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Roger Ebert, who championed "One False Move" so much that Franklin still tearfully credits his film career to the famed critic, was actually one of the film's few mild detractors, giving "Devil" three stars and writing, "I liked the period, tone, and look more than the story, which I never really cared much about." The film arrived at the crossroads of two contemporary filmmaking trends: A boom in dramas geared toward African American audiences by directors like Spike Lee, John Singleton, Julie Dash, and the Hughes Brothers