The one primary criticism that comes to mind here is the distinct unevenness with which the title shifts between moods. There is striking, barbed, sardonic wit throughout as Cord Jefferson, adapting Percival Everett's novel, speaks directly to racial stereotypes, and disparity in society between white privilege and the black experience; white treatment and perception of black people, and the performative, contortionist, prostrating act of whites desperately trying to not be racist that is itself illustrative of backhanded racism; and in no small part, the experience of writers that in multiple ways amounts to "if you don't laugh, you'll cry." At such times I'm pointedly reminded of the shots that Boots Riley fired with his fantastic, fantastical, absurdist directorial debut 'Sorry to bother you.' On the opposite end of the spectrum are beats and ideas that heavily emphasize deeply heartfelt and/or dour drama, the troubles in the family and personal life of protagonist Monk, and Jefferson comes close to approaching the downbeat meditation on mortality that is Charlie Kaufman's seminal directorial debut, 'Synecdoche, New York.' Less frequently filling the gaps between these vibes are more conventional, lighthearted airs of comedy-drama as Monk tries to keep multiple plates spinning and has better days of warmth and good humor, and at such points some keen sagacity gets dropped. All of this is worthwhile, and all of it does smartly blend together, yet the back and forth does tend to be a tad jarring, at some times more than others.

Imperfect as the conglomeration is, however, far more than not it's wonderfully enjoyable and satisfying. Outwardly outrageous and cutting as much of 'American fiction' is, there's earnestness, depth, and intelligence to the writing, and meaningful rumination on identity, experience, perception, and racial politics, with additional healthy doses of family, and honesty. Cinching together these effective two halves of the picture, the last several minutes bring it all to a close with a sequence that ingeniously introduces meta humor to bring oblique closure. One may reasonably argue that despite everything, overall the feature lands more softly than expected, yet I think that quality somewhat feeds into the wryness of the humor and helps to smooth the rough edges between the competing airs. One way or another I'm ultimately so pleased with how shrewd Jefferson's film is, and I can see how it's earned so much recognition. From the more over the top scenes and dialogue to those that are most down to earth, and certainly with respect to the overarching plot just as much, Jefferson's writing is splendidly sharp with all that it does and addresses. Moreover, even in his debut his direction is equally keen; if not with absolute flawlessness, Jefferson deftly weaves all the odds and ends together into a tapestry that on the balance ends up feeling like a more ordinary comedy-drama, just with some extra spiciness peppered throughout. I don't know that I'd call it a total must-see, but the movie is thoroughly entertaining and gives us a lot to think about.

As audiences should expect it's all rounded out with fine contributions from all those involved. The cast is a joy as they breathe life into the story and characters; Jeffrey Wright is perfectly solid as protagonist Monk, and Sterling K. Brown brings his own bright spark to the proceedings, but that's to say nothing of the even more well-rounded and welcome ambience shared through Erika Alexander, Myra Lucretia Taylor, Raymond Anthony Thomas, or their co-stars. I appreciate the production design, art direction, and costume design, and those stunts and effects that are employed; from cinematography and editing to sound and music, everything looks and sounds good. Still, the core strength of the title is in its writing and direction, and Jefferson is to be congratulated for such excellent work in his first venture into cinema. Given the cultural quagmire in which 'American fiction' treads I dare say it earns a bit heartier recommendation than it already does on its own merits otherwise, but such details are nitpicking. Any subjective faults are fairly minor when all is said and done, and though it's not as immediately grabbing as some other flicks, I don't think there's any going wrong here. Don't necessarily go out of your way for 'American fiction' but if you do have the opportunity to watch then these are two hours well spent.