Ever wonder what would happen if a drug dealer, a pimp, and a sex worker found themselves at the crux of a government conspiracy? No? Me neither, but They Cloned Tyrone answers that scenario.
Set in the fictional yet Atlanta-like The Glen, They Cloned Tyrone tells a story reminiscent of the infamous Gucci Mane clone conspiracy theories. After a tragic event, dope man Fontaine (John Boyega) begins to question the existence of human replicas and teams with fellow Glen residents pimp Slick Charles (Jamie Foxx) and sex worker Yo-Yo (Teyonah Parris) to investigate.
So what is They Cloned Tyrone exactly beyond the obviousness of its title? It’s Invasion of the Body Snatchers (either version) after choosing to have a legitimate conversation with I’m Gonna Git You Sucka and Sorry to Bother You instead of attending a fluff-filled, post-2020 mandated diversity training.
From a narrative standpoint, writer-director Juel Taylor crafts a tale that doesn’t lean too far into any of the directions the film could go. The script, written with Tony Wettenmaier, features the suspense of a sci-fi film but doesn’t commit to that lane. It’s rife with social commentary and satire, but it is neither an all-out sermon nor a barrel of laughs.
Taylor’s approach to They Cloned Tyrone’s social commentary is a welcomed one. He avoids shaming those participating in hot-button aspects of Black culture, like rap music and fried chicken. Instead, he highlights how the people who use those things to harm are the real villains.
Visually, Taylor’s choices are equally impressive. The lighting in scenes with a darker background or at night is well done, but the winner here is his homage to Blaxploitation movies and 70s cinema. Taylor and cinematographer Ken Seng shot They Cloned Tyrone with a filter that gives it a grainy appearance throughout. That visual trick pays off big, setting a relaxed, nostalgic tone that lets everything flow regardless of how absurd the matter is, a key part of films in that era.
When it comes to the acting, there was never a question of if the Boyega-Foxx-Parris trio would be good. It was just a matter of how good they would be, and good is a gross understatement for what they do here. Similar to They Cloned Tyrone’s narrative, their performances go in several directions that showcase each actor’s range but do so in varying degrees.
Boyega’s turn is a grittier version of his Moses character from his 2011 debut Attack the Block – mostly a straight man who keeps an already nonsensical story from going astray but still has room for humor. This weight Boyega brings to the screen holds truest in a fantastic scene in the film’s final act. It’s a reminder of why Boyega stays highly regarded.
Foxx and Parris are the one-two punch for the film’s comedy but have moments that give gravity to the film’s social critiques. Their chemistry lifts They Cloned Tyrone as soon as it gets too heavy.
The triplets are incredible together, but Parris is the standout among them. She doesn’t miss a beat going toe-to-toe with Foxx in Yo-Yo’s and Slick Charles’s ongoing banter, which says a lot given Foxx's comedic genius. Her best work comes in the scene where she gives us a window into Yo-Yo’s journey before the film's events. It revisits Parris’s dramatic chops, but it hits hard.
While the concept of clones replacing humans is a well-worn film plot, quality Black satire is a much tougher find, and They Cloned Tyrone is a gem. The influence of Boots Riley, Keenan Ivory Wayans, and other works of Black satire is evident. Still, They Cloned Tyrone uses balanced writing, retro vibes, and a threesome of engaging acting performances as calling cards to make a name for itself.
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