REVIEWS & PRESS
"Painful but honest depiction of black life in urban Detroit, featuring multifaceted men striving against the odds. A portrait of black resilience and perseverance — without sentimentality — that stands in stark contrast to the one-dimensional uplifting stories of transformation in Detroit, but still offers a way out of the dark."
“An incisive, intimate and enlightening cinematic gaze on Detroit, Street Fighting Men triumphs as an authentic story of resilience in a neighborhood that will never settle for defeat.”
"Street Fighting Men embraces some heavy subject matter but it shows the natural ebb and flow that exists in people’s lives [ . . . ] James’ camera captures some moments of natural levity, some deeply touching moments, and some moments of real horror and sadness [ . . . ] If Street Fighting Men comes to theater near you it is worth your time to check out, especially if you liked Moonlight last year."
"While a documentary, it comes across as a fictionalized drama, the characters searingly captured in such a natural way, oblivious to the camera."
"This is the sort of documentary that needs genuine trust between filmmaker and subject in order to get made [ . . . ] each person is one man against a system much larger than him and mostly indifferent to his struggle. They can't do it alone, and there's not that many people who have their backs."
"Wednesday, we continue our Through the Lens series with a poignant film about the devastating impact economic inequality has had on America’s black working class. Utah-based filmmaker Andrew James’s documentary Street Fighting Men follows the lives of three men in Detroit as they struggle to build something lasting for themselves and future generations. James will join us to tell their stories of fighting to find steady ground in a community wracked by crime, violence, and dwindling opportunity."
"Shot between 2010 and 2014, “Street Fighting Men” follows three men of different generations that James believes represent “the past, present and future of Detroit and its neighborhoods.” It is presented in the observational style of filmmaker Frederick Wiseman, which means that there are no title cards, no narration, and that the audience is expected to provide the context."