Like a furious tanked at a plunge bar, Zoe Saldana’s cosmetics work in “Nina” challenges you to gaze at it and court inconvenience. The main indication of the movie producers’ stifling self-importance is that they think you’ll trust that this strolling heap of cocoa paint and prosthetics is music legend Nina Simone. “Nina” trusts you’ll disregard the questionable racial legislative issues of throwing an on-screen character with a far lighter skin tone than her genuine partner. However you feel as though you’re being trolled by the film, since it puts the totally covered Saldana in a shower, a swimming pool and against Clorox blanch splendid white sheets that are simply tingling to end up smirched. Authentic tension is made by the conceivable presentation of Saldana’s unique shade, yet like real Blackness, the shading keeps focused episode. You’ll see some solid cosmetics in “Nina.” What you won’t see is any avocation why this film ought to exist.
“Nina” is totally ignorant regarding what made Nina Simone awesome. Her music is butchered by Saldana, who sings the melodies herself in a continually raising arrangement of appalling numbers.