‘Moses the Black’ Review: Flawed Exploration of Faith and Vengeance in Chicago’s Ganglands

by

Moses the Black follows a Chicago gangster, recently released from prison, who initially seeks revenge but begins to experience a spiritual transformation as violence escalates around him. While the film explores interesting themes of revenge versus forgiveness, it does so in a somewhat awkward way, with weak performances and a confusing structure. However, writer-director Yelena Popovic realistically depicts aspects of inner-city gang life and the cycle of violence. The film also powerfully shows how social media can fuel crime and tragedy, reflecting a harsh truth about the impact on struggling Black communities.

The story begins in 405 A.D. Egypt, showing a monk mourning among bodies in a harsh desert. It then jumps to modern-day Chicago, where Malik (Omar Epps) is released from prison. A black Land Rover is waiting for him, and as he gets in, he’s given his gold watch. The car takes him back to his neighborhood on the West Side, where he’s known as a leading figure in a local gang.

Okay, so the movie really starts to pick up when Malik ends up at this tattoo shop. His ex, Azziza, is the artist, and she begins this huge, sprawling tattoo of the world on his back. It’s a powerful visual – it really shows he feels responsible for fixing everything that’s broken, like he’s the only one who will fix it. Then things shift to a boxing gym, where I meet two of Malik’s key guys. Mike, who’s surprisingly religious, has been running the drug operation while Malik was gone, and 2wo 3ree, this seriously intimidating enforcer. They have the info he’s been desperately waiting for – they finally know who killed his best friend, Sayeed. It’s a tense scene, and you can feel the story building towards something big.

That evening, while having dinner with his grandmother, Jacqueline Williams, Malik told her she’d done everything she could to raise him well. He explained that any struggles he faced weren’t her fault. However, his grandmother didn’t believe he was destined for a life of wrongdoing. She handed him a card featuring Saint Moses the Black (played by Chukwudi Iwuji), a former robber from Nubia who found forgiveness and redemption through Christianity.

Director Popovic (known for films like L.A. Superheroes and Man of God) draws parallels between the protagonist Malik’s spiritual awakening and the story of Moses the Black, shown through flashback sequences. Malik is haunted by the death of Sayeed, a fellow gang member who avoided drugs and alcohol but readily enforced violent acts. At first, Malik justifies this violence as a necessary cost in their struggle for control of the streets. However, this hardened perspective begins to shift when he experiences a vision of Moses, who cautions him against a life of darkness. As Malik reflects on biblical teachings, he starts to realize that only compassion and justice can truly stop the cycle of violence.


Fathom Entertainment

Malik struggles to understand how Mike can claim to be a Christian while still being deeply involved with a gang. The film tackles this difficult question, but does so without nuance or depth in its exploration of faith. While the actors, Epps and Hendrix, are talented, their conversations don’t truly delve into the core of this internal struggle. It feels as though they’re simply delivering lines rather than genuinely connecting with the complex emotions at play. Popovic aims to portray the conflict between the characters’ knowledge of right and wrong and their immoral behavior, a concept that had the potential to be powerfully explored. Unfortunately, the script doesn’t quite live up to its potential, failing to fully realize its themes of faith and morality.

The film Moses the Black suffers from clumsy editing. It’s clear many scenes were filmed in the same location and then pieced together, creating a choppy, unnatural flow. Frequent, repetitive cuts to an overhead train distract from the action. The editing also disrupts the connection between Moses’s story and Malik’s explanations, and his eventual spiritual awakening. While Iwuji delivers a strong performance, the disjointed editing prevents him from fully showcasing his talent. Ultimately, the film struggles to convincingly portray the characters’ journey from hatred to selflessness, and the result feels forced and visually unappealing.


Fathom Entertainment

One supporting character is excessively problematic and so over-the-top that he undermines the film’s seriousness. Cliff Chamberlain plays Jerry, a corrupt police officer who’s constantly agitated, wears a bandana, and throws tantrums like a frustrated child. He embodies a tired and ridiculous stereotype of a white man controlling the downfall of Black characters in scenes that feel illogical and forced. Every time Jerry appears, it’s difficult to take Moses the Black seriously as a crime drama with religious themes.

Subscribe for deeper coverage of faith, film, and crime

Crave sharper cultural context? Subscribe to the newsletter for focused coverage and critical takes on faith in film, urban violence, and social media’s role—essential reading for readers who want deeper, topic-driven analysis.

By subscribing, you agree to receive newsletter and marketing emails, and accept our
Terms of Use
and
Privacy Policy
. You can unsubscribe anytime.

Let’s get straight to what’s effective: Social media can be incredibly damaging. In the film, a compelling storyline involves 2wo 3ree and his crew being targeted with hateful, homophobic insults by their enemy, Quavo. This toxic conflict plays out online through increasingly aggressive emojis and GIFs. While the groups were already feuding over Sayeed, this vicious Instagram battle escalates the situation, predictably leading to deadly consequences when reputations are attacked online. This is the strongest part of the film and powerfully highlights a problem that’s only getting worse.

Moses the Black is currently in limited theatrical release from Fathom Entertainment.

Read More

2026-02-02 23:48