Black Panther is unlike any other Marvel Cinematic Universe (MCU) film prior. It’s unlike any other super hero film prior. Yes, there have been African-American leading men in comic-based movies, notably Wesley Snipes’ half-vampire-all-badass Blade. However, this is the first movie I can think of with this kind of budget, this kind of backing, and with this kind of ownership over its cultural heritage and the heavy burdens it carries.
We last saw T’Challa (Chadwick Boseman) in Captain America: Civil War mourning the loss of his father, the king of the African nation of Wakanda. The outside world does not know that Wakanda sits on a vast supply of virbanium, the strongest and more durable metal in the world and the key to Wakanda’s impressive technology. Under a holographic cover, Wakanda is a thriving metropolis with flying cars, skyscrapers, and next gen weapons. T’Challa goes home and must earn the right to the throne. However, Erik Killmonger (Michael B. Jordan), a former top-level black ops solider, is looking for his own path into Wakanda and onto the throne. Killmonger teams up with arms dealer, Ulysses Klaue (Andy Serkis), to force Wakanda to deal with being cut off from the world.
This is a movie populated almost entirely by black faces, notably black women (more on that later), and they are given a mainstream platform that celebrates its multitudinous African roots and traditions thanks to co-writer/director Ryan Coogler (Creed). This movie is proudly black, which will rankle some on the fringes of society, as if celebrating one’s own identity is somehow denigrating those who do not apply to that status. Black Panther is not an exclusionary movie because of its content and execution; this is a very accessible movie to a mass audience, even those who haven’t been paying attention to every nitty-gritty detail in the previous seventeen MCU entries. There are only two characters from other MCU films that appear, one as a post-credits cameo and the other an officious representative (Martin Freeman) of the outside’s clandestine organizations. This is a unique world isolated from the long shadow of colonialism. Wakanda has never known, to our knowledge, the depravity of the European and American slave trade. They have continued to develop uninterrupted by conquerors, slave traders, and the crippling aftereffects of racism. The Wakanda people could very easily be the conquerors themselves. They’re the most technologically advanced nation on the planet and hide as a “third-world nation,” utilizing the ignorance of the Western world to its security. The world of Wakanda is a fascinating, awe-inspiring, and defiantly independent nation.
The larger theme is over the responsibilities inherent to those with privilege. The nation of Wakanda is vastly successful by all conventional metrics. T’Challa must wrestle with whether to continue their exclusionary stance, ignore the plight of the larger world and say it’s none of their business or engage with the world, potentially putting his own kingdom’s peace and prosperity at risk. It’s a simple enough theme and yet it has tremendous weight to it especially when you account for those on the other end of the Wakanda borders. The character of Killmonger is a direct reflection of this. His experiences in Oakland are not the ideal pairing with the luxury of Wakanda. Killmonger sees Wakanda’s great influence as a way to protect beleaguered black citizens of the world and especially in the United States. It’s a way to prevent more senseless deaths from black citizens who were slain as a result of the fear of just being black (a powerful example was Coogler’s debut film, Fruitvale Station). It’s a pointed political statement that doesn’t get too heavy-handed (even though I would have preferred that). It questions the value of isolationism especially when suffering can be prevented. Killmonger works as a villain because you can understand his point of view. He goes beyond the need for vengeance. The wrongs he wants to right are larger and historical. Even Killmonger’s last line really attaches itself to this theme. T’Challa offers him a way out but with imprisonment. “No,” Killmonger declines, “My people were the ones who leaped over the sides of the slave ships. They knew death was better than bondage.” The emphasis is “his people,” not T’Challa’s, not Wakanda. His people were the ones who suffered from slavery. Could Wakanda have possibly prevented it?
Another wonderful surprise of Black Panther is its incredible all-female ensemble that provides expert support to their king. T’Challa has the good fortune of four strong women, each of them having a different and vital relationship to him. The standout will be Danai Gurira (TV’s Walking Dead) as the fierce chief of security, Okoye. She has a swagger that vacillates between being intimidating and being brashly enjoyable. Okoye has many of the best lines and she throws herself into every fight. There’s also a sense of duty that transcends a single man that challenges her loyalty. Letitia Wright (TV’s Humans) plays Shuri, the Q of this world, the top scientist and creator of many a gadget. She’s T’Challa’s little sister and their interplay is very competitive and teasing. She’s looking to be more involved in the action and a highlight is when she teams up with her big bro. Lupita Nyong’o (The Jungle Book) is Nakia, a former flame of T’Challa’s who comes in and out of his life as an undercover spy. All three of these women have a powerful sense of agency and are integrated in important and essential ways. Even though Nakia may slide into that romantic interest role, she still has a vibrant life outside whatever feelings she may or may not have for the hero. Then there’s T’Challa’s mother, Ramonda (Angela Bassett), who radiates strength and fortitude. These women gave me some of the biggest moments of entertainment in the entire 135 minutes of movie.
Now some careful readers might note that I haven’t done much to emphasize the actual action of the super hero action movie, and that’s for a good reason. Black Panther stands stronger on theme and character than it does its actual action sequences. Coogler had a wonderful sense of scale and verisimilitude with 2015’s Creed, relying on long takes to put the audience in the heightened drama of the boxing ring. With Black Panther, the action sequences can lose a sense of immediacy. Many happen at night or are filmed and edited in ways that diminish some of their impact, like hand-to-hand combat in splashing water where the splashes obscure the activity. Other scenes felt like a video game CGI cut-scene. Speaking of video games, Black Panther’s suit has a crazy ability to absorb the kinetic energy of weapons, which means the stakes take a dip when our hero can merely just stand and allow himself to get shot repeatedly. The payoff for this absorption is a giant energy shockwave but it plays out like a fighting game’s special feature. It’s an aspect that’s not really utilized in a satisfying or unique way. The final showdown between Black Panther and Killmonger feels too weightless in execution. It’s meant to even the playing field by nullifying their extra abilities, but if they both have the same “Panther powers” isn’t the field already even? The third act, the usual punching bag for MCU critics, is the best part of the movie from an action standpoint. It utilizes the characters in significant ways and allows for organic complications while still maintaining its wider sense of spectacle. Plus it’s one of the few action sequences that allow all the pyrotechnics to be enjoyed during the visibility of day.
Boseman (Marshall) was an excellent choice for a stoic and too-cool-for-school character that can glide right on by. The ageless Boseman is at his best when he’s working off the other actors, especially his female posse. He has a couple of very effective emotional confrontations as he learns of his family’s secrets. As steady and soothing a presence as Boseman can be, this is Jordan’s movie. Michael B. Jordan (Creed) has been Coogler’s cinematic good luck charm and we’re still benefiting from that divine kinship. His character is at the heart of the central thematic question. While T’Challa is ultimately the one who has to decide, it is Killmonger who embodies that need for change and the desire to rectify the past. There’s a flashback with Jordan that got me to tear up, and this guy was the villain! It’s one of the film’s biggest mistakes sidelining Jordan for far too long. After his introduction, Killmonger is strangely absent for the next hour or so of the movie, ceding the spotlight to Serkis (War for the Planet of the Apes), a more antic and goofy scenery-chewing baddie who has a few regrettably “faux hip” lines of dialogue that land awkwardly. Serkis is having a blast but can feel like a holdover from a different film.
Much like last summer’s Wonder Woman, this is a movie that is going to mean a lot to a lot of people. It has a personal significance that I will not be able to fully tap into, no matter the expansive powers of empathy. Black Panther, as a long-awaited cultural moment, will have many ripples of inspiration. After my early screening, I sat back and watched an African-American boy, no older than seven or eight, walk out of the theater in a daze. His eyes were wide, his mouth agape, and he said in astonishment, “That was the best movie ever.” That kid has a hero he can call his own. That matters. Black Panther, as a work of art, is rich in topical themes and has a wide supporting net of exciting, robust, and capable women. I enjoyed how personal and relevant and political the movie could become, folding new and challenging ideas onto the MCU formula. Coogler is a marvelous director and storyteller showing rare acumen for being able to handle the rigors of a Hollywood blockbuster and deliver something hearty. The action has some issues and there are some structural hiccups that hold it from the MCU’s upper echelon (I enjoyed all of the 2017 MCU movies better). Black Panther is a winning movie when it features its sterling cast celebrating their virtues and solidarity and a still respectable enough action spectacle when called upon for big screen duty.
Nate’s Grade: B
Think you were disappointed by last summer’s Avengers: Age of Ultron? The pressure-packed experience broke writer/director Joss Whedon who swore off being the creative shepherd of the Marvel cinematic Universe (MCU). Enter the Russo brothers, a pair who were widely known for their work in eclectic TV comedies like Community and Arrested Development before blowing away all modest expectations with 2014’s Captain America: Winter Soldier. I can say that the Russos are more than capable for the challenge. My simplistic blurb for Captain America: Civil War is thus: everything Batman vs. Superman did wrong this movie does right.
After the cataclysmic events of multiple movie climaxes, the world governments are wary of the power wielded by the Avengers. Secretary Ross (William Hurt, the lone returning element from 2008’s Incredible Hulk) is pushing the superheroes to sign the Sokovia Accords, which would put them under the control of a U.N. joint panel. This panel would decide when and where to deploy the Avengers. Captain America, a.k.a. Steve Rogers (Chris Evans), is worried about a group of people taking away their choice. Iron Man, a.k.a. Tony Stark (Robert Downey Jr.), believes that they need to accept limitations and that agreeing to these terms staves off something worse later. This division becomes even more pronounced when Rogers’ old friend the Winter Soldier, a.k.a. Bucky Barnes (Sebastian Stan), reappears as the chief suspect in a U.N. bombing. Black Panther, a.k.a. T’Challa (Chadwick Boseman), swears vengeance against Barnes for the bombing. As the assembly of heroes squares off over the fate of the Winter Soldier, Baron Zemo (Daniel Bruhl) is tracking down classified Hydra documents to uncover pertinent information that will topple an empire.
While I don’t want to turn every new film review as an opportunity to beat a dead horse, I cannot help but draw immediate and stark comparisons between Civil War and the earlier titanic superhero slugfest, Batman vs. Superman: Dawn of Justice. Let’s take this case point by point so there is no reasonable doubt left for the jury of ticket-buyers.
“Batman vs. Superman doesn’t set up its conflicts with enough time to develop them and it lacks real emotional stakes.”
With BvS (I’m saving my fingertips some drudgery), we hadn’t known these characters for more than one movie at best, and in the case of Bruce Wayne less than one. When they fought there wasn’t any real stakes despite the apoplectic marketing because we hadn’t built relationships with these characters. In the case of Henry Cavill’s Superman, many were turned off entirely by the guy (not necessarily by Cavill’s physique, though). Did anyone really care who won? The filmmakers relied on the audience to supply their pop-culture good will for the characters instead of proper characterization and development. In the case of Civil War, we’re dealing with the cumulative effect of having twelve movies to build up storylines and character relationships. We’re invested in these characters and their friendships, so when they fight it actually does matter. You feel for both sides and multiple characters and the movie does a good job of providing each side a credible motivation. It’s a political thorny issue but it’s kept very streamlined, focusing more on the characters. If the MCU has had one nagging problem throughout its history it has been a dearth of good villains. There’s Loki and… Loki. One solution is to just pit the heroes against each other and this produces as many fist-bumps as winces. My audience was gasping at reveals and twists and turns. They weren’t doing that with BvS. And wouldn’t you know Civil War actually has a climax that’s more than just an increasing series of punches and kicks (though plenty of those are featured); the climax is an emotionally grounded confrontation that cuts to the core of the group. The events of this movie matter and while obviously it can’t follow its divisions to an irrevocable end, I appreciated that not everything is resolved. These storylines and the conflicts between characters will carry onward when we pick up the pieces in 2018.
“Batman vs. Superman is too burdened with setting up an array of other film franchises that it loses badly needed focus and momentum.”
To be fair, this charge can also be laid at the feet of Age of Ultron, which buckled under the heavy weight of setting up multiple other future movies rather than telling a completely satisfying movie in its own right. Once the franchises gave birth to mega-franchises, the wheels-within-wheels of moneymaking, now the studios require a lot of heavy lifting from our entertainment. They’re investments in futures and if done improperly can easily crumble under the failed execution like the Amazing Spider-Man series (R.I.P. 2012-2014). Miraculously, Civil War finds ways to involve every member of a large ensemble cast into the story in ways that matter. The movie finds small character moments that make them feel better rounded, like Vision (Paul Bettany) and Scarlet Witch (Elizabeth Olsen), and it introduces featured supporting players with great care. Black Panther is a terrific addition and brings a quieter intensity that contrasts nicely with the more colorful characters. Hawkeye (Jeremy Renner) introduces himself and Black Panther curtly says, “I don’t care” and goes back to fighting. Boseman (ageless I tell you!) is smooth and magnetic. Then there’s everyone’s favorite neighborhood Spider-Man (Tom Holland), or whom I’m already referring to my pals as “best Spider-Man.” It’s another incarnation of Peter Parker but the first that feels like an actual teenager, a bundle of adolescent energy and excitement. He’s the voice of the fans and during the big battle he can’t help but gush that he gets to be involved alongside the big names. Spidey’s a fanboy too. He also has a few choice meta one-liners that had me cackling. Holland (The Impossible) makes an immediate impact and, unlike BvS, finds new ways to make us care. I’m genuinely excited for solo Black Panther and Spider-Man adventures with these characters. Even the more traditional villain of Civil War, Baron Zemo, is handled in a way that provides an emotional motivation for his character that is sincere rather than mustache-twirling villainy. In a lot of ways this feels like a third Avengers film just with the size and scope alone. The dozen characters are juggled skillfully but the emphasis is always on Rogers and Stark and their significant personal conflicts.
“Batman vs. Superman’s action sequences are repetitive, joyless, and dank.”
I challenge some enterprising soul to even try and decipher what is happening during the climactic three-on-one monster battle in BvS. I was sitting in the theater and just gave up. I wasn’t having any fun and I couldn’t even literally tell what was happening onscreen with all the confusing CGI obfuscation. The action droned on and on with little variation and was at pains to include certain members and storylines (Lois, maybe don’t get so hasty with that kryptonite spear). It was all just one big overwrought mess that made you question whether anybody on that film production actually liked these superheroes. With Civil War, the action sequences are smartly conceived and choreographed, making excellent use of geography and adding organic complications. The standout is the 20-minute superhero-on-superhero brawl at the Leipzig airport. It is nothing short of nerd nirvana. The characters use their powers together in exciting ways and it further helps them feel like an actual team taking proper advantage of their resources. It’s the culmination of a child’s imagination at play, the living embodiment of smashing action figures against one another and flying around the room. I was thrilled that the Russo brothers found ways to incorporate all the heroes into the action. The specific powers are taken advantage of in fun and surprising ways. The action changes as the stakes keep getting more complicated as more heroes enter the fray. It’s a set piece that will become legendary within film geek circles and it provides payoff after glorious payoff.
“Batman vs. Superman is devoid of all fun and takes itself far too seriously. You feel beaten down, exhausted, and punished by film’s end.”
The Marvel movies have earned a reputation for their brisk and breezy nature, which has unfairly been labeled as “weightless” and “silly.” I challenge someone to watch Civil War and tell me just how weightless and silly it is. The Russo brothers and the screenwriters take these characters seriously and their care shows. While there can be plenty of rapid-fire quips and one-liners, the movie’s sense of humor does not detract from the emotional weight of its dramatic shifts. There are political and thematic overtones, mostly the costs of vengeance and culpability, that provide extra depth to the onscreen derring-do. However, Civil War understands that an audience wants to be entertained as well with their heavy-handed messianic imagery. There are payoffs galore in this movie. Some are several movies deep from set up. It all comes together to make a thrilling and highly enjoyable movie experience that plays to its audience in the best way possible. It’s an expert summer blockbuster that packs its own punch. There’s a reason I have already seen Civil War three times already. There is so much to enjoy and it’s so tightly packed and structured that you can jump right in and go for the ride. This is the movie fans were hoping for. This is the movie that washes out the bad taste of the dreadful BvS. If one of my lasting disappointments with BvS was how it made me lose hope for future DC movies, Civil War has cemented my anticipation. The future creative direction of the MCU is in good hands with the Russo brothers. This is the movie that reminds you just how damn good superhero movies can be when they’re at the top of their game. I’d place Civil War right up there at the top of the MCU, though at this time I’m still holding Guardians of the Galaxy as the apex. They’re still achieving this high level of quality after a dozen movies, people. I would not have thought that Captain America would become the gold standard of the MCU but there it is. I felt beaten down by the merciless end of BvS. I felt the elation of an adrenaline-rush from Civil War.
I’ll conclude this unorthodox film review with my in-summary blurb: everything Batman vs. Superman did wrong Captain America: Civil War does right. Do yourself a favor and start the healing process from BvS and enjoy Marvel’s latest cinematic gift to its fans.
Nate’s Grade: A
Let there be no question, while baseball may still cling to the title of “America’s sport,” the real king in the realm of sports is football. The NFL has grown by leaps and bounds and dominated American culture, to the point that the NFL Draft is an event that millions more watch than actual games in other sports. In some way the Draft is the most optimistic day in football, where every professional team thinks they’ve found the missing pieces to make that championship run, that their draft picks will all pan out. It’s a rare day where even the Cleveland Browns can be optimistic. There’s also been a shift with the fans. Decades ago, most people would fantasize about being an NFL head coach; nowadays, in the age of number-crunching and fantasy football, most people would prefer being an NFL general manager (GM), assembling their dream team. The landscape is ready for a film like Draft Day, but will the fans turn out for a fictional outing?
Sony Weaver Jr. (Kevin Costner) is the GM for the Cleveland Browns and he’s put the team’s future all on the line. He’s traded draft picks with the Seattle Seahawks, jumping from number seven to number one. Everyone assume that Wisconsin quarterback Bo Callahan (Josh Pence) is the consensus number one. Sonny has traded his team’s first round draft picks for the next three years in order to make this move. Now, with less than twelve hours remaining before the start of the NFL Draft, he has to make sure Bo Callahan is the kind of player he wants on his team. Highly regarded Ohio State linebacker Vontae Mack (Chadwick Boseman) has sparked doubt in Sonny. Despite what the experts think, is there something amiss with Bo? Sonny has no shortage of people with opinions on what he should do: the owner (Frank Langella) demands Bo so they can sell tickets, the coach (Denis Leary) wants a prized running back rather than having to struggle with a rookie QB, and Sonny’s coworker, Ali (Jennifer Garner), wants Sonny to come clean about their secret relationship and her impending pregnancy.
Less cerebral than Moneyball but still mightily entertaining, Draft Day is a pressure-packed crowd-pleaser skillfully made to deliver big payoffs, regardless of whether you watch football or not. Like the Oscar-nominated Moneyball, the focus is less on the game than the micromanaging of the game behind the scenes with the key personalities of an organization. The movie is knowledgeable, swift, and stuffed with characters that each have their own demands, always crashing into Sonny and pulling him in a new direction. It’s easy to see why this script was the number one screenplay on the Black List in 2013; it just moves, so effortlessly, cognizant of the ticking clock at every moment and the impending stakes for our hero. It’s a man with one mission: the future of the Browns, but with infinite ways to do it, each side pushing a favorable case for themselves. There are so many permutations to putting together a team, let alone having the number one pick. And if Sonny doesn’t make a splash, he knows he’ll be out of a job at the end of the season. It’s a position rife with conflict and dramatic payoffs. There’s the pressure of the fanbase, hungering for a winner to finally root for, the pressure of the owner, salivating over the ticket sales a splashy QB can provide, and there’s the pressure of Sonny’s own father, a man who recently passed that forces Sonny to reflect on what will be his own legacy with the Cleveland Browns. As a sports fan, it’s fascinating for me to listen to experts talk about the nuts and bolts of putting a team together. As a movie fan, it’s easy to get into the film with its underdog protagonist, a man trying to get out of a hole of his own doing, which means his moments of triumph are even more resonant.
The film smartly presents itself as a combination of an investigative mystery and a high-stakes con game. Sonny has the number one pick and yet his gut is telling him something is amiss with the surefire can’t miss quarterback prospect. With the Draft that very day, Sonny is under tremendous pressure to conduct a speedy background check into Bo Callahan. Each minute that passes the more significant it becomes to know who Bo is and follow the leads on questionable evidence; Sonny can’t assign the future of the franchise to a player that will leave it in ruins (or in the case of the Browns, more ruins). Sonny has mortgaged his team’s future and the pick better be worth it. The Freakonomics guys estimated that a bad franchise QB (think the Raiders with JaMarcus Russell in 2007) could set back a team on average five years. Likewise, the film balances this ongoing mystery with a con game. Every team is trying to fleece the gullible and needy, and Sonny fields offers for his top pick, some laughable and some tempting. Once the Draft kicks off, and Sonny steers his team in the direction he desires, that’s when the film gets even more exciting. We watch the man spin and deal and conspire, flexing muscle against other teams and regaining a position of strength. It’s tremendous fun for football fans and non-fans alike just to watch a professional in their element con his way to victory.
With as much conflict that comes naturally from the setup, I wish Draft Day didn’t feel so sitcom-y at times, shoehorning in trite additional conflicts and storylines. Let’s just assess the day for Sonny: he’s the GM with the number one pick, his future and the team’s future hangs in the balance, but his father also just died, his mother insists upon an ashes scattering burial that day, he has to perform a deep background check on his would-be franchise QB, he’s been harboring a secret relationship with an assistant who wants to go public, and he’s just been informed he’s going to be a father. That’s a lot of conflict for one man in a period of one day, and the confluence of all this drama in such a short window of time is far too unbelievable. You might wager that at the end of Draft Day Sonny puts a pistol in his mouth. The romance with Ali, and his impending fatherhood, never really works, serving up Sonny an opportunity to reflect and squeeze in some exposition, a life outside of football. The romance subplot feels tacked on and malnourished. Likewise, there are characters and moments that feel like they were slapped together as apart of some broad marketing package. Ali has a hapless intern who always comically happens to be in the wrong place at the wrong time. Well, it’s supposed to be funny, but it just feels forced. There’s a scene where the Browns’ coach sets a draft analysis on fire, dropping it onto Sonny’s desk, only to have Ali douse it with a fire extinguisher. Football is a theatrical game to begin with, attracting colorful characters with oversized egos, but actions like this just feel strangely silly and false.
Director Ivan Reitman hasn’t made many films since 2001’s underrated Evolution, and one of those was the horrendously unfunny, misogynistic My Super Ex-Girlfriend, so the prospect of “an Ivan Reitman film” doesn’t have the same draw as it once did. His touch with actors is still kicking. Costner (3 Days to Kill) is great in a role suited to his talents. Even with a thankless role, Garner (Dallas Buyers Club) can be a winning big screen presence. The film is packed with great actors filling out even the smallest of roles (hooray Sam Elliott, Chi McBride, Terry Crews, Timothy Simons, and Kevin Dunn). Boseman impressed me more with a handful of scenes here than in the entirety of 42 as Jackie Robinson. The best decision Reitman makes as a director is to present the movie as the breezy two hour-entertainment it is, keeping the pacing to the floor. However, Reitman gets drunk on his use of split-screens. It begins on an interesting note, with one side transitioning beyond the division of the split-screen. Then it happens again and again, sometimes repeatedly in one scene. It was a neat visual device that Reitman just can’t let go of, which might actually get some people queasy with the sliding scenes.
Time for a personal disclosure: as a diehard fan of the Ohio State Buckeyes and a relative fan of the ever-suffering Cleveland Browns, this movie was tailor-made for my own sports fandom. The people of Cleveland will especially enjoy this movie. During my preview screening, when the Seahawks brass asked, “Who would be that desperate?” and the scene cut to a skyline of Cleveland, my audience cheered. That’s us, they all agreed. The world of Draft Day also exists in a slightly parallel plane where the Dallas Cowboys have won “a lot” including recent championships. Enjoy that fiction, Dallas fans. In the original draft by writers by Scott Rothman and Rajiv Joseph, Sonny was the GM of the Buffalo Bills, but cosmically it just feels correct that it’s the Browns, a team defined by its long history of letdowns, epic collapses, draft busts, and comical mismanagement. It’s eerie that the Browns themselves are faced with a similar situation for the 2014 Draft. Many pundits predict the Browns will select a new franchise QB with their number four pick, but are any of these young men up to snuff? Are there character concerns for Johnny Football? Should the Browns give their own promising quarterback another chance after a season-ending injury before starting over at the position? Eerie.
Draft Day isn’t exactly the football equivalent of Moneyball, but it’s close, though more mainstream in appeal and execution. As a football fan, I’ve been looking for an intelligent and analytical look behind the scenes of the most physical of American sports. In 1999, Oliver Stone came close with the noisy and expansive Any Given Sunday. With this movie, we have a mixture of genres (mystery, con, existential drama) that turn the sports movie into something greater. It’s fun, often humorous, breezy, charming, and agreeably entertaining even when it takes one too many forced detours amidst all the conflict. You don’t have to be a football fan to have a good time with Draft Day, though it helps. This movie very well may be the highpoint of the Cleveland Browns’ season this year.
Nate’s Grade: B+
Staid and square, a bit like its lead, 42 is a biopic on Jackie Robinson breaking the color barrier in baseball, and while it’s reverential to a fault, it could have used more life. As a character, Robinson is simply not terribly interesting because he’s being trapped within a limited prism of inaction. Robinson the man could be fascinating, but Robinson the character of this movie is a bit of a bore. That’s why the film is just as much about Brooklyn Dodgers owner Branch Rickey (Harrison Ford), a far more colorful character that gets to chomp cigars and lecture people with countless speeches accompanied by heroic piano cues. 42 is crammed to the gills with messages but they’re so transparent and overdone, occasionally ham-fisted, where every important thought is spelled out and underlined and repeated for the audience. The corny sentimentality clashes with the danger and hostility Robinson bravely faced. We got stuff like a little kid praying to God that Robinson hits a homer to “show what we can do,” a white guy trots up to Robinson and he seems dangerous… only to want to wish him well, and then there’s all the white players learning lessons of tolerance, treating Robinson as if he’s some prop for their own self-actualization. The greatest acting in the movie, a bit that may take your breath away, is from Alan Tudyk who plays a competing team manager. He is like a racist Foghorn Leghorn and he just… keeps… going. This sequence is the film’s best because it feels earned, complete, and lastly emotionally resonant. 42 is an acceptable biopic, effectively triumphant where it counts, but it feels too dated, too safe, and overburdened with doling out a slew of messages rather than telling an engaging and difficult story.
Nate’s Grade: B-