{"id":78393,"date":"2017-01-28T11:15:29","date_gmt":"2017-01-28T11:15:29","guid":{"rendered":"https:\/\/0de2709a84.nxcli.net\/0-kjasnb\/2017\/01\/28\/sundance-review-roxanne-roxanne\/"},"modified":"2018-12-18T02:42:13","modified_gmt":"2018-12-18T02:42:13","slug":"sundance-review-roxanne-roxanne","status":"publish","type":"post","link":"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/","title":{"rendered":"Sundance Review: Roxanne Roxanne"},"content":{"rendered":"<p><strong>Sundance 2017 Review:\u00a0<\/strong>Posted by\u00a0Jacqueline Coley<\/p>\n<p>January 27, 2017<\/p>\n<p><a href=\"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2012\/01\/sundance_film_festival_egyptian_theater_03.jpg\"><img loading=\"lazy\" decoding=\"async\" data-expand=\"600\" class=\"lazyload alignleft size-medium wp-image-17997\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 300 225'%2F%3E\" data-src=\"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2012\/01\/sundance_film_festival_egyptian_theater_03-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" \/><\/a><\/p>\n<p>When the 2017 Sundance line-up released earlier this year, the hip-hop biopic Roxanne Roxanne was at the top of most critics anticipated lists. 2015\u2019s Straight Outta Compton proved to audiences that hip-hop biopics when done right can have exceptional storytelling. If the filmmakers do their homework and treat the subjects with respect, we can have a film that rouses the audience beyond the traditional clique. Produced by Pharell and Forest Whitaker, and helmed by writer-director and self-professed hip-hop head Micheal Larnell, Roxanne Roxanne had all the pieces in place for greatness. Larnell returns to Sundance with his sophomore feature film staring, Mahershala Ali (Moonlight) Nia Long (Lemon) and introducing newcomer Chante Adams playing the title character Lolita \u2018Roxanne Shante\u2019 Gooden.<\/p>\n<p><a href=\"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2017\/01\/Roxanne-Roxanne-Nia-Long-Roxanne-Shante-director-Michael-Larnell-and-Chante-Adams.jpg\"><img loading=\"lazy\" decoding=\"async\" data-expand=\"600\" class=\"lazyload alignright size-medium wp-image-94489\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 300 183'%2F%3E\" data-src=\"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2017\/01\/Roxanne-Roxanne-Nia-Long-Roxanne-Shante-director-Michael-Larnell-and-Chante-Adams-300x183.jpg\" alt=\"\" width=\"300\" height=\"183\" \/><\/a><\/p>\n<p>Even a casual hip-hop historian is familiar with the Roxanne Wars, a series of battle raps over U.T.F.O.\u2019s Roxanne Roxanne, kicked off by Roxanne Shante\u2019s iconic Roxanne\u2019s Revenge. Larnell however, does put in tremendous effort to make sure the film is not just for music aficionados. Roxanne Shante\u2019s story is not that well known, but if you stop down for it, you\u2019ll get a glimpse into a Hip-Hop pioneer\u2018s life story of tragedy and triumph. A film about a poor performer who molded talent and drive into a path out of a desperate situation is nothing we haven\u2019t seen before, but seeing it from a female\u2019s perspective is refreshing. In addition to all the normal trapping of the music industry sex, drugs, and betrayal we also add the dynamic of a woman trying to make her mark in a male-dominated industry. Roxanne Roxanne\u2019s strongest asset is Adams\u2019 performance. Spanning her early days as a rap battle champion in the Queensbridge housing project, to her eventually discovery and thrust into stardom. Adams bring charisma and ferocity to the role, despite having to push the very adult verses over pre-pubescent braces.<\/p>\n<p><a href=\"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2017\/01\/Sundance-2017-Roxanne-Roxanne.jpg\"><img loading=\"lazy\" decoding=\"async\" data-expand=\"600\" class=\"lazyload alignleft size-medium wp-image-94054\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 300 177'%2F%3E\" data-src=\"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2017\/01\/Sundance-2017-Roxanne-Roxanne-300x177.jpg\" alt=\"\" width=\"300\" height=\"177\" \/><\/a><\/p>\n<p>The film opens with Shante only ten years old rapping against a much older competitor who is none too impressed to be competing against a little girl. The older rapper dismisses her skills as she sizes him up, and the screen freeze frames over her knowing face and the title card just as the beat drops. In the premiere screening at Sundance the moment was so pitch perfect, it moved the entire audience to cheers. The opening sequence sets the tone both for the film as well as the character \u2013 boisterous, beautiful and fierce. Though we don\u2019t see Chante &#8211; played Taliyah Whitaker at age 10 &#8211; rap immediately the gauntlet has been set. As her best friend and hype man boast before every battle, \u201cThe champ is here! The champ is here!\u201d.<\/p>\n<p><a href=\"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2017\/01\/Roxanne-Roxanne-Chante-Adams.jpg\"><img loading=\"lazy\" decoding=\"async\" data-expand=\"600\" class=\"lazyload alignright size-medium wp-image-94490\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 300 240'%2F%3E\" data-src=\"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2017\/01\/Roxanne-Roxanne-Chante-Adams-300x240.jpg\" alt=\"\" width=\"300\" height=\"240\" \/><\/a><\/p>\n<p>Balancing language that highlights the bravado of Chante\u2019s battles while not eclipsing the non-battle dialogue is a fine tightrope that Larnell\u2019s screenplay navigates with ease. Adams herself looks completely comfortable in the rap battles, as well as some of the more graphic emotional scenes. When we sat down with her after the premiere, she confessed she only had about ten days from casting to her first day on set. \u201cI had to just go in an intense hip-hip boot camp,\u201d she told us. \u201cI listened to every track, watched every interview or video I could find.\u201d The only flaw I could confess would be that at times you can see where the filmmakers could have done with a bit more time. The first 3\/4th of the film are fluid and entertaining as we watch Roxanne Shante become the most feared rapper on the east coast, to her eventual departure from hip hip into an abusive relationship with her longtime admirer, Cross \u2013 played to creepy perfection by Mahersela Ali.<\/p>\n<p><a href=\"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2017\/01\/Roxanne-Roxanne-Chante-Adams-and-Roxanne-Shante.jpg\"><img loading=\"lazy\" decoding=\"async\" data-expand=\"600\" class=\"lazyload alignleft size-medium wp-image-94491\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 199 300'%2F%3E\" data-src=\"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2017\/01\/Roxanne-Roxanne-Chante-Adams-and-Roxanne-Shante-199x300.jpg\" alt=\"\" width=\"199\" height=\"300\" \/><\/a><\/p>\n<p>Cross woos Shante with minks and jewels, and though she is only 16, she eventually succumbs and begins a physical relationship him. One of the more brilliant shots of the film comes at this point. The camera just above Shante\u2019s head as she lays down, exclaiming with pleasure as she loses her virginity, then morphs into the same shot with cries of childbirth and finally ends with screams of pain as Cross drags her across the room by her hair. The sequence shows the character&#8217;s quick decline after beginning her relationship with Cross, and unfortunately, marks the uneven climax of the film. The third act shifts so dramatically that despite the morphing shot, by the time the film ends you are left feeling unresolved. There are great easter eggs form hip hop acts of the eighties and nineties and an absolutely hilarious cameo by Adam Horowitz of the Beastie Boys, as the ever present shady lawyer, but that is not enough to redeem the ending.<\/p>\n<p>In the end, Roxanne Roxanne is a story that needed to be told, and if you are familiar with the story you will likely to find it bold, but it needs just a bit more guidance and perhaps more time to truly let the story of this forgotten star shine.<\/p>\n<p>7\/10<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Sundance 2017 Review:\u00a0Posted by\u00a0Jacqueline Coley January 27, 2017 When the 2017 Sundance line-up released earlier this year, the hip-hop biopic Roxanne Roxanne was at the top of most critics anticipated lists. 2015\u2019s Straight Outta Compton proved to audiences that hip-hop biopics when done right can have exceptional storytelling. If the filmmakers do their homework and [&hellip;] <a class=\"g1-link g1-link-more\" href=\"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/\">More<\/a><\/p>\n","protected":false},"author":8,"featured_media":78428,"comment_status":"1","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[143,17],"tags":[],"reaction":[],"class_list":{"0":"post-78393","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-read","8":"category-reviews"},"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v19.7 (Yoast SEO v27.3) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Sundance Review: Roxanne Roxanne - blackfilm.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sundance Review: Roxanne Roxanne\" \/>\n<meta property=\"og:description\" content=\"Sundance 2017 Review:\u00a0Posted by\u00a0Jacqueline Coley January 27, 2017 When the 2017 Sundance line-up released earlier this year, the hip-hop biopic Roxanne Roxanne was at the top of most critics anticipated lists. 2015\u2019s Straight Outta Compton proved to audiences that hip-hop biopics when done right can have exceptional storytelling. If the filmmakers do their homework and [&hellip;] More\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/\" \/>\n<meta property=\"og:site_name\" content=\"blackfilm.com\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/blackfilm\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/blackfilm\" \/>\n<meta property=\"article:published_time\" content=\"2017-01-28T11:15:29+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-12-18T02:42:13+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2018\/12\/Roxanne-Roxanne-Nia-Long-Roxanne-Shante-director-Michael-Larnell-and-Chante-Adams-4.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"731\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Guest Writer\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@blackfilm\" \/>\n<meta name=\"twitter:site\" content=\"@blackfilm\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Guest Writer\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/sundance-review-roxanne-roxanne\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/sundance-review-roxanne-roxanne\\\/\"},\"author\":{\"name\":\"Guest Writer\",\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/#\\\/schema\\\/person\\\/031e5b3b0b6f6a7121aa3561bc66edb9\"},\"headline\":\"Sundance Review: Roxanne Roxanne\",\"datePublished\":\"2017-01-28T11:15:29+00:00\",\"dateModified\":\"2018-12-18T02:42:13+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/sundance-review-roxanne-roxanne\\\/\"},\"wordCount\":850,\"publisher\":{\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/sundance-review-roxanne-roxanne\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/wp-content\\\/uploads\\\/2018\\\/12\\\/Roxanne-Roxanne-Nia-Long-Roxanne-Shante-director-Michael-Larnell-and-Chante-Adams-4.jpg\",\"articleSection\":[\"Read\",\"Reviews\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/sundance-review-roxanne-roxanne\\\/\",\"url\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/sundance-review-roxanne-roxanne\\\/\",\"name\":\"Sundance Review: Roxanne Roxanne - blackfilm.com\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/sundance-review-roxanne-roxanne\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/sundance-review-roxanne-roxanne\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/wp-content\\\/uploads\\\/2018\\\/12\\\/Roxanne-Roxanne-Nia-Long-Roxanne-Shante-director-Michael-Larnell-and-Chante-Adams-4.jpg\",\"datePublished\":\"2017-01-28T11:15:29+00:00\",\"dateModified\":\"2018-12-18T02:42:13+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/sundance-review-roxanne-roxanne\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/sundance-review-roxanne-roxanne\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/sundance-review-roxanne-roxanne\\\/#primaryimage\",\"url\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/wp-content\\\/uploads\\\/2018\\\/12\\\/Roxanne-Roxanne-Nia-Long-Roxanne-Shante-director-Michael-Larnell-and-Chante-Adams-4.jpg\",\"contentUrl\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/wp-content\\\/uploads\\\/2018\\\/12\\\/Roxanne-Roxanne-Nia-Long-Roxanne-Shante-director-Michael-Larnell-and-Chante-Adams-4.jpg\",\"width\":1200,\"height\":731},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/sundance-review-roxanne-roxanne\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Sundance Review: Roxanne Roxanne\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/#website\",\"url\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/\",\"name\":\"blackfilm.com\\\/read\",\"description\":\"Movie, Television, and Theatre News\",\"publisher\":{\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/#organization\"},\"alternateName\":\"blackfilm.com\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/#organization\",\"name\":\"blackfilm.com\",\"url\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/wp-content\\\/uploads\\\/2026\\\/04\\\/B-Stamp-White-Blue-with-Logo-scaled.png\",\"contentUrl\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/wp-content\\\/uploads\\\/2026\\\/04\\\/B-Stamp-White-Blue-with-Logo-scaled.png\",\"width\":2560,\"height\":612,\"caption\":\"blackfilm.com\"},\"image\":{\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/blackfilm\",\"https:\\\/\\\/x.com\\\/blackfilm\",\"https:\\\/\\\/www.instagram.com\\\/blackfilm\\\/\",\"https:\\\/\\\/www.youtube.com\\\/blackfilm\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/#\\\/schema\\\/person\\\/031e5b3b0b6f6a7121aa3561bc66edb9\",\"name\":\"Guest Writer\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/eea14902d5e6b8d13b26496d4b3233a60b5fb7d8404892174210320225f66a73?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/eea14902d5e6b8d13b26496d4b3233a60b5fb7d8404892174210320225f66a73?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/eea14902d5e6b8d13b26496d4b3233a60b5fb7d8404892174210320225f66a73?s=96&d=mm&r=g\",\"caption\":\"Guest Writer\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/blackfilm\",\"https:\\\/\\\/x.com\\\/blackfilm\"],\"url\":\"https:\\\/\\\/www.blackfilm.com\\\/read\\\/author\\\/wilsonmorales\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Sundance Review: Roxanne Roxanne - blackfilm.com","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/","og_locale":"en_US","og_type":"article","og_title":"Sundance Review: Roxanne Roxanne","og_description":"Sundance 2017 Review:\u00a0Posted by\u00a0Jacqueline Coley January 27, 2017 When the 2017 Sundance line-up released earlier this year, the hip-hop biopic Roxanne Roxanne was at the top of most critics anticipated lists. 2015\u2019s Straight Outta Compton proved to audiences that hip-hop biopics when done right can have exceptional storytelling. If the filmmakers do their homework and [&hellip;] More","og_url":"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/","og_site_name":"blackfilm.com","article_publisher":"https:\/\/www.facebook.com\/blackfilm","article_author":"https:\/\/www.facebook.com\/blackfilm","article_published_time":"2017-01-28T11:15:29+00:00","article_modified_time":"2018-12-18T02:42:13+00:00","og_image":[{"width":1200,"height":731,"url":"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2018\/12\/Roxanne-Roxanne-Nia-Long-Roxanne-Shante-director-Michael-Larnell-and-Chante-Adams-4.jpg","type":"image\/jpeg"}],"author":"Guest Writer","twitter_card":"summary_large_image","twitter_creator":"@blackfilm","twitter_site":"@blackfilm","twitter_misc":{"Written by":"Guest Writer","Est. reading time":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/#article","isPartOf":{"@id":"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/"},"author":{"name":"Guest Writer","@id":"https:\/\/www.blackfilm.com\/read\/#\/schema\/person\/031e5b3b0b6f6a7121aa3561bc66edb9"},"headline":"Sundance Review: Roxanne Roxanne","datePublished":"2017-01-28T11:15:29+00:00","dateModified":"2018-12-18T02:42:13+00:00","mainEntityOfPage":{"@id":"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/"},"wordCount":850,"publisher":{"@id":"https:\/\/www.blackfilm.com\/read\/#organization"},"image":{"@id":"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/#primaryimage"},"thumbnailUrl":"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2018\/12\/Roxanne-Roxanne-Nia-Long-Roxanne-Shante-director-Michael-Larnell-and-Chante-Adams-4.jpg","articleSection":["Read","Reviews"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/","url":"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/","name":"Sundance Review: Roxanne Roxanne - blackfilm.com","isPartOf":{"@id":"https:\/\/www.blackfilm.com\/read\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/#primaryimage"},"image":{"@id":"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/#primaryimage"},"thumbnailUrl":"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2018\/12\/Roxanne-Roxanne-Nia-Long-Roxanne-Shante-director-Michael-Larnell-and-Chante-Adams-4.jpg","datePublished":"2017-01-28T11:15:29+00:00","dateModified":"2018-12-18T02:42:13+00:00","breadcrumb":{"@id":"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/#primaryimage","url":"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2018\/12\/Roxanne-Roxanne-Nia-Long-Roxanne-Shante-director-Michael-Larnell-and-Chante-Adams-4.jpg","contentUrl":"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2018\/12\/Roxanne-Roxanne-Nia-Long-Roxanne-Shante-director-Michael-Larnell-and-Chante-Adams-4.jpg","width":1200,"height":731},{"@type":"BreadcrumbList","@id":"https:\/\/www.blackfilm.com\/read\/sundance-review-roxanne-roxanne\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.blackfilm.com\/read\/"},{"@type":"ListItem","position":2,"name":"Sundance Review: Roxanne Roxanne"}]},{"@type":"WebSite","@id":"https:\/\/www.blackfilm.com\/read\/#website","url":"https:\/\/www.blackfilm.com\/read\/","name":"blackfilm.com\/read","description":"Movie, Television, and Theatre News","publisher":{"@id":"https:\/\/www.blackfilm.com\/read\/#organization"},"alternateName":"blackfilm.com","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.blackfilm.com\/read\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.blackfilm.com\/read\/#organization","name":"blackfilm.com","url":"https:\/\/www.blackfilm.com\/read\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.blackfilm.com\/read\/#\/schema\/logo\/image\/","url":"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2026\/04\/B-Stamp-White-Blue-with-Logo-scaled.png","contentUrl":"https:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2026\/04\/B-Stamp-White-Blue-with-Logo-scaled.png","width":2560,"height":612,"caption":"blackfilm.com"},"image":{"@id":"https:\/\/www.blackfilm.com\/read\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/blackfilm","https:\/\/x.com\/blackfilm","https:\/\/www.instagram.com\/blackfilm\/","https:\/\/www.youtube.com\/blackfilm"]},{"@type":"Person","@id":"https:\/\/www.blackfilm.com\/read\/#\/schema\/person\/031e5b3b0b6f6a7121aa3561bc66edb9","name":"Guest Writer","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/eea14902d5e6b8d13b26496d4b3233a60b5fb7d8404892174210320225f66a73?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/eea14902d5e6b8d13b26496d4b3233a60b5fb7d8404892174210320225f66a73?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/eea14902d5e6b8d13b26496d4b3233a60b5fb7d8404892174210320225f66a73?s=96&d=mm&r=g","caption":"Guest Writer"},"sameAs":["https:\/\/www.facebook.com\/blackfilm","https:\/\/x.com\/blackfilm"],"url":"https:\/\/www.blackfilm.com\/read\/author\/wilsonmorales\/"}]}},"_links":{"self":[{"href":"https:\/\/www.blackfilm.com\/read\/wp-json\/wp\/v2\/posts\/78393","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.blackfilm.com\/read\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.blackfilm.com\/read\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.blackfilm.com\/read\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.blackfilm.com\/read\/wp-json\/wp\/v2\/comments?post=78393"}],"version-history":[{"count":1,"href":"https:\/\/www.blackfilm.com\/read\/wp-json\/wp\/v2\/posts\/78393\/revisions"}],"predecessor-version":[{"id":120056,"href":"https:\/\/www.blackfilm.com\/read\/wp-json\/wp\/v2\/posts\/78393\/revisions\/120056"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.blackfilm.com\/read\/wp-json\/wp\/v2\/media\/78428"}],"wp:attachment":[{"href":"https:\/\/www.blackfilm.com\/read\/wp-json\/wp\/v2\/media?parent=78393"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.blackfilm.com\/read\/wp-json\/wp\/v2\/categories?post=78393"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.blackfilm.com\/read\/wp-json\/wp\/v2\/tags?post=78393"},{"taxonomy":"reaction","embeddable":true,"href":"https:\/\/www.blackfilm.com\/read\/wp-json\/wp\/v2\/reaction?post=78393"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}