The Supremes at Earl's All-You-Can-Eat

by Mike McGranaghan

The Supremes at Earl’s All-You-Can-Eat is not a biopic of the Diana Ross-led musical group, despite how the title makes it seem. Instead, this is an adaptation of Edward Kelsey Moore’s novel about three lifelong best friends who are humorously dubbed the Supremes at the local diner where they always hang out. The story mostly focuses on the women as adults, although there are flashbacks to their teen years, which is where most of their respective problems started.

Odette (Aunjanue Ellis-Taylor) is a tough, no-nonsense type who never got around to fulfilling her dream of becoming a nurse. Clarice (Uzo Aduba) is a talented pianist, but abandoned her promising career to marry a man who now cheats on her. Barbara Jean (Sanaa Lathan) had an affair with a white guy as a teenager, an act that has had long-term emotional repercussions. The film follows their individual dramas, along with the way their tight bond helps them navigate those issues.

The film deals with a lot of familiar subjects, including illness, infidelity, and unplanned pregnancy. What sets it apart is the depiction of how the women lean on each other to cope. It’s nice to see a movie about friends who can be brutally honest with each other, for better or worse. Odette, Clarice, and Barbara Jean pull no punches. When compassion is needed, they provide it. When tough love is required, they don’t hesitate to give it. Watching them interact is pure pleasure because their dynamic feels real.

You also get caught up in the characters because of the ultra-high level of acting. All three leads are sensational, bringing depth and dimension to the women they’re portraying. To the extent that there’s a standout, it would be Ellis-Taylor, who’s an absolute powerhouse here. Especially during the last act, she gets a chance to unleash a torrent of feelings, as Odette’s situation causes her to experience rage, sorrow, resignation, and fear, all at once. Like Viola Davis, the actress is never less than 100% credible onscreen so everything she does completely sucks you in.

The second hour of The Supremes at Earl’s All-You-Can-Eat is a little tighter than the first. Those flashback sequences are important in establishing plot basics; the trio of main stars is where we want to spend the most time, though. Barbara Jean’s arc also goes to a weird place near the end, incorporating a development that’s out of sync with the rest of the movie. It’s a major false note – the only one the film hits.

Ellis-Taylor, Aduba, and Lathan easily rise above any flaws. Together, they make The Supremes at Earl’s All-You-Can-Eat a quality adult drama.

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