
  • Cliff White: Kipori Woods
  • Boston Ballroom Announcer: Joshua Nylan Tanner
  • Henry ‘The Hammer’ Cooper: Sean Monaghan
  • Sonny Liston: Aaron D. Alexander
  • Miami Referee: Jason Ament
  • Wembley Referee: Nathan Siebring
  • Cameraman: Kevin Reid
  • Tristen: Cody Johnson

Film Crew:

  • Editor: Tariq Anwar
  • Orchestrator: Terence Blanchard
  • Executive Producer: Regina King
  • Production Design: Barry Robison
  • Set Decoration Buyer: Bradford Johnson
  • Music Supervisor: Randall Poster
  • Casting: Kimberly Hardin
  • Producer: Keith Calder
  • Costume Design: Francine Jamison-Tanchuck
  • Prosthetics: Gary Archer
  • Stunt Coordinator: Larnell Stovall
  • Costume Supervisor: Wendy Talley
  • Property Master: Chris Ubick
  • Still Photographer: Dale Robinette
  • Sound Re-Recording Mixer: Andy Hay
  • Stunt Coordinator: Tim Bell
  • Producer: Jessica Wu
  • Director of Photography: Tami Reiker
  • Location Casting: Tracy Kilpatrick
  • Extras Casting: Brent Caballero
  • Unit Production Manager: Paul O. Davis
  • Assistant Costume Designer: Mildred Brignoni
  • Scoring Mixer: Greg Hayes
  • Stunts: Vlad Rimburg
  • Executive Producer: Chris Harding
  • Art Direction: Mark Zuelzke
  • Makeup Department Head: Scott Wheeler
  • Dialogue Editor: Paul Timothy Carden
  • Foley Artist: Dan O’Connell
  • Script Supervisor: Nancy Breaux
  • Dialogue Editor: Michael Baird
  • Foley Artist: John T. Cucci
  • First Assistant Director: Mark Anthony Little
  • Still Photographer: Patti Perret
  • Gaffer: Allen Parks
  • Visual Effects Producer: John H. Han
  • Digital Intermediate Editor: Matt Blackshear
  • Assistant Property Master: Drew Guajardo
  • Digital Intermediate Colorist: Ian Vertovec
  • Construction Coordinator: Erik van Haaren
  • Foley Editor: Joshua Adeniji
  • Costumer: Olivia Vestina Torres
  • Production Accountant: Maggie Means
  • Property Master: Edward J. Borasch Jr
  • Leadman: Markus Wittman
  • Key Costumer: Juliana Hoffpauir
  • Set Decoration: Janessa Hitsman
  • First Assistant Sound Editor: Pernell L. Salinas
  • Second Second Assistant Director: Kate Ransome Wilcox
  • Rigging Gaffer: Andre Green
  • Production Sound Mixer: Paul Ledford
  • Production Sound Mixer: Amanda Beggs
  • Set Decoration: Tamar Barnoon
  • Storyboard Artist: Paulo DeFreitas Jr.
  • Music Editor: Louie Schultz
  • Title Designer: Teddy Blanks
  • Sound Designer: Bryan Parker
  • Stunts: Khalid Ghajji
  • “A” Camera Operator: Chad Chamberlain
  • Second Assistant “A” Camera: Sienna Pinderhughes
  • Casting Associate: Christian Bustamante
  • Extras Casting: Rich King
  • Special Effects Coordinator: Edward Joubert
  • Stunts: David Anthony Buglione
  • Key Grip: Chris Ekstrom
  • Assistant Editor: Naomi Sunrise Filoramo
  • Producer: Jody Klein
  • Sound Re-Recording Mixer: Duncan McRae
  • Location Manager: Neal Prosansky
  • Production Coordinator: Cam Owen
  • First Assistant “A” Camera: Sarah Brandes
  • Digital Imaging Technician: Tyler Blackwell
  • Set Costumer: Kasey Bazil Young
  • Foley Mixer: Jack Cucci
  • Sound Designer: Xiao’ou Olivia Zhang
  • Transportation Coordinator: Jeffrey Gowing
  • “B” Camera Operator: Austin Alward
  • First Assistant “B” Camera: Zachary Blosser
  • Tailor: Kazli Sullivan
  • Hair Department Head: Nakoya Yancey
  • Theatre Play: Kemp Powers
  • Extras Casting Coordinator: Rikki Hegwood
  • Stunt Double: Joseph Singletary
  • Assistant Location Manager: David Fields
  • Boom Operator: Donovan Thibodeaux
  • Second Assistant Director: Kevin O’Neil
  • Best Boy Electric: Nick Kramer
  • Set Decorating Coordinator: Chelsey Staggs
  • Location Manager: Win Riley
  • Unit Publicist: Bo Shurling
  • Set Designer: Stephanie Parker
  • Production Supervisor: Colette S. Knight
  • Second Assistant “B” Camera: Haley Turk
  • Set Designer: Kyle Courter
  • Set Decoration Buyer: Jossie Rodriguez
  • Art Department Coordinator: Dana Robertson
  • Set Costumer: Malikka Scott
  • Seamstress: Karen Clark
  • Key Hair Stylist: Wayne Jolla Jr.
  • Additional Hairstylist: Sabana Majeed
  • Production Secretary: Manda Haykus
  • Payroll Accountant: Steve Mattus
  • Casting Associate: Yolanda D. Hunt
  • Dialect Coach: Tre Cotten
  • Transportation Captain: Lionel C. Johnson
  • Assistant Location Manager: John Collins
  • Foley Mixer: Tavish Grade
  • Digital Intermediate Editor: Andrew Brueck
  • Digital Intermediate Producer: Cielle Kiewit

Movie Reviews:

  • MSB: If you enjoy reading my Spoiler-Free reviews, please follow my blog @

    As you know, I always try to know as little as possible about a film before watching it. From skipping trailers to sometimes not even reading the synopsis and going in blind, I firmly believe the best experience one can have is to be surprised by the movie. However, a few films – mainly those “based in real events or real people” – warrant a little pre-research. Before sitting to watch One Night in Miami, I read a little bit about each main character’s life to understand who they were, what sort of impact they had in the Black community, and if the night depicted in the movie truly happened. Well, the gathering of these four friends that night is indeed real, but what they really talked about is fictionalized by Kemp Powers’ screenplay and Regina King’s directorial debut.

    Honestly, I’m surprised by how much I enjoyed this film. I didn’t have high expectations, but it would still surpass them if I had. It’s one of those films anyone will struggle to find major flaws. King blows everyone away with her outstanding directing work, showing incredible control of her craft and deep knowledge of the art of filmmaking. Most of the narrative is spent in a small, cheap motel room. One-location movies are a brutal, challenging task for any director to handle, let alone a debutant, especially when there’s no action to create excitement or a significant amount of comedy to entertain the audience. However, King’s masterful blocking, framing, and shot composition make every scene feel unique with the help of exquisite cinematography (Tami Reiker) despite the place rarely changing.

    These technical attributes may seem insignificant for the general audience, but they’re a major reason why this film remains remarkably captivating and refreshing after each conversation. Nevertheless, Powers’ screenplay – adapted from his own play of the same name – is as innovative as thought-provoking. Every single dialogue is incredibly worth investing the time to listen carefully. Almost all of the debates and interactions that the main characters have in this movie can be applied to today. This is a great accomplishment script-wise, but it doesn’t stop being a bit depressing and sad that important arguments about civil rights make as much sense now as they did almost sixty years ago.

    Malcolm X and Sam Cooke are the two characters who argue the most about this topic. On one hand, their discussions can be enlightening about what Black people can do to help their community and change the social-economic system. On the other hand, watching them fight over who has the best formula or who’s more successful in using it to help their people is not as pleasant as one might anticipate. Thing is… it’s not meant for the viewer to feel comfortable during these talks. The first act is a swift introduction to the ensemble of protagonists – maybe even too fast – but the other two acts are entirely dedicated to these debates precisely to stimulate the audience and make people think and reflect on our society’s current state.

    Moving on to yet another massive influence on this film’s overall success: the ensemble cast. Everyone is absolutely terrific, but my personal standout has to be Kingsley Ben-Adir (The Photograph, King Arthur: Legend of the Sword) as Malcolm X. Kingsley is the one who triggers everything and who keeps bringing the necessary conversations to the screen through an emotionally powerful display. Leslie Odom Jr. (Hamilton, Harriet) follows close behind with a phenomenal, charmful interpretation of Sam Cooke, offering his own beautiful voice to the movie’s music (Terence Blanchard). Aldis Hodge (The Invisible Man, Hidden Figures) delivers a grounded yet engaging performance as Jim Brown, while Eli Goree (Race) plays a cocky, overconfident Cassius Clay (later known as Muhammad Ali) who is a bit annoying at first but quickly proves to be much more than that.

    I struggled to find explicit, significant flaws throughout the whole film and even after I finished it. Honestly, I believe it’s one of those few movies that come out every year where it’s tough to really feel disappointed about a specific component. I had my Top10 of the year well-defined, but it will have to open up space for this exceptional film. I hope everyone will come around to watch this one before the Oscars, so it gathers enough support to win a few categories. It would be a shame not to be able to call One Night in Miami an Oscar-winning flick.

    Possessing one of the best ensemble casts of the year, One Night in Miami is a magnificent piece of filmmaking and storytelling. From Regina King’s masterful directorial debut to Kemp Powers’ thought-provoking, mesmerizing adapted screenplay, it’s hard to point out flaws in such a well-made movie. King’s brilliant blocking and framing maintain every conversation refreshing and unique despite the location rarely changing, while Powers’ narrative is packed with arguments about civil rights so impactful that most of them still exist today. Kingsley Ben-Adir and Leslie Odom Jr. have more dialogue to shine than Aldis Hodge and Eli Goree, but all deliver phenomenal performances, especially the first. The first act is a tad too fast yet very entertaining, but the rest of the film is surprisingly captivating until the very end. It might feel heavily depressing at specific moments, but the purpose is precisely to convince audiences to reflect on today’s society and its socio-economic system. Personally, I didn’t expect it to enter my Top10 of 2020, but here we are…

    Rating: A-

  • Louisa Moore – Screen Zealots: Inspired by a true story, “One Night in Miami” imagines what happened the night real-life friends Malcolm X (Kingsley Ben-Adir), football star Jim Brown (Aldis Hodge), soul singer Sam Cooke (Leslie Odom Jr.), and heavyweight boxing champ Cassius Clay (Eli Goree) gathered at the Hampton House Motel to celebrate Clay’s victory over Sonny Liston. Over the course of the evening, the men at first are in a celebratory, playful mood, taking lighthearted jabs at each other and enjoying the company. But as the night progresses, the conversations grow more intense, and the four friends have a thoughtful (and confrontational) discussion on race, equality, and the black man’s experience in America.

    Set during the Civil Rights movement in 1964, the timeless subject matter unfortunately has just as much relevance almost 60 years later. You could transport these men into modern times and their conversations about racial injustice would sound almost identical to those being discussed by people today. It’s an important story to tell, and Regina King has captured the essence of Kemp Powers‘s play in her feature directorial debut.

    Since the film is based on a stage play, it feels very talky. Most of the action takes place within the confines of a motel room, yet it never feels claustrophobic. King gets the men out of the motel for a few scenes, including a show-stopping piece at a Sam Cooke concert that shows off her talented eye for directing.

    The insightful script (adapted for the screen by Powers himself) is among the best of the year, and the charismatic young actors carry the dialogue-heavy film with confidence. They’re called on to do a lot of heavy lifting, and every single person in the cast fully becomes the cultural legends they portray. These men make the historical figures come alive with a seemingly effortless chemistry. Every scene plays like natural, realistic banter among friends.

    I’m ashamed to admit that this is a story I’ve never heard before. The film assumes that viewers have a familiarity with this important moment in history, so it would be beneficial to read up on the event beforehand so you’ll find a deeper connection with the story. I spent an hour doing research after screening the movie. If you don’t have time, the film is still an excellent way to learn.

    “One Night in Miami” may be a fictional account of what was discussed within those walls, but it’s an effective drama about four revolutionary leaders and activists. It’s entertaining, thought-provoking, intelligent, and is sure to spark further discussion, which is precisely why the film is so important.

  • SWITCH.: It’s much more rewarding to have something to actually think about or a moral question to ponder rather than have the movie tell you how to feel. It’s a rare pleasure to watch a film like Regina King’s ‘One Night in Miami’ that is willing to leave big questions about four larger-than-life men up in the air instead of trying to answer them.
    – Jake Watt

    Read Jake’s full article…

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