I watched Sing Sing and I liked it. 3.5/5
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Prison dramas tend to follow a familiar formula—redemption arcs, desperate escape attempts, or brutal realism that leaves you emotionally gutted. Sing Sing does something different. It’s a prison film, yes, but it’s not about violence, survival, or revenge. Instead, it’s about the power of art, the dignity of self-expression, and the way theater can provide a kind of freedom even within the most restrictive walls.
Director Greg Kwedar delivers a film that is as moving as it is unconventional. Sing Sing isn’t just based on the real-life Rehabilitation Through the Arts (RTA) program at Sing Sing Correctional Facility—it actively incorporates real alumni of the program, giving formerly incarcerated men the chance to tell a version of their own story. The result is a film that feels authentic in a way that scripted dramas rarely do. And at the center of it all is Colman Domingo, whose towering performance carries the film.
Colman Domingo: The Beating Heart of the Film
By now, it’s no secret that Colman Domingo is one of the most compelling actors working today. His performance as Divine G, a longtime inmate who has found purpose through the prison’s theater program, is the kind of work that doesn’t just elevate a film—it defines it. Domingo doesn’t just play Divine G; he embodies him, balancing quiet dignity with deep wells of frustration, resilience, and, at times, sorrow.
Divine G is a leader among the incarcerated actors, a mentor and a true believer in the transformative power of performance. But the beauty of Domingo’s portrayal is that it never veers into sentimentality. He doesn’t play Divine G as a flawless saint or a tragic figure; he plays him as a man—one who is intelligent, charismatic, but also carrying the weight of lost years and shattered hope. When he’s performing on stage, you can see the flickers of joy, the moments where he seems to forget, even just for a second, that he’s in prison. And when his parole is denied, and an interviewer cruelly suggests he might just be “acting” his remorse, Domingo delivers a devastating reaction—anger, heartbreak, exhaustion—all without saying a word.
If Sing Sing is about anything, it’s about the way art can be both a lifeline and a cruel reminder of reality. Domingo walks that tightrope beautifully, and his performance is one of the best of his career.
A Cast That Redefines Authenticity
Beyond Domingo, the most fascinating aspect of Sing Sing is its cast. While films like The Florida Project and Nomadland have incorporated non-professional actors before, Sing Sing takes it a step further by featuring real-life formerly incarcerated men who were part of the RTA program. Clarence “Divine Eye” Maclin, who plays a fictionalized version of himself, is a standout. Initially dismissive of acting, his character slowly warms up to the process, and Maclin’s performance is both natural and deeply moving. He’s rough around the edges at first, but by the end, you’re rooting for him just as much as Divine G.
The use of real alumni doesn’t just add authenticity; it reshapes how we see these men. They aren’t Hollywood’s version of prisoners—they’re real people, with real emotions, real stories, and a real connection to the material. That lived experience adds a rawness to every performance. Even in scenes of levity (and there are quite a few), there’s always an undercurrent of something deeper, something unspoken.
Theater as a Path to Freedom
The film does a remarkable job of showing just how powerful the theater program is—not just as a means of passing time, but as a form of self-discovery. In one of the best sequences, the inmates argue over what kind of play they should put on: another heavy drama or something light, something fun? The debate itself becomes an impromptu performance, and you realize just how much they’ve come to love and value this space.
Kwedar shoots the film with a stripped-down, almost documentary-like feel, letting scenes play out naturally. The cinematography by Pat Scola, shot on 16mm film, gives the movie a grainy, intimate texture that makes it feel even more real. And the final moments—real footage of the RTA program, featuring the very men who inspired this story—hit like a gut punch.
The Flaws That Hold It Back
For all its strengths, Sing Sing does have a few issues. The pacing, for one, can be a little slow, especially in the middle stretch where the film leans more into slice-of-life storytelling rather than building momentum toward a climax. Some subplots—like Divine G’s interactions with the prison administration—feel underdeveloped, leaving the film feeling a bit disjointed at times.
Additionally, while the film’s quiet, observational approach is admirable, there are moments where you wish it would push just a little harder—delve deeper into Divine G’s past, explore more of the inmates’ personal struggles outside of theater. Instead, the film often chooses restraint, which is effective in some cases but frustrating in others.
Final Thoughts
Sing Sing isn’t your typical prison drama, and that’s what makes it special. It’s not about crime and punishment—it’s about art, community, and the ways in which self-expression can offer a kind of freedom even when physical freedom is out of reach.
Colman Domingo delivers one of the best performances of the year, and the supporting cast—especially the real-life RTA alumni—adds a level of truth that no amount of Hollywood polish could replicate. The film’s pacing issues and occasional lack of narrative drive hold it back from being truly great, but its heart, authenticity, and quiet power make it well worth watching.
In the end, Sing Sing isn’t just a movie about men performing in prison—it’s a film that allows these men to reclaim their own narratives, in their own voices. And that, in itself, is something worth celebrating.