Monthly Archives: October 2021
In 2018, versatile indie director David Gordon Green (Stronger, Pineapple Express) and actor Danny McBride (Eastbound & Down) rebooted the Halloween franchise with a monstrous box-office return for their efforts. From there, the studio planned two immediate sequels to cash in. Delayed by a year, Halloween Kills is the first sequel and coming out just in time for the spooky season. The problem is the only thing this movie is going to adequately kill is 100 minutes of your time.
Laurie Strode (Jamie Lee Curtis) and her daughter (Judy Greer) and granddaughter (Andi Matichak) have trapped Michael Myers into their basement and set the house ablaze. Unfortunately for everyone, a team of firefighters rescues the giant killing machine. Michael wanders the town of Haddonfield, killing whomever he encounters, eventually circling back to his childhood home, the site of his first murder. The townsfolk have decided that they are sick of living in fear from the legend of Myers. They form a violent mob, chanting “Evil dies tonight,” and break into armed clusters to snuff out Michael Myers and put him in the ground for good.
There is one intriguing aspect of the movie that gives it some fleeting life. The 2018 predecessor tantalizing explored the idea of generational trauma from terror, with Laurie raising her daughter in a constant state of paranoia and anxiety to prepare her for the eventual return of the unstoppable menace. The fraught relationship between three generations of Strodes was deserving of far more attention than it ultimately received in the 2018 film, although at least the filmmakers were smart enough to realize having them join their multi-generational talents would be a natural payoff. With Halloween Kills, we get a similar concept of generational trauma but from the point of view the supporting townsfolk, many meant to resemble middle-aged versions of bit characters from the older Halloween movies from the John Carpenter era. That sort of dedication to furthering the mythology of this town seems misplaced for the fan base. I doubt many hardcore Halloween fans were chomping to find out what happened to the little kid Laurie babysat. However, these obscure Haddonfield characters become a support group for trauma, a lasting memory of the horrible history of their town, and when Myers returns, they’re the first to fight back and form a mob to round up the masked boogeyman. The town’s social order breaks down and people give into the mob mentality of ends-justify-the-means violence. Even though Halloween Kills was originally scheduled to be released a year ago, it has a different feel in a world after the 2021 U.S. Capital insurrection, watching a sea of angry, misinformed citizens run wild in misplaced fear and loathing. It leads to tragedy and mistakes as the Haddonfield mob sweeps up, gathers more momentum, and doesn’t stop to think who it may trample upon next.
It was enough that made me wish the entire movie had been told from this peanut gallery perspective. Rather than following the silent killer stalk and brutally slay, let’s focus on the lesser seen cost of terror. Let’s concentrate on the side characters, the kinds who would normally play out as Cop #3 or Concerned Mom #2 in a normal slasher movie. What if we elevated them and told a slasher story from their victimized perspective and we stayed with their fear and anxiety while they remained in the dark about a madman terrorizing their town? The earlier movie was about how trauma had racked Laurie Strode’s life and personal relationships. It’s fitting that a sequel would widen the scope and show how many others have also suffered and are still haunted by their own trauma and PTSD from their fateful experiences with homegrown evil. Maybe it’s the less cinematic approach, but it’s something new and different and looking at a more human perspective for a sub-genre better known as serving as a relentless conveyor belt for wanton vivisection.
What I’m saying is that these standard genre slasher movies bore me unless they have some exhilarating style, fresh ideas, or clever perspective shifts. With Halloween Kills, I’m watching a dull silent killer slowly murder disposable supporting characters and none of it qualifies as interesting. I don’t care about these people. I don’t find Michael Myers to be interesting (even when Rob Zombie foolishly tried to establish a trashy childhood back-story). The only thing I found worthwhile from the 2018 movie was the mother-daughter drama with the Strodes, which has all but been sidelined for the 2021 sequel. Perhaps I’m not the right audience for these kinds of movies, or perhaps this one just simply isn’t trying hard enough where it counts. The kills aren’t particularly memorable, though several are quite brutal and even a bit mean-spirited. The suspense set pieces are rote. The movie just feels far too much like it’s on autopilot, trying to provide enough filler material until its eventual concluding chapter, 2022’s Halloween Ends (yeah, we’ll see about that, title). We’re still watching a man pushing 70 years of age defy multiple stab wounds, bullets, contusions and beatings, and any number of aggressive defensive violence. It gets irritating. He’s not some supernatural force back from the dead like a Jason Voorhees; he’s just a beefy AARP member.
Green has an affinity for the franchise and the gore can be downright gooey and wince-inducing. The opening segment is an impressive recreation of the filmmaking techniques John Carpenter used in the late 1970s, even down to the period appropriate synth score. It’s a fun inclusion that essentially gives added context to the adult versions of many supporting charterers, seeing their own youthful run-ins with Michael Myers that fateful Halloween night so long ago. It’s clever but it adds up to little else as the movie progresses. If these moments with these characters had been more meaningful, maybe their eventual deaths would have meant more, but just because we spent more time with Cop #3 doesn’t mean their ultimate demise feels more than the death of Cop #3. Ultimately, it feels like this early section, a superfluous reminder of the past, is just here as something to entertain Green as a returning director for a filler sequel to a so-so movie. The strange humor of the 2018 edition has been completely eliminated, so what we’re left with is a thoroughly redundant slasher movie with some intriguing ideas percolating but not coming to fruition.
If you were a fan of Curtis (Knives Out) as the gritty survivalist, the Cassandra trying to warn others of the impending doom they seem so oblivious to, then you’ll be disappointed here. I don’t know if Green and his co-writers were making a purposeful homage to the 1981 sequel where Laurie keeps to a hospital for the entire movie. Either way, Laurie is stuck in a hospital bed because the movie only follows mere hours from the events of the 2018 movie and only goes forward mere hours from there. We’re stuck, and so is Curtis, as she practically sits this one out. Judy Greer is likewise wasted as Laurie’s adult daughter. If there’s a star of this 2021 sequel, it’s Anthony Michael Hall (Live by Night) as the leader of the town’s mob. He has an intensity to him that feels believable without crossing over into exaggerated cartoon zealot.
If you’re a sucker for the Halloween franchise, or the glut of slasher movies that have exploded in the age of streaming, then perhaps enough of the crimson stuff gets spilled to satiate your horror appetites. I’m just bored by another movie about another slow-moving guy in a mask at this point. I need more, anything more, and Halloween Kills gives me too much of the same old same dead.
Nate’s Grade: C
Originally released October 26, 2001:
Donnie Darko (Jake Gyllenhaal) is your normal malcontent teenager in late 1980s Reagan America. He bickers with his older sister, worries over the right moment he’ll kiss his new girlfriend, and tries to ignore the advice of many imprudent adults. Donnie’s your typical teenager, except for his imaginary friend Frank. Frank is a sinister looking six-foot tall rabbit that encourages Donnie into mischief and gives a countdown to the impending apocalypse. And I haven’t even gotten to the time travel yet.
One night as Donnie wanders from his home at the behest of Frank, an airline engine mysteriously crashes through the Darko home and lands directly in Donnie’s room. The airlines are all at a loss for explanation, as it seems no one will take responsibility for the engine or knows where it came from. Donnie becomes a mild celebrity at school and initiates a relationship with a new girl, Gretchen Ross (Jena Malone). One of his classes consists of watching videos of self-help guru and new age enlightenment pitchman Jim Cunningham (Patrick Swayze). His school has even, under the persistence of self-righteous pain Kitty Farmer, persuaded Cunningham to speak and try to help students conquer their “fears.”
Donnie is also seeing a therapist for his emotional problems and taking medication for borderline schizophrenia. Around this time is when Donnie starts to inquire about a strange old woman, obsess over the possibilities of time travel, as well as see weird phosphorescent pools extend from people’s chests. He also floods his school at the urging of Frank. This is no Harvey-type rabbit.
The longer Donnie Darko goes on the more tightly complex and imaginative the story gets. First time writer-director Richard Kelly has forged an excitingly original film that is incredibly engaging with charm and wit. He masterfully mixes themes of alienation, dark comedy, romance, science fiction, and a sublime satire of high school. Donnie Darko is the most unique, head-trip of a movie unleashed on the public since Being John Malkovich. Kelly has a created an astonishing breakthrough for himself and has ensured he is a talent to look out for in the future.
Gyllenhaal (October Sky) is superb as disenchanted Donnie, a Holden Caulfield for middle suburbia. His ghastly stare conveys the darkness of Donnie but his laid-back nature allows the audience to care about what could have merely been another angst-ridden teenager. Swayze is hysterical as the scenery-chewing Cunningham. The rest of the cast is mainly underwritten in their roles, including stars Drew Barrymore (who was executive producer) and ER‘s Noah Wyle, but all perform admirably with the amount they are given. Not every plot thread is exactly tidied up but this can easily be forgiven.
Donnie Darko is a film that demands your intelligence and requires you to stay on your toes, so you can forget any bathroom breaks. The film is one of the best of 2001 but also one of the funniest. You’ll be honestly surprised the amount of times you laugh out loud with this flick. The theater I saw this in erupted every half a minute or so with boisterous laughter.
Donnie Darko is a film of daring skill and great imagination. You don’t see too many of these around anymore.
Nate’s Grade: A
WRITER REFLECTIONS 20 YEARS LATER
Not to sound too annoying, but I’ll cash in my hipster points here and declare that I was on the Donnie Darko bandwagon from the start. The eventual cult phenom was originally released in October 2001, mere weeks removed from 9/11, dooming its commercial appeal considering a major plot point happens to involve deadly airline debris. I was a sophomore in college across from a little indie movie theater, the Drexel, that was like a wonderful escape for a budding cinephile looking for his next fix of weird and daring movie experiences. I recall seeing the trailer for Donnie Darko and being immediately intrigued, but its release date kept bouncing back month after month until it finally opened at the Drexel in February 2002, and I was there opening day. I saw it twice, brought friends with me, and I wrote about it as one of my earliest reviews as my college newspaper’s film critic. I wanted to get the word out that this was something special. The first day it was available on DVD, I went to Best Buy looking for a copy and the store employee was deeply confused about its existence. He probably knows now, as the movie achieved cult status on DVD and became an iconic indie fixture for many a Millennial.
Revisiting the films of 2001 has been reliving many films that made such formative impacts on my life: Memento and its airtight structural sleight-of-hand, Moulin Rouge and its ambitious and messy celebration of old, new, reverent and irreverent, and now Donnie Darko (this isn’t even counting films I never wrote reviews for and thus were ineligible for this re-watch, like Hedwig and the Angry Inch and Amelie – 2001 was an excellent year at the movies). I have probably watched this movie more than any other in the 2000s, with the late exception perhaps of The Room that came on strong for me at the end. My friends and I would debate it, quote it, and work toward bringing others into the cult of Darko. Looking back now twenty years, I’m happy to report the movie’s power is still just as alluring and transcendental. What earned this movie its fawning fandom? Why did writer/director Richard Kelly, only in his early 20s, find success with his weird little indie while others went painfully ignored? I think it comes down to Kelly’s ambiguous approach, threading a delicate needle so that there are enough pieces present to put together an interpretation that can prove satisfying while personal and potentially different from your friend or neighbor with an equally valid interpretation.
What helps is that Donnie Darko doesn’t feel like it’s weird for weird’s sake, like a formless collection of strange ideas and confounding imagery operating on an unknowable surreal dream logic. What Kelly has done is mix and match parts of an intriguing apocalyptic puzzle. There’s relatable high school drama about pushing back against the hypocrites and phonies of the adult world, there’s a mystery about who or what is behind Frank the bunny, the creepy otherworldly figure serving as Donnie’s Virgil-like guide, and the character study of a lonely, troubled kid trying to find a better sense of understanding of himself, his place in the world, and his sense of what lies beyond. I could just as readily view Donnie Darko as a spiritual refresher, and I’ve always sided more with a divine interpretation than sci-fi. Donnie and his therapist talk about the question over God’s existence and Donnie says he doesn’t feel like he can get anywhere debating it, so he has simply agreed to give up. Donnie talks about dying alone and how if everyone is resigned to do so then this must be a condemnation of God. Kelly establishes these early conditions as the beginning of an arc that leads to Donnie not just accepting a messianic status but volunteering for one, dying alone but in a manner that serves as victory. This to me is why he laughs at the end after being transported back to a fateful spot. He rolls over in his bed and closes his eyes knowing an end for him is not an end but a vindication (the honking from Frank the second time serving as a “we did it” victory celebration). Through his sacrifice, the world will continue (“I hope when the world comes to an end, I can breathe a sigh of relief, because there will be so much to look forward to.”). Through bizarre circumstances, a young man has found spiritual renewal, bringing him to a personal fulfillment as well as the larger picture of averting a looming apocalypse for a tangent world.
This has been my preferred reading of Donnie Darko, with divine forces selecting Donnie as the universe’s lone hero and mysteriously guiding him along his journey, each intervention and urging from Frank leading to the culmination of events that would convince Donnie of his duty. When Donnie is talking to Frank the bunny in an empty movie theater (playing a double feature of Evil Dead and The Last Temptation of Christ, one of my favorite jokes), he asks Frank, “Why do you wear that stupid bunny suit?” Frank turns and asks, “Why do you wear that stupid man suit?” Under my interpretation, Frank is a supernatural force, call it an angel or whatever you want, but he is not human and only using the form of a doomed man as a necessary vessel. When Donnie breaks into his school and breaks the water main, under the hypnotic control of Frank’s urging, we see that the vandal has also spray-painted “They made me do it” on the school mascot. The school and police go class-by-class and have students rewrite the phrase on a chalkboard, analyzing their handwriting. Donnie’s handwriting is clearly different. Could it be that Donnie, under the influence of Frank, also wrote as him, adopting his handwriting? With that, perhaps instead of Donnie writing a would-be confession it was actually Frank. “They made me do it,” Frank writes in apology to Donnie, not just for prodding him along but ultimately for the pain and suffering the real Frank of this world will cause for Donnie. “I’m sorry that all of this has to happen to you, Donnie. It wasn’t my choice. They made me do it for their plan.” I think that’s a more intriguing examination than Donnie just saying he was told to flood the school by his imaginary friend.
This is one reason why I was not a big fan of Kelly’s eventual director’s cut DVD release in 2004, which added twenty minutes to the film and changed many edits, song choices, and special effects sequences. The director’s cut went too far for me, specifically spelling out Kelly’s vision of time travelers from the future trying to coach Donnie as their variable. Whole sections from Roberta Sparrow’s book, The Philosophy of Time Travel, were printed on screen, explicitly connecting the various pieces in a way that had previously been left as ambiguous. My disappointment with the director’s cut reminded me of the disappointment Star Wars fans felt when George Lucas went back and tinkered with the original trilogy. Lucas has said the re-releases were the films he had always intended them to be, that the earlier theatrical editions were the imperfect versions of his creative intentions. The problem is that millions fell in love with those versions of the movie, even if they were an imperfect vision of their creator. Richard Kelly always intended for the opening song to be INXS’ “Never Tear Us Apart,” but hearing that felt wrong to me after watching the same scene played to Echo and the Bunnyman’s “The Killing Moon” with the theatrical cut. Kelly’s imperfect version was the one I fell in love with, the one that spoke to me as a 19-year-old and as a 39-year-old, and that’s the one I vastly prefer.
Another reason for Donnie Darko’s success is more than likely the appeal and performance of young Jake Gyllenhaal. Over twenty years, Gyllenhaal has become one of the best actors of his generation and criminally overlooked by the Academy. He’s only been nominated for one Oscar for 2005’s Brokeback Mountain, not for 2017’s Stronger, or 2007’s Zodiac, or, most egregiously, for his hypnotically disturbing portrayal in 2014’s Nightcrawler. Gyllenhaal has mesmerized for so long and handles the many confusing aspects of Donnie with aplomb. It would be easy to play Donnie as a cliched rebellious teenager, but Gyllenhaal really digs into his questioning nature; he’s hungry for answers, desperate even, and tired of being disappointed in the adults of his life. That’s why it becomes emotionally satisfying for me when Donnie appears to achieve some semblance of answers by the end, his laughter is victorious and cathartic.
Jake Gyllenhaal is terrific but the rest of the cast is outstanding. This was the first time I saw Maggie Gyllenhaal, as Donnie’s older sister, one year before her star-making turn in 2002’s Secretary (stay tuned, 2022). Jena Malone (The Hunger Games sequels) was a remarkably downhearted presence, able to imbue teenage heartache and unease so preternaturally. Ever since her role as the snitty, judgmental gym teacher Kitty Farmer, I perk up whenever I see Beth Grant in a movie or show. To this day I still consider her wondrous line reading of, “Sometimes I doubt your commitment to Sparkle Motion” to be one of the greatest achievements in mankind’s history. Mary McDonnell (Battlestar Galactica) has two scenes that still get me as Donnie’s mother, where she fights back tears at the suggestion of Donnie’s therapist to up his medication as doing what she thinks is right for her son, and a final scene with that same son where she responds to his query that having a “weirdo for a son” is, in fact, wonderful. The parental care and empathy that she exudes is poignant. I still laugh when Holmes Osborne, as Donnie’s father, cannot contain his inappropriate titter to hearing about his son’s vulgar outburst directed at Ms. Farmer. The adult actors (Drew Barrymore, Patrick Swayze, Noah Wyle) all got the bigger headlines at the time, but it’s these actors that have stayed with me the most.
With so many people being launched into success and acclaim from this movie, it’s a sad surprise that Richard Kelly himself was never able to recreate his winning alchemy. He wrote the shooting draft for 2005’s Domino, a needlessly excessive and irritating movie. His big follow-up, 2008’s Southland Tales, was a disaster at the Cannes Film Festival and Kelly cut a half-hour before it was ultimately released stateside to head-scratching. I was eagerly anticipating Southland Tales and then I watched it and minute-by-minute the sinking realization set in that this was not going anywhere and anytime soon. It was like Kelly was trying to throw every dispirit idea he ever had into one movie for fear he’d never make another. I haven’t re-watched it since and feel no need to do so. The last movie Kelly directed was 2009’s The Box, an adaption of the William Matheson short story featured on newer incarnations of The Twilight Zone. It too failed at the box-office, suffered from a confusing and muddled narrative, and from there Kelly was radioactive to Hollywood. He hasn’t a credit to his name since. With each directorial effort, you can feel Kelly trying to recreate that formula from Darko, bringing the different weird pieces and tones together by the end to form a satisfying mosaic open to interpretation. Southland and The Box both feel over-extended, strained, and cluttered with too much salient junk. I truly wish Kelly has another shot to tell a big screen story after everything he’s been through. I’m sure he has more stories to tickle our brains. Maybe he just needs an editorial guidance.
The other thing of curious note is that a sequel, S. Darko, was released in 2009 starring Donnie’s little sister Samantha, played by Daveigh Chase (The Ring). It’s not very good at all and strains to be an imitation of its predecessor, right down to Samantha having to be the sacrifice to go back in time and save her friend’s life. Kelly had nothing to do with the sequel, which was written by Nate Adkins, who would go onto create the Netflix franchise, The Christmas Prince. There is nothing of note in this cash-grab of a sequel to even reward your curiosity in watching it.
Donnie Darko was a movie I loved when I originally saw it and I’m happy so many others were able to become fans and share the good news of Darko. I’m happy this movie exists and has stuck with me all these years. It’s still transporting and invigorating and funny and soulful and tantalizing. I still love the lilt of Michael Andrews’ minimalist score. I love the scene of Donnie reaching out to Cherita Chen, the target of rampant bullying, to promise her one day everything will be better for her. I still get fascinated by the instant-iconic design of that Frank the bunny mask, an image that has lead to thousands of Halloween costume imitations. My original review was more driven by distilling its plot so that I could hook a reader into making the trip for themselves. Otherwise, my thoughts remain relative the same in twenty years of reflection. This is a gem of a movie that was never really recreated by its creator, which makes it all the more remarkable and special. If you haven’t joined the cult of Donnie Darko, there’s no time like the present, folks.
Re-View Grade: A
If you’re a fan of The Sopranos, I can’t say you’ll enjoy The Many Saints of Newark, and if you’re not a fan of The Sopranos, I can’t say you’ll enjoy The Many Saints of Newark. It’s a prequel set in the early 1970s, decades before an adult Tony Soprano was ruling his turf in New Jersey and going to therapy to deal with his rising panic attacks. The Sopranos was an era-defining, ground-breaking show for HBO and creator David Chase would captivate and infuriate audiences in equal measure, mixing shocking violence, twisted comedy, strange side steps, pessimistic psychoanalysis, and stubborn subversive storytelling to its very end with a polarizing finale that still elicits debate to this day (count me in the Tony-is-dead camp). It would be too much to expect a return to that world to pack in all the entertainment and enrichment of a peak TV series, but I was at least hoping that Chase’s return to his mobster magnum opus would present an engaging story that would add further insight or intrigue into the series and its characters. After two hours, I’m left shrugging like Silvio Dante and about as clueless as Paulie Walnuts.
As personal background, I watched all seven seasons of The Sopranos and eagerly anticipated its finale in 2007. I was one of those people that even questioned whether my cable had somehow gone out as the series suddenly shifted to a black screen without further warning. I enjoyed the show though I haven’t watched it since it originally concluded over ten years ago. It would be a worthy series to re-watch in our binge era, but I think I would keep my initial interpretation of the show and its self-loathing patriarch, Tony. I think over the course of 8 years Chase intended to demystify the perverse allure of organized crime and the glamor of Hollywood myth-making. I think he subversively took a familiar setup, a family man trying to fight for respect from his family and his Family, and knew many people would find themselves rooting for Tony Soprano and his underdog status and his potential redemption through therapy and self-analysis. Except, Chase’s point, is that these bad men are not complicated, they’re not geniuses, and they’re not capable of real empathy. Tony’s near-death experience and inevitable return to his old ways was proof of that. Chase created a vehicle where people sided with the anti-hero lead and he systematically provided more and more evidence that this man was cruel, impulsive, selfish, and incapable of redemption, and every episode, especially in that final season, pushed the viewer to ask, “How much longer can you look the other way? How many more excuses can you give?” It was Chase taking the appeal of mob movies and anti-heroes and testing viewer loyalty, making people question the appeal of these kinds of stories about these kinds of men. That’s my reading.
As a prequel, The Many Saints of Newark might appeal to the most diehard fans of The Sopranos who just want to have two hours more in this world, seeing these characters again one more time. Perhaps fans will thrill to see James Gandolfini’s son, Michael Gandolfini, play teenage Tony Soprano. Perhaps they’ll thrill to see Tony’s mother at a younger age but recognize some of her self-pitying and antagonistic quirks that would define her as an elderly woman. Perhaps they’ll thrill to watch Christopher Moltisanti’s father, Dickie (Alessandro Nivola), as Tony’s uncle, the man he said from the series who was so influential to him. In essence, this story, written by Chase and Lawrence Konner, is about how Tony got to be on his doomed path of crime. The fact that Tony is merely a supporting character in this tale is not a grievous structural fault. However, the fact that Dickie is such an uninteresting lead character in such an uninteresting and glum story is a significant fault.
The Sopranos was dark and frustrating too, though your emotional investment was grander, but it was rarely boring. The majority of my time with Newark was spent stooped and patiently waiting for something meaningful to happen. There were bloody murders and gunfights and love affairs, but I kept waiting for it to seem like it mattered to the overall bigger picture. Very little in this movie ever felt important, because the movie doesn’t invest in its own characters and its own story on their own terms, it merely coasts off the attached appeal of the TV show it’s meant to link up to and coasts off the good will of its audience. If you removed the names of the characters, thus denying its creative inheritance, then I doubt even the most ardent fans of mob movies would find that much to appreciate here. If this wasn’t a Sopranos movie, it wouldn’t have gotten this platform and attention, and that seems less a reason to run with an underdeveloped story with a dull protagonist stumbling through mundane mob cliches.
If Dickie is meant to be so influential, I don’t understand the appeal. I guess he’s slightly more emotionally stable than Tony’s father, played by Jon Bernthal, but that’s not saying much. Dickie violently confronts his father, “Hollywood Dick” (Ray Liotta), over his abuse of his young new bride from Italy, Giuseppina (Michela De Rossi), to defend her. That’s good? But when Dickie takes up an affair with the same woman, his stepmom, he proves just as depressingly violent. That’s bad. The problem is that Dickie is not a complex character to hang a movie upon. I thought there was going to be a slow temptation to begin an affair with his new stepmom, but that happens far too early, which places her as simply the “goomah” on the side he retreats to for sexual gratification and empty promises of building a life. She goes right from being a potentially interesting character, a woman with agency and danger, to another mob movie cliché, the arm candy waiting on her bad man to patronize her. Dickie says that his wife has had trouble conceiving, so I thought maybe this new stepmom would be revealed to be Christopher’s actual birth mother. That’s why she was here in this story. Nope, yet again this possibility is dismissed early. The Many Saints of Newark frustratingly takes every tedious story detour it can when presented.
The movie is set primarily in the late 60s and early 70s in Newark, barely tackling the riots of 1967 to use them as a cover for a storytelling choice for Dickie. The entire subplot featuring the struggles of the African American community feel tacked on to this movie, as if Chase is responding to criticisms that his series wasn’t diverse enough. The rise of Harold (Leslie Odom Jr.) as a gangster is given such little significance. He begins as an employee of Dickie’s and then becomes a rival, but this complicated relationship isn’t played like it’s complicated. Every time Odom Jr. (One Night in Miami) appeared I kept hoping that finally the movie was going to give him something to dig into, to really explore this perspective in a meaningful way. The rivalry between Harold and Dickie doesn’t even feel significant because both of these men are criminally underwritten. The Newark riots are played so incidentally and without consequence. Why begin to explore racial unrest and police brutality if you’re just going to ignore it after twenty minutes of movie?
As a movie, The Many Saints of Newark did not work for me. As a Sopranos prequel, The Many Saints of Newark did not work for me. I had some mild amusement and intrigue with moments like Corey Stoll going full force in his impression of a young Uncle Junior, with Vera Farmiga chewing the scenery as Tony’s mother, and the impeccable resemblance of Gandolfini to his late father. I enjoyed the weirdness of Liotta playing twin brothers. I enjoyed the period appropriate production values and music choices. Unfortunately, it doesn’t add up to a vital experience that lends better understanding and insight into the Sopranos universe. Again, some fans may just be happy enough to exist in this universe for two more hours, to soak up even the most superfluous of details (I know I would be for my TV show favorites). That’s fine, but for me, what’s on screen barely resembles the daring and complex characterization of the series. Maybe a movie was always set up to fall short but this one falls short even as a mediocre mob movie.
Nate’s Grade: C