'The Supremes at Earl's All-You-Can-Eat' Reviews: "It’s a moving portrait of Black women's friendship across 3+ decades that generally knows when to pull back on sentimentality and ground itself back into the characters"

         On August 23, 2024, Hulu released 'The Supremes at Earl's All-You-Can-Eat', which has earned predominantly positive reviews from critics, currently holding fresh at 70% on Rotten Tomatoes. The film "follows a trio of best friends (Uzo Aduba, Aunjanue Ellis, Sanaa Lathan) known as "The Supremes" who, for decades, has weathered life's storms together through marriage and children, happiness and blues. Now, as heartbreak and illness stir up the past and threaten to destroy their friendship, Odette, Barbara Jean and Clarice see their bond put to the test as they go through their most challenging times yet." But what did the critics say?

Photo by Bruno Gurrero on Unsplash

        Lauren LaMagna of Next Best Picture writes, "The concept of having two or three close friends to help you grow as a person to be the best version of yourself is a magical one, and “The Supremes at Earl’s-All-You-Can-Eat” depicts just how magical it is to find your tribe." Adding, "As with most adaptations of novels into feature films, “The Supremes at Earl’s-All-You-Can-Eat” experiences pacing issues, which is a common critique. It is simply impossible to adapt every plot point and character development from a 384-page novel into a two-hour film, which makes some plot points overly dramatic and triggering to audience members, especially when they do not majorly advance character development or serve as a callback. The heart and soul of the film center on the three women, so when the film doesn’t deal with all three of them, it is less strong. However, the scenes with the trio all together – particularly those with Ellis-Taylor, Aduba, and Lathan – are magnetic, as they authentically depict three individuals who have four decades of experience with each other. In addition, Gabrielle has powerful moments as Young Barbara Jean, who experiences the most traumatic events of the three characters."

        Robert Kojder of Flickering Myth praises the film, stating, "It’s a moving portrait of Black women's friendship across 3+ decades that generally knows when to pull back on sentimentality and ground itself back into the characters"

       Emily DuGranrut of In Review Online notes, "It’s the cinematic equivalent of comfort food — familiar, predictable, and deeply unchallenging." Concluding, "Unlike films like Green Book and Hidden Figures, however, The Supremes is at least thankfully guided by Black artists and voices (including the book’s author, Edward Kelsey Moore). But while that certainly eases concerns about intent, it doesn’t make up for the film’s lack of subtlety, which might be the film’s most glaring, fatal flaw, but is hardly its only. Co-written by director Tina Mabry and Gina Prince-Bythewood (credited as Cee Marcellus; pseudonyms rarely bode well, and we’re a long way from Love & Basketball‘s laidback authenticity here), The Supremes is almost pathologically heavy-handed, force-feeding the audience tragedy after tragedy, leaving little space for viewers to breathe and giving them a product so manufactured and contrived that is feels entirely divorced from any semblance of realism. It’s as if the filmmakers were so single-minded on delivering a message — of hope and love and friendship — that they forgot to let any actual story unfold; what’s left is just misery porn shellacked in Disney makeup. But there’s no denying that audiences who prefer only a splash of reality in their rainbow-colored worldview will find plenty to love in The Supremes. In other words, tell your Boomer mom to get streaming immediately."

       Todd Jorgenson of Cinemalogue says, "The chemistry between the actors yields heartfelt charm and generates poignancy when necessary. However, when exploring deeper themes, the film is schmaltzy rather than insightful or profound."