A Wrinkle in Time is based on a beloved children’s classic published in 1961. It’s directed by Ava DuVernay, who was responsible for Selma, one of the best films of 2014. There’s a reason that Marvel offered her the directing gig for Black Panther. This film has big names, a big budget, and big talent behind the camera with a focus on upping the inclusion at the Mouse House… so why is the movie so unfortunately awful? A Wrinkle in Time is one of the worst experiences I’ve had in a theater. I was so thoroughly unattached that I started questioning how something this bad was so beloved for decades by different generations of, what I must now assume, children with terrible taste.
Meg (Storm Reid) is a teenager still dealing with the pain and anger from the four-year disappearance of her father, Mr. Murry (Chris Pine). He was a scientist trying to discover a new form of space-time travel powered by… love, I think. Mrs. Murry (Gugu Mbatha-Raw) is stuck trying to rear he troublesome daughter and Meg’s adopted little brother, Charles Wallace (Deric McCabe). Then one day they and Meg’s crush, Calvin (Levi Miller), are visited by a trio of strange, powerful (aliens? witches? fairies? spirits?) women: Mrs. Which (Oprah Winfrey), Mrs. Who (Mindy Kaling), and Mrs. Whatsit (Reese Witherspoon). They inform Meg and company that they know where her father is. They must travel the universe to save him, battle the source of negativity, The It (no relation to Stephen King), and maybe learn a thing or two about accepting one’s true self, faults and all.
A Wrinkle in Time is simultaneously over complicated and meaninglessly shallow. I was baffled throughout the entirely of its near two-hour running time trying to make sense of anything. The story felt like it was written by computer that had been programmed with the scraps of genre storytelling as an exercise. There is no real internal logic that holds everything together, which makes every moment feel arbitrary. The story also lacks another vital aspect every fantasy movie needs — clarity. The goal is for the kids to find and rescue Mr. Murry, but every step leading to this goal feels unclear. Scene-to-scene, moment-to-moment, you don’t have any clue how what they are doing will lead them any closer to achieving this goal. Every scene just asserts itself, and then something happens, and then something else happens, and then it’s done. Hey one minute the kids are going to talk with flowers because, for whatever reason, they’re the little gossips of the plant world. Then Mrs. Whatsit turns into a plant mantis goddess giant. Then the kids hop on her back and fly, and then fly on her while she’s also flying, and then one kid falls off, so whoops, but the gossipy plants catch him. And then none of that matters. Even the villain is a nebulous concept of negativity designed to link up with a character’s personal journey. There’s a plot insofar as stuff happens and then it doesn’t. The rules of this universe are never properly established. Anything is just anything in this movie. The final planet, where they do indeed find Mr. Murry, could just have easily been their first stop. If a fantasy movie doesn’t properly orient the audience to its world and rules, it’s only a matter of time before that same audience checks out, frustrated and uninterested.
Afterwards, I did something I hardly ever do and ventured to read the Wikipedia summary to discover what was in the original story by author Madeline L’Engle. Surely the screenwriters must have butchered this oft-touted children’s classic. To my surprise, the summary of the book is pretty close to what ends up in DuVernay’s film, with some slight modernizing and name changing (I wonder why DuVernay might not have wanted the Big Evil Source of All Negativity to be called “The Black Thing.” Hmmm.). I think maybe the book was never good but was liked by kids, and then they remembered it being better and passed it along to their kids, and so on and so on, until somebody finally runs screaming through the streets, trying to get everyone to realize the harsh reality.
Another factor that doesn’t seem developed or helpful or fulfilling are the three magical beings played by Oprah, Mindy Kaling, and Reese Witherspoon. It feels like they’re more award show hosts constantly changing their wardrobes than characters. They offer very Oprah-like self-help platitudes about acceptance, courage, and self-actualization. I felt sympathy for each actress being wasted, in particular Kaling, who speaks only in quotes and a plethora of reaction shots where she practices a wise expression. Witherspoon is definitely overdoing it and Oprah has settled into being talk show Oprah. They felt like rejects from a discarded Alice in Wonderland movie but with less personality. I think you could cut all three out of the film completely. The only meaningful way these three characters impact the plot is as expositional devices, but even that is whimsical nonsense.
Speaking of exposition, oh boy is this script really bad when it comes to dialogue. There’s an early scene that exists purely to inform the audience about the Murry children and to be eavesdropped upon by Charles Wallace (that name deserves to belong to a tax attorney or a serial killer). “She’s smart but hasn’t been the same since her dad left,” says one teacher. “Yeah, but that little brother of hers, he’s got potential but he sure is weird.” The conversation feels painfully inauthentic and transparent. Don’t these teachers have other students of equal interest at the school to discuss? The Murry children’s father disappeared four years ago and they’re still talking about them this sloppily? The final film is stuffed with these moments, with characters transparently telling the each other who they are or how they should feel at all times. The pointless romantic sidekick, Calvin, is literally introduced as coming over and saying, “Hey I sorta know you from school, and I felt like I should be here,” as if he could feel the screenplay calling him. Also, Meg just happens to live next door to her chief bully in school, who is still bullying her every day for whatever reason. It’s been four freaking years since her father left, and apparently this still offends this girl on a daily basis? Most of the dialogue made me wince.
It will sound mean but we need to talk about the bad child acting in A Wrinkle in Time. In the modern age, after Room, It, and The Florida Project in particular, there really is no excuse for bad child acting. If you cannot feature quality child actors, you aren’t looking hard enough or that may be a fault of the director’s own abilities. McCabe (Stephanie) is, in particular, a bad choice to carry much of the movie’s emotional climax at the end. He even gets possessed by the Bad Negative Force and must channel menace. It comes across more like a petulant child throwing a temper tantrum in a store. Much of the conclusion hinges on tight close-ups of McCabe bellowing. It’s unfortunate for everyone. Reid (12 Years a Slave) fares a little better but is relatively inexpressive, going even beyond the general withdrawn nature of her character. Miller’s (Pan) character serves no purpose. He offers no skill or breakthrough for the plot. He is just there, blank-faced, and providing PG-rated prepubescent romantic tension. Or perhaps Meg really needs to hear the strong encouragement from the voice of an attractive white male in order to finally personally succeed?
DuVernay’s direction has some nice, sweeping visuals but the movie as a whole feels far more awkward and misapplied with its budget. Some of the special effects are shockingly shoddy for this kind of major release from Disney. The fantasy worlds feel like holdovers from other fantasy movies with little memorable distinction. There is one effective moment visually that stands supreme, and that’s when the trio encounter a suburban neighborhood populated with Children of the Damned-style kids all bouncing balls in sync. Their individual mothers come out and march in the same eerie synchronicity, and it’s the best-conceived and executed piece in the film. It’s also one of the few sequences where the editing is a benefit. The editing is conspicuously poor. Early on, when Mrs. Whatsit had first introduced herself, every cut failed to match, every camera movement created a disconnect of space, and it generally felt off. It didn’t get better from there. When you notice the editing, unless you’re in a Scorsese or Aranofsky movie, it’s a bad sign.
In many ways, this film reminds me of the misguided, flabbergasting, and fascinating failed passion project that was 2014’s A Winter’s Tale. I could dissect that movie and its multitudinous of wrong-ness for hours. With A Wrinkle in Time, I just wanted to leave. I wanted to enjoy the movie and root for DuVernay being given the reins of a major studio film. I loved Selma and diversity behind the camera is hard to come by in Hollywood, let alone a woman of color given this sort of platform. Sadly, it feels like DuVernay wasn’t quite ready. A Wrinkle in Time gave me nothing to engage with early on. I didn’t care about the characters, the plot felt like it was being made up as it went, the rules were unclear, the dialogue was inauthentic, there was no sense of momentum, and when it does accidentally stumble into something slightly interesting, it quickly moves along again. It’s about the power of love overcoming the power of negativity. I don’t know whom this movie is for. Children will be bored. Adults will shrug. This movie doesn’t work on a fundamental level and it left me bored. I closed my eyes and dreamed of a better movie but it never came to be. My dear father, who had the misfortune of enduring this experience with me, turned to me during the end credits and said, “I am now going to treat you… by taking you far away from this movie.” It’s that bad, folks.
Nate’s Grade: D
The most interesting part of The Cloverfield Paradox might be the film’s release. Following the model of secrecy and subterfuge from producer J.J. Abrams, this was originally a script called God Particle by Oren Uziel (Shimmer Lake). It was reworked by Doug Jung (Star Trek Beyond) to meld it into the ongoing Cloverfield universe. It was originally scheduled for theatrical release in February, and then pushed back to April, and then it was scaled back to being released directly through Netflix. The first time the public saw a frame of this movie was during a high-profile Super Bowl spot that advertised it would be available for viewing as soon as the big game was over (the ad spot cost $4 million, or about one-sixth of the film’s modest budget). The Cloverfield Paradox is an intermittently entertaining film with some nice visuals, curious moments, and a bevy of good actors looking frantic and perplexed in space. It’s also a bit of a storytelling misfire and an underwhelming addition to the larger Cloverfield mythology.
High in space, a team of scientists is testing a cutting-edge particle accelerator that, if functioning, will provide abundant and renewable power for an Earth that is plunged on the brink of a world war thanks to depleted energy resources. Hamilton (Gugu Mbatha-Raw) is one of the scientists and wondering if she will ever get back to Earth and see her husband again. Then one fateful day, the accelerator works but then goes on the fritz, slamming everyone around the station. When they come to they realize that the Earth and moon are missing and they are adrift. That’s not the last of the peculiarities. A woman (Elizabeth Dibecki) is found inside the station, connected to the wiring. Where did this woman come from, where are the scientists, and what happened to the Earth?
The Cloverfield Paradox is never going to be confused as great sci-fi, but it can be good enough depending upon the tastes of the individual viewer. The opening very succinctly establishes the stakes of the mission as well as the toll of the repeated failures. Once the station does its wonky thing and the Earth vanishes, that’s when it hooked me. Are they in a different part of the universe? Did they accidentally wipe out the Earth? These are pertinent and intriguing mysteries deserving of attention. The visuals in the movie are slick and well lit by cinematographer Dan Mindel (Star Wars: Force Awakens), who ignores the old staple of the poorly lit space corridors throughout the film. The actors are all well cast and provide the kind of performances that make you care enough. Mbatha-Raw (Black Mirror’s “San Junipero”) is a terrific lead. She’s strong, smart, but also given a tragic back-story that informs her decision-making when the weirdness hits. Dibecki (Guardians of the Galaxy vol. 2) is primarily directed to be a statuesque mystery. Chris O’Dowd (Molly’s Game) is the comic relief that doesn’t wear out his welcome. None of the characters do anything that stupid. It’s just enough that you might feel sorry for some of them when they eventually perish. There are workable elements throughout the movie that will hold your attention and curiosity.
It’s shortly after its inciting incident of being mysteriously vanished that you start to realize the deeper story problems inherent with The Cloverfield Paradox. The central mystery (where are we? what happened to the Earth?) is enough of a hook but doesn’t allow for much in the way of a clear-cut throughline of how to uncover these answers. The clues that occur throughout the second act serve as almost random points of weirdness that rarely add up to anything significant. Little things like missing worms, the missing gyroscopic GPS drive, and a crawling arm serve as points of peculiarity but they feel disconnected from anything else happening. It’s during this stretch of the film where the film feels like anything can happen and not in a good way. The strange occurrences don’t follow any rhyme or reason even after it’s revealed what is causing them. They just happen because, most likely, somebody thought it would be cool or unexpected. This will only get you so far in plotting unless to can tie events back to character. The resulting explanation is a shaky experiment-gone-wrong that plays out like an unmemorable Star Trek episode, with the crew discerning what their new reality is and why. If you read about the original screenplay, when it was called God Particle and unrelated to anything Cloverfield, there was a lot more hard sci-fi intrigue and a paranoia plot reminiscent of the breakdown in civility in the flawed but serviceable thriller It Comes at Night. It’s hard not to have the opinion that the original screenplay by Uziel was made more generic.
The third act goes all-in on the action heroics and survival thrills, pitting characters against one another for the well being of their homes. What once began as a trippy, reality-distorted sci-fi film becomes a lazy climax where one character stalks corridors and casually shoots people. It’s a conclusion that feels too expected and rote for all of the weirdness that transpired earlier. It’s not quite the steep crash that was the final act for Danny Boyle’s otherwise engaging 2007 film Sunshine, but it’s certainly a less interesting way to tie up your movie. There are some fun set pieces. O’Dowd interacting with his missing appendage is a funny almost buddy comedy. Some of the deaths are visually interesting as they make use of the cold vacuum of space in killer ways. There’s a nice climactic moment involving a character coming to terms with his or her personal grief that feels moderately earned though still facile enough to be unmovable. It feels like another in a series of checklists as far as what kind of character arcs, set pieces, twists and turns are to be expected from a mid-range sci-fi thriller. I thought last year’s Life did all of this better and with more style and nasty menace. If you’re going to watch a derivative space station thriller, at least make it one where the filmmakers have more of a plan from scene-to-scene and a genuine appreciation for their source material.
Now let’s talk about what exactly makes this a Cloverfield movie. Much like 2016’s agile contained thriller 10 Cloverfield Lane, this is a follow-up where the Cloverfield elements feels inelegantly grafted on. I suppose the use of the giant particle accelerator in space may have opened a hole in space-time for giant monsters to come through, but I thought it had been previously established as an alien invasion? Regardless, the only real storyline that tenuously connects the events in space to the larger Cloverfield universe is the storyline on the ground with Hamilton’s husband, Michael (Roger Davies). He’s recovering from whatever went wrong in space, which has resulted in cataclysmic damage across the Earth. He finds a lost and scared little girl and takes her under his protection, swearing to reach out to her family. They take refuge in a shelter. Every time the movie cuts back to Michael trying to reach his wife, or anyone really, and pacing nervously, I was getting bored. Who cares about this little kid when we have realty-bending mysteries up in space? If we don’t know what’s going on topside, or if the movie refuses to entertain some kind of accessible mystery, then every moment spent away from the space station is a moment wasted. The concluding conversation Michael has over the phone is simply there to remind the audience once again that this is indeed a Cloverfield movie, with an obvious visual reminder that feels too late.
The Cloverfield Paradox is another Cloverfield movie where the Cloverfield elements feel like the least interesting part. I don’t know if this is exactly the best plan for extending this franchise. With 10 Cloverfield Lane, I felt the gnawing suspense of an effectively developed contained thriller. With The Cloverfield Paradox, the space mystery and its ensuing twists and turns feel too arbitrary and disconnected to have more than their immediate impact. It’s a movie that sadly gets less interesting every moment it marches closer to its generic action-thriller conclusion. Still, there are moments here that will entertain and I’m happy that Netflix is becoming a breeding ground for the mid-range sci-fi films that Hollywood no longer seems willing to give space for. If you’re a fan of the Cloverfield series or high-concept space thrillers, there may be enough here to warrant a viewing and justify your time. I look forward to this model continuing, the next Cloverfield movie having even less to do with the Cloverfield universe. Maybe we’re only years away from an Oscar-bait film about overcoming adversity set amidst World War II and Cloverfield monsters. It’s like a recipe: just add Cloverfield monsters (or are they aliens?).
Nate’s Grade: C+
It was halfway through Roman J. Israel, Esq., a soggy legal thriller and morality play, that I got up and took an extended bathroom break and felt no guilt. At that point I had just sat through a solid hour of set up, establishing Denzel Washington as a frumpy, super autistic, super awkward, out-of-time civil rights lawyer but I kept waiting for the plot to engage. And I kept waiting, and waiting, and finally writer/director Dan Gilroy’s (Nightcrawler) movie seemed to connect some relevant plot events, Roman doing something unethical to profit personally and suffering the consequences. It was here I thought now things will start to ramp up, now there will be a stronger sense of urgency with what was already a loping, ungainly film that felt more like a collection of scenes with little cohesion. Whatever it’s meant to be, Roman J. Israel, Esq. is a tedious process, a movie fumbling for an identity. It’s hard for me to believe this is from the same creative voice that gave us the entrancing Nightcrawler. Washington is agreeably playing against type and always worth watching. There are ideas here that could have worked had they been refined and reworked. It just all feels like anything rarely matters or adds up to anything significant. Take for instance Roman’s brief he plans to file that will, by his admission, change the very criminal justice system. He mentions this mission when it appears that his new boss (Colin Farrell) may fire him. It looks like this brilliantly composed legal brief will seem like a pretty big deal. Well Roman doesn’t do anything with it for the rest of the movie, though it does serve as his legacy anyway. Farrell’s character can wildly fluctuate between a lawyer hungry for exposure and high-paying clients and a guy who wants to be like Roman, helping the little guy and advancing civil rights causes. This is a movie that just feels listless, bumping around from one disjointed plot point to another, and the only thing keeping me in my seat was Washington’s acting prowess. But even that couldn’t hold me forever.
Nate’s Grade: C
Disney has been on a tear lately with its slate of live-action remakes but Beauty and the Beast is the first title to come from the relatively recent Renaissance period of the early 1990s. The 1991 classic, based upon the French fairy tale, was the first animated film ever nominated for Best Picture, and back when the Academy was only proffering five nominees for the category (Toy Story 3 and Up earned Best Picture nominations after the category expanded up to ten). This is a beloved movie still fresh in people’s minds. I was curious what Disney and director Bill Condon (Dreamgirls) would do with the material, what potential new spins, and how faithful they might be. Regrettably, the 2017 Beauty and the Beast is a charmless, inferior remake of a Disney classic. In short, there is no reason for this movie to exist.
Belle (Emma Watson) is a small French town’s least favorite daughter, namely because she always has her nose in a book and wants “more than this provincial life.” Gaston (Luke Evans) is the most popular man in town and a dreamboat that ladies savor, and maybe also Gaston’s silly sidekick, LeFou (Josh Gad). The hunk is determined to marry Belle at all costs but she wants nothing to do with the brute. Belle’s father (Kevin Kline) falls prisoner to a ghastly Beast (Dan Stevens), a monster who used to be a prince who was cursed for his vanity. The Beast’s servants were also cursed, turned into living objects, like cowardly clock Cogsworth (Ian McKellen), lively lamp Lumiere (Ewan McGregor), and a tea kettle (Emma Thompson), feather duster (Gugu Mbatha-Raw), harpsichord (Stanley Tucci), dresser (Audra McDonald), and probably a chamber pot somewhere. Belle trades places with her father, becoming the Beast’s captive. The servants encourage the Beast to put on a charm offensive and change his ways to woo Belle, because if he cannot earn reciprocal love before the last pedal falls from an enchanted rose, then they will all be doomed to live their current fates.
I figured, at worst, I would be indifferent to the live-action version of a great animated musical, especially since they were following the plot fairly closely. I was not indifferent; I was bored silly, and as the boredom consumed me I felt the strong urge to simply get up and leave. Now I didn’t do that, dear reader, because I owed all of you my complete thoughts on the complete film. I’d be lying if I didn’t say I debated escape, which is a rarity for me (I’ve never walked out of a movie, but Beauty and the Beast now joins a small number of films where I considered the inclination). The source of my urges spring directly from the realization that I knew exactly what was going to be coming at every step, even down to shots, and I knew it was going to be worse than the source material. It felt like watching the soul slowly get sucked out of the 1991 film. It was imitation that squeezed out all the delightful feelings from the original, stamping out joy and replacing it with an awkward, stilted facsimile. There’s also the problem of live-action being a medium that distorts some of the charming elements from the animated movie. The anthropomorphic servants are especially unsettling to watch.
The new additions are few and completely unnecessary, adding a half hour to a classic’s efficient running time. It’s kind of like remaking Casablanca and adding forty minutes of stuff that doesn’t belong, which might as well be known today as Peter Jackson Syndrome. With Beauty and the Beast, there are four or five new songs added, and they are awful and needless. Two of them are back-stories for Belle and the Beast/Prince, both of which were already covered earlier either explicitly or implicitly. They are the clear clunkers and further evidence that the 2017 additions are artistic anchors hampering an otherwise great musical. The Prince is given more screentime pre-Beast transformation but it covers the same ground that a simple voice over achieves in the original. I don’t think much is added seeing Stevens get gussied up and partying with the pretty people of his village except as an excuse for costuming excess. Some of the elements added also feel remarkably tacked on and feebly integrated, like the Beast’s magic teleportation book. He has a book that will take the user anywhere in the world, which Belle uses once to visit her parents’ old home and learn redundant information. At no point is this powerful magical device ever used. Why introduce a teleporting book and never bring it up again, especially if only to reveal something superfluous? Why does the Beast need a magic mirror to spy on people if he can teleport there? These are the unintended questions that befall poorly planned story elements that nobody asked for.
The 2017 Beast also wants to celebrate itself for being more inclusive, feminist, and forward thinking than its predecessor, but this claim is overblown. Much has been made out of Condon’s claims of an “exclusively gay moment” in the movie devoted to LeFou, which wouldn’t be that surprising considering his Gaston-adoring behavior walks a homoerotic line in the original. This “exclusive” moment is LeFou dancing with another man and seeming to enjoy himself, or at least not hating the idea. It lasts for a grand total of two seconds on screen as part of a closing epilogue scanning across our happy characters reunited on the dance floor. It seems like much ado about nothing, especially since the 1991 film had the exact same comic beat of a man discovering an unknown joy of dressing in women’s clothing. Watson has been an outspoken actress, a UN human rights ambassador, and has said in multiple media interviews that it was important to make Belle a more actionable feminist figure. There was certainly room for improvement considering it’s a romance that many have cited as a clear case of Stockholm syndrome. If a modern remake of Beauty and the Beast were going to make socially conscious strides, it would be here, naturally. It’s pretty much the same movie except now she creates a washing machine by completely occupying the town fountain. That’s it. Considering that the movie added thirty minutes to the running time, you would think a majority of that would be judiciously devoted to building a plausible bridge from the Beast being Belle’s captor to being her lover. Nope. It’s a more forward thinking movie in fairly superficial ways that feel overly designed to warrant applause, like the inclusion of two interracial couples in the small staff of a seventeenth century French castle.
I went in and thought, if all else, I would at least have the instantly humable and highly pleasurable songs to fall back on. Then I realized this imagined respite was a fallacy. Like every other element in the film, the singing was going to be worse than the originals, and it was. The biggest aural offender belongs to our heroine, Miss Watson (The Bling Ring), whose singing vocals are Auto tuned within an inch of their lives. I have no idea what Watson’s singing voice sounds like in real life but I can almost assuredly bet it does not sound like what comes out of her mouth in this movie. The Auto tune effect was immediate, and overwhelming, and it felt like daggers in my ears for the entirety of the film. Auto tune flattens out a singer’s vocals and makes them sound tinny, unreal, almost like the comedown from sucking helium. I listened attentively to the other performers and it seemed like Watson was the only one given this exaggerated treatment. I’ve said before I’m not a fan of Watson as an actress, feeling she plateaued at a young age from the Harry Potter series, and her performance here will not change my mind. Similarly, the Beast’s vocals are so enhanced with bass that it would be hard to judge Stevens authentic singing voice. McGregor (T2 Trainspotting) has proven his singing chops before but a French accent was clearly something that got away from him. Evans (The Girl on the Train) is acceptable as a singer but lacks something of the brio that makes Gaston a larger-than-life pompous ass. Gad (Frozen) is right at home with musical theater. If I had to pick a musical highlight I would cite “Be Our Guest” simply for the visual barrage of colors and playful imagery that is absent most of a rather dreary looking movie. The other performers are adequate and sing their parts with equal parts gusto and reverence, but they’re all clearly weaker singers than the less known cast of the 1991 edition. It leaves one with the impression of a shabby celebrity karaoke version of a better movie.
Beauty and the Beast isn’t just a disappointment, it’s an artistic misfire on multiple fronts that is looking for applause but doing too little to even earn such consideration. It wants to be forward thinking for a contemporary audience but they’re empty gestures, as it just copies the 1991 movie down to similar shot selections. The 1991 movie is great, no question, but I don’t need a Gus van Sant Psycho-style remake that only serves to make me appreciate the original more. This movie has no reason to exist outside of the oodles of cash that Disney will probably collect from repackaging its much beloved classic to a new generation of fans and an older generation seeking out millennial nostalgia. The singing is off, especially from a painfully Auto tuned Watson, the new songs and scenes are pointless, and even some of the production design resembles a play that ran out of budget halfway through. If you’re a fan of the original, you may find entertainment just reliving the familiar beats and notes from the 1991 film, just to a patently lesser degree of success. It’s not like Disney’s other live-action remakes of their extensive back catalogue of titles. The Jungle Book and Pete’s Dragon were sizeable improvements, and the agreeable Cinderella found some welcomed maturity to go with its fairy dust. Those movies found new angles, and in some cases had little relationship to their original material as in the case of the wonderful and heartfelt Pete’s Dragon. These are examples of filmmakers who were inspired by their sources but told their own stories. Beauty and the Beast, in contrast, is just the hollowed out husk of the original, now made putrid.
Nate’s Grade: C
Miss Sloane is an intelligent and exacting political thriller that should appease fans of the genre who enjoy a good arm-twisting from a powerful manipulator, in this instance the towering and intimidating full force of Jessica Chastain. She plays the titular Sloane, the best lobbyist inside the beltway, and a woman who leaves the comfort of her firm for the challenge of taking on the gun industry to help pass a reform bill. From there it’s an underdog tale powered by the winds of moral righteousness and given a tough-talking yet flawed hero that will burn down whatever she can, including her own reputation, to win. The biggest draw is the performance from Chastain (Zero Dark Thirty) as she gets to yell at people for approximately two hours and look good doing it. It’s a game of persuasion and leverage and D.C. voter politics, and she makes the constant stream of information accessible while providing a focal point for our interest. It’s a pretty information heavy film with a minimal of supporting characters that stand out (Gugu Mbatha-Raw as a school shooting survivor-turned-team member is the notable exception). With her victory never in doubt no matter the odds, the movie establishes that it exists in a parallel world where actual gun control reforms can be advanced. In the wake of doing nothing from Sandy Hook, this must be a fantasy world. Director John Madden (The Debt) keeps the tone as cool and calculated as his heroine. The script by Jonathan Perera is plenty smart though the final act relies upon some unbelievable shenanigans that betray its sense of pragmatic realism. Still, the cunning gamesmanship of a pro working the levers of power for a worthy cause allows for some liberal fantasy indulgence. Miss Sloane is a suitably entertaining thriller that whisks you away and says even “bad people” have a purpose in our broken political system.
Nate’s Grade: B
Well meaning and somberly recreated, Free State of Jones is a historical drama that wants to illuminate the story of Newton Knight (Matthew McConaughey) who deserted from the Confederate army and seceded from the very people who seceded from the United States. Knight and the people of Jones county Mississippi declared themselves independent and awaited the consequences. At first the Confederate army is annoyed, but as armed skirmishes increase and Knight’s team swells with poor farmers and runaway slaves, garnering Robin Hood-esque folk hero status, you’re expecting an escalating level of force that will doom Newton. We’ve seen this kind of historical drama before where men (usually men) of courage and politics ahead of their time are stamped out by the forces of oppression and we then celebrate their noble sacrifice. I kept waiting for Jones to go this route, and then (slight historical spoilers) the Civil War ends and instead the last half hour is an episodic history tour that includes the rise of the KKK, registering freed black men for voting, and early voter suppression acts. There is also a storyline strewn throughout that takes place in a 1940s Mississippi courtroom. At first you’re left scratching your head about the flash forwards, and then the connections come to bear. We’re watching Knight’s (great?) grandson and his legal troubles because the courts don’t know whether he’s the byproduct of Newton’s first wife (Kerri Russell), who left him, or his common law second wife (Gugu Mbatha-Raw), a former slave. It’s a storyline that just doesn’t really gel with the movie as a whole and really only serves to remind you that 100 years later Mississippi was still a pretty terrible place to live. Free State of Jones’ failure is that it doesn’t make this slice of history emotionally engaging. We don’t get a strong sense of whom Newton is as a person except for his 99% rabble rousing. His relationship with Mbatha-Raw’s character is the most engaging part of the film given its inherent conflict, and I’ll credit writer/director Gary Ross (Seabiscuit) with how restrained he is about dealing with her sexual abuse from slavery. The relationship is treated very tenderly and Mbatha-Raw aces her scenes. Also warning to dog lovers: there are several sequences of violence against man’s best friend that will be hard to watch. Free State of Jones works better as a history lesson rather than as a fully formed movie.
Nate’s Grade: C+
Concussion wants to be a hard-hitting drama exposing the dangers of repetitive head trauma in football and the lengths of the cover-ups and collusion within the NFL, except that movie already exists and is the Frontline documentary League of Denial that was too controversial to air on ESPN. Concussion, in comparison, is an adequate but hopelessly underwhelming film on the Nigerian-born Dr. Omalu (Will Smith) who discovered chronic traumatic encephalopathy (CTE) in the brains of deceased NFL players. The resistance and denials are soft-pedaled, though the movie treats them with heightened dramatic stakes that are unearned. There’s one threatening anonymous phone call but for the most part it feels like Dr. Omalu is just being ignored, and “being ignored” is a hard thing to turn into outstanding dramatic stakes at the movies. The movie doesn’t let the NFL completely off the hook but its critiques have been softened by studio interference (as revealed through the Sony email hack). As a straightforward drama, Concussion is easy to watch and Smith gives an authentic performance that doesn’t have to go to histrionic lengths to communicate his internal struggle. There’s a nice subplot with Omalu courting his eventual wife played by Gugu Mbatha-Raw. Albert Brooks and Alec Baldwin are strong supporting players. David Morse gets a show-stopping part to show off his acting skills. By the end, it all feels just a little too nice, a little too polished, and a little too easy, both in how it presents a complicated medical discovery and its implications but also the NFL’s response. For an awards-season drama that’s meant to shock and inform, being “easy” is the wrong call.
Nate’s Grade: B-
Note: “League of Denial” is currently available on Netflix streaming and I encourage people to check it out.