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The targets in this half of the movie are obvious - mostly rich, white liberals in the entertainment industry who view themselves as allies but are in fact pigeonholing Black artists for their own personal gain. So, of course, much to the surprise of Monk and his agent (a very good John Ortiz), the book becomes a smash hit. The book is crammed with offensive racial cliches and plot contrivances that feel like a reheated Menace II Society. The most effective storyline is the satirical one, in which, out of sheer exasperation, Monk pens a phony memoir titled My Pafology (which he later retitles, simply, Fuck) under the pseudonym Stagg R. The story proper is almost perfectly split into two separate threads, each seeming like it’s from a different movie entirely. We sense that Jefferson shares Monk’s anger. The juxtaposition between Golden’s wealth and the over-the-top Black stereotypes in her novel is an obvious joke, sure, but the satire is what works best in American Fiction. After walking into a public reading by one of his contemporaries - an Ivy League grad named Sinatra Golden (Issa Rae) - Monk quickly storms out when he sees the title of her latest novel, We’s Lives in Da Ghetto. In his mind, the most popular Black authors are only getting acclaim by pandering to white audiences’ perceptions of Black culture.

It’s not just Monk’s students that are grinding his gears, however. But his job forces him to cater to the comforts of white people even in discussions of race. The irony, of course, is that Monk himself is Black and more than comfortable examining a work of art in all of its ugly historical context. A white, blue-haired student raises her hand and says she doesn’t feel comfortable having to stare at such an offensive word. When we first meet Monk, he’s teaching his class a Flannery O’Connor story with a title that contains a racial slur. Thelonious “Monk” Ellison (Wright) is a frustrated author who has taken up a college teaching gig after failing to light the literary world on fire with any of his novels. When audiences are treated to maybe one or two good comedies a year, that certainly counts for something. Brown and a handful of genuinely laugh-out-loud moments. But it’s one that mostly sort of works in spite of itself, thanks to nuanced performances from Jeffrey Wright and Sterling K. If that sounds like a jarring experience … well, it is. Still need more options? Here are a gazillion more romantic movies and the best (swoony) period dramas.Opening in wide release Friday, writer-director Cord Jefferson’s American Fiction is an odd mix of sentimental family melodrama and cutting racial satire - veering from the scathing tirades of Spike Lee’s Bamboozled one moment to a syrupy Tyler Perry tearjerker the next. So invite over your valentine or galentine, stock some snacks ( grab the ones here), and fire up Netflix, Amazon Prime, Max, or Hulu. Oh, and if you’re not in the mood for love (again, we get it), we’ve also included a few breakup-central stories and ones that are just nice to look at (hello, Channing Tatum’s abs). And there are love stories for all ages, from teen crushes to 20- and 30-something disasters to second chances after divorce. On the other hand, if you want a flick that’ll make you bawl your eyes out (no shame-sometimes you just gotta feel your feelings), this list includes a good serving of dramatic, emotional, and heart-wrenching films, too. In the mood for something light, cheesy, and/or laugh-out-loud hilarious? We’ve got rom-coms galore for that. Whether you’re spending the holiday with a longtime partner, a new flame, your favorite girlfriends, or on your own, there’s a perfect movie for you.

To help you prep for your exciting plan, we’ve queued up 47 of the best movies for Valentine’s Day below. Valentine’s Day often involves romantic, candlelit dinners (or one of these fun date ideas), but this year, consider cozying up at home and turning on a super-romantic movie instead.