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In truth my expectations were never going to turn out incredibly high for Hidden Figures because it seemed like a rather safe approach upon a subject whose importance still remains intact with America’s history and I got exactly that. In some ways, Theodore Melfi’s Hidden Figures just came out to remind me of Tate Taylor’s The Help, in the sense that I was getting a feel-good film for American people that would make modern audiences feel better about what direction they’ve gone since, but in another it was a film whose good intentions went blanketed by stereotypes of the period appearing so bluntly – and it never sits well with me when these conflicting messages come about.

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