‘Moses the Black’ review: faith-based Chicago drama praised for intent, faulted for disorganization

Robert Daniels reviews Yelena Popovic’s film Moses the Black for The New York Times (Jan. 29, 2026). The film splits between fourth‑century Egypt and present‑day Chicago and follows the historical figure Moses the Black (Chukwudi Iwuji) alongside a remorseful gang member, Malik (Omar Epps).

Daniels calls it a high‑strung, faith‑based hood drama with admirable intentions but lacking precision, and describes the work as tonally overwrought. He writes that the film often recalls Spike Lee’s Chi‑Raq, jostling between spiritual revelations and nonsensical subplots.

In the contemporary storyline, Malik, newly released from prison, dispatches his gang to avenge the murder of his friend Sayeed, though his grandmother and girlfriend temper his violent appetite. Malik’s lieutenant, 2wo‑3ree (Wiz Khalifa, who composed the soundtrack), pushes for war after opposing leader Straw (Quavo) is released from prison.

The review highlights Corey Hendrix’s quietly moving performance and Cliff Chamberlain’s loony turn as bright spots, and notes some disarmingly meditative moments. Daniels says Epps appears to be in a different movie; the film’s disorganization prevents him from flourishing and flattens the weight of gang violence into a numbing senselessness.

The review lists the film as not rated, running 1 hour 50 minutes, and in theaters; it does not report audience reaction or box‑office figures.

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