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The Best of Enemies

The Best of Enemies

Drama · History · 2019

Centers on the unlikely relationship between Ann Atwater, an outspoken civil rights activist, and C.P. Ellis, a local Ku Klux Klan leader who reluctantly co-chaired a community summit, battling over the desegregation of schools in Durham, North Carolina during the racially-charged summer of 1971. The incredible events that unfolded would change Durham and the lives of Atwater and Ellis forever.

Movie details

The Best of Enemies

“Change is worth fighting for”

2019 Drama · History 2h 13m

Critical arithmetic

One number, for now.

TMDB

7.4 / 10

Community rating

Centers on the unlikely relationship between Ann Atwater, an outspoken civil rights activist, and C.P. Ellis, a local Ku Klux Klan leader who reluctantly co-chaired a community summit, battling over the desegregation of schools in Durham, North Carolina during the racially-charged summer of 1971. The incredible events that unfolded would change Durham and the lives of Atwater and Ellis forever.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Best of Enemies?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Robin Bissell

Written by

Robin Bissell

Taraji P. Henson

Taraji P. Henson

Ann Atwater

Sam Rockwell

Sam Rockwell

Claiborne Paul Ellis

Babou Ceesay

Babou Ceesay

Bill Riddick

Anne Heche

Anne Heche

Mary Ellis

Wes Bentley

Wes Bentley

Floyd Kelly

Nick Searcy

Nick Searcy

Garland Keith

Bruce McGill

Bruce McGill

Carvie Oldham

Court is in session

Put The Best of Enemies on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.