Two new movies have been released for streaming, both coincidentally starring Sacha Baron Cohen, and both are highly political, one by design and the other through fortuitous circumstances of history regrettably repeating itself, and both are simultaneously everything you would expect from their creative forces and worth watching in our tumultuous times.
The Trial of the Chicago 7 is a courtroom drama depicting the injustices applied to a dispirit group of anti-war activists who were charged with inciting a riot at the 1968 Democratic National Convention. The various men of different backgrounds and affiliations had their reasons for being there to protest, whether it was building public support to end the Vietnam War, to gain personal publicity, or to get laid, and tensions mounted inside and out the group as the police plan to send a message, harassed protesters, and in one amazingly prescient moment, remove their badges and name tags to then inflict state-sanctioned violence. This is an Aaron Sorkin movie through and through, and his second offering as a director after 2017’s Molly’s Game, and the best thing about the Oscar-winning wordsmith is that watching one of his movies feels like you’ve just downloaded a complete syllabus. The sheer audacious density of information can be overwhelming, but when Sorkin is able to get into his well-established rhythms, the actors feel like wonderful pieces in an orchestra playing to its peak. The real-life story of the activists has plenty of juicy drama and intriguing characters and intra-group conflicts breaking open, mostly between the divided poles of political leaders Tom Hayden (Eddie Redmayne) and counter-culture prankster Abbie Hoffman (Cohen). Bobby Seale (Yahya Abdul Mateen, HBO’s Watchmen) could have gotten his own movie and suffers many of the worst indignities as a member of the Black Panthers who was grafted onto the case in order to make the rest of the indicted men seem scarier by association. The consistent interference by the trial judge (Frank Langella) is shocking. It’s so transparently biased, racist, and unprofessional that I have to believe that many of these anecdotes actually happened because otherwise they seem so absurdly prejudicial that nobody would believe this happened. For a movie with such a sizeable cast of trial litigants, lawyers on both sides, friends and family, and maybe every police officer in Chicago, it’s impressive that Sorkin is able to provide so many with great Sorkin moments, meaning those grandstanding speeches, cutting one-liners, and intensive cross-examination. Not everyone is on the same level of importance. Several of the Chicago 7 are merely bodies on screen, two of the guys serve as little more than a quip-peddling Greek chorus. You sense there’s more being left out to fit into a crammed yet tidy narrative that plays to our demands for satisfying character arcs, reconciliation, and a morally stirring final stand. As a director, Sorkin doesn’t distinguish himself but he lets his meaty script and the performances of his actors get all the attention. The editing, like in Molly’s Game, can be a bit jumpy but it’s to serve the sheer size of information being downloaded during the 129 minutes. The political parallels for today are remarkable and a condemnation of our modern times. The Trial of the Chicago 7 is an invigorating and, at points, exhausting film going experience that can feel like a retro, overstuffed special episode of The West Wing. It’s everything you should expect and want in an Aaron Sorkin courtroom drama, so if you’re already in that anxious camp then this Netflix original will be preaching to the overly verbose choir.
Secretly filmed over the past year, Sacha Baron Cohen reprises his outlandish Borat character to once again lampoon people’s not-so-hidden prejudices, anti-Semitism, xenophobia, and misogyny, which seem to have only gotten worse since the first Borat movie in 2006. The flimsy story follows international journalist Borat returning to America to help improve the standing of his home nation Kazakhstan by offering his daughter Tutar (Maria Bakalova) to the Trump administration. It’s really just a platform for Cohen to adopt a series of disguises (his Borat is too recognizable) and dupe some rubes while exploiting their ignorance and patience. Much of the entertainment comes from the cringe-inducing interactions of how far Cohen and Bakalova will go, marveling at their improvisational skills and also dreading what lines they might cross next. I was laughing fairly consistently, though the schitck naturally won’t be as funny the second time around, even with a 14-year gap in movies. I was really impressed by Bakalova and her own commitment and quick-thinking, keeping pace with a pro like Cohen and really stealing the show because Borat can’t go out in public as before. There are some outrageous moments that work, like Cohen imitating a country singer leading an anti-masking crowd into a singalong with ridiculous verses, and some that simply don’t, like an ongoing stretch where Bakalova explains the appeal of masturbation to a gaggle of deadly silent Republican ladies. Sometimes the comedy seems so broadly caricatured that it’s questionable whether its helpful or harmful, especially the anti-Semitic tropes that Cohen embraces as means of satire. Saying something outrageous to an outraged or shocked party isn’t quite enough. When compiling these hidden camera comedies, they thrive on the oxygen given to them by the targets of the prank. If they don’t really engage, it can feel a bit tired and desperate. I’d say the ratio of hits-to-misses is about half and half but the movie has enough big moments to keep fans happy. The most notorious moment has already been widely disseminated through social media and serves as the climax of the movie, strangely both as the high-point of pranks with big names but also as the emotional catharsis. Tutar poses as a foreign journalist and interviews Trump surrogate Rudy “America’s mayor” Giuliani, who drinks, goes into a hotel bedroom alone with Bakalova, and then lays on the bed while slipping his hand down his pants (like a gentleman does). Borat realizes he doesn’t want to offer his daughter to this creepy, sleazy man and rescues her because he truly does care about her. Borat 2, or Borat: Subsequent Moviefilm, takes a scattershot approach to satire and squarely aims at the science-denying MAGA crowd celebrating the excesses of their leader (who doesn’t sound that different from Borat, come to think of it). It might be more admirable in intent than execution but the new Borat can provide a few belly laughs and a more than a few groans as Cohen attempts to make American funny again.
Trial of the Chicago 7: B+
Borat: Subsequent Moviefilm: B-
Director Tim Burton has always been attracted to the weirdos, the outsiders, the freaks, so it seems fitting that he attached his name to a big-budget, live-action remake of Disney’s 1941 animated film of the flying pachyderm, Dumbo.
Shortly after World War I, Holt Farrier (Colin Farrell) is returning home and reuniting with his two children, Milly (Nico Parker) and Joe (Finley Hobbins). They’re rebuilding in the wake of their mother’s loss and Holt’s war amputation. He and his horse-wrangling wife used to be the star attraction for their traveling circus run by Max Medici (Danny DeVito). The circus is on hard times until Max purchases a pregnant elephant that gives birth to a big-eared baby with a special ability to fly. Suddenly the crowds come pouring back and a bigwig like V.A. Vandevere (Michael Keaton) sees a big opportunity. He offers the circus to move to his state-of-the-art theme park, Dreamland, and for Dumbo to perform with his famed trapeze artist, Colette (Eva Green, seeming to take the mantle of Burton’s Raven-Haired Muse, after Helena Bonham Carter, and before her Lisa Marie, and before her Wynona Rider — seriously, look it up, there are only four movies in his whole career that don’t feature these actresses). The big new stage only serves as a reminder of how lonely Dumbo is and the family plots to reunite him with his mother.
As we enter a precipitous new age of Disney live-action over saturation, each new remake must be asked the question, why does this film need to exist? I feel like we can classify the glut of live-action remakes into two categories, namely the older, less revered films and the newer, more revered. Take for instance two 2016 remakes, The Jungle Book and Pete’s Dragon, as both films felt enough distance from their sources’ release that they had the comfort to be different. In the case of both movies, especially the beautifully lyrical Pete’s Dragon, I’d say they are improvements. But those movies are old and the nostalgia for them is minimal. That’s the not the case for films like Beauty and the Beast and Aladdin and The Lion King, where the originals are beloved by an audience that still remembers them fondly and vividly, now slightly older, and looking for fidelity rather than artistic invention. When the live-action 2017 Beauty and the Beast, an otherwise dreary and pointless remake of a new classic, makes a billion dollars, Disney has a pretty clear indication of what the wider audience wants with their remakes. Dumbo is a movie that actually has some room for new artistic life, especially with a talent like Burton adding his own signature dash of razzle-dazzle. There are some things from the source material that could use further examination, like animal abuse, and some things from the 1941 original that could deservedly be eliminated, like the racist “Jim Crows.” It may be early but I think Dumbo will be my favorite of the 2019 Disney remakes.
There’s an enjoyable sense of whimsy and wonder to the film that also belies a darker underbelly, something that Burton has featured since Beetlejuice and Edward Scissorhands. Early on, Burton and screenwriter Ehren Kruger (Ghost in the Shell, The Ring) establish the world by returning dear old dad back but with one less arm. It undercuts the reunion and also leads to a crossroads of mounting questions about his viability as a performer and adaptability. The children and the father are the real stars of the film, a family trying to reconfigure their new identity in the absence of their mother and the readjustment of their father after he can no longer be a headliner. It’s enough to ground the movie emotionally and provide a sense of stakes. The motley crew of circus performers and sideshow acts serves as a non-traditional family unit, a found family, and one fighting for their own slice of dignity. I’m likely reading more into this than intended but the fact that I can shows that Burton and company at least put in solid efforts to stake a foundation. The wonderfully macabre, askew Burton elements are present as well, especially in the production design for Dreamland, which looks like another fantasy neighborhood straight out of Halloweentown in Nightmare Before Christmas. The presence of Eva Green is another enjoyable highlight as a French acrobat that becomes close to Dumbo and the Farrier family as a whole. It’s sweet with a little touch of the eccentric, which is another fine way of describing Max Medici and DeVito’s affectionate performance. There is an offbeat sense of humor to and visual whimsy to the film that works with the standard heartwarming family elements rather than against it. It’s a movie that can hit you in the gut and then make you smile the next minute.
Dumbo is less a character than he is a symbol, but it works for the most part even if it hampers the larger storytelling prowess of the film. He’s a symbol for every person to import their own feelings, an outsider who feels like they do not belong. He’s also a symbol of innocence as a gentle animal, something to tug at the heartstrings when he’s mistreated or separated from his mother. It’s hard not to feel something when the camera gets the special close-up for his big, soulful eyes. He’s even more sad looking in garish clown makeup. The animal rights angle isn’t heavy-handed but enough to get you feeling sympathy for poor creature. It sets up a big escape to reunite mother and son and free them from captivity that reminded me of a 90s kids movies, but not necessarily in a negative way. I think that’s one of the achievements of Burton’s movie is that he has reshaped an older children’s movie model with his unique touches. It’s a far more successful alchemy than 2010’s dull Alice in Wonderland.
I also have to call special attention to Michael Keaton’s villainous character specifically because it is an obvious stand-in for Walt Disney. Not only does he own a theme park, where the customers come to him rather than the other way around, but also he’s a showman who’s underhanded, greedy, and backbiting, ready to cut anyone loose. There’s even a scene that shows him comically inept when it comes to actually performing any actual practical skill, like controlling an electrical panel (Keaton’s exaggerated movements made me think of a child pretending to be an adult at work). Keaton is also wonderfully daft as the blowhard. He feels like he’s in a very different movie that only he knows about, and while it didn’t exactly fit it made every one of his scenes more entertaining. Burton and his team were biting the hand that feeds them, calling into question the intentions and actions of the man that gave birth to the empire, and Disney miraculously approved of this. Maybe they felt they had gotten so big (sayonara, 20th Century Fox) that criticism didn’t matter, or maybe it somehow slipped under their collective radar, I cannot say, but its inclusion is both welcome and fascinatingly bizarre for a 2019 Disney release.
At its core, Dumbo is an enjoyable if limited remake, a movie that sets its ambitions low but sets out to try a few different things with modest success. There are some scenes that go too far, whether it’s the extended reaction shots of crowds vocally heckling… an elephant, or a pretty lazy message that we can all be special because of what we have inside, that reminded me what the finished film could have been, namely far worse. It doesn’t quite soar but it does rise above my expectations and kept me pleasantly entertained.
Nate’s Grade: B
15 years. 6 movies. 3 different lead actors. 2 reboots. I wouldn’t be surprised if a majority of the American public likely knows more about Spider-Man than their relatives. In 2002, the first Spider-Man movie kicked off the new century by affirming to studios that superhero movies are a sound financial investment. Director Sam Raimi and Tobey Maguire kicked off the glut of superhero cinema, paving the path for the massive Marvel Cinematic Universe (MCU) and its own unparalleled run of financial and critical success. Then the overreach killed off Raimi’s Spider franchise in 2007 and overreach again killed off Sony’s Spider reboot in 2014. Sony wisely sought out an assist from the gurus of Marvel, striking a deal and having the web-slinger return to the MCU. Fans rejoiced. Spider-Man: Homecoming announces itself as a brash, exhilarating, hilarious, and amazingly assured film that immediately lines up with the upper tier of the MCU. Marvel should use this as Exhibit A, submit it to Fox, and say, “Here’s how we can do your franchises better.”
Peter Parker (Tom Holland) is your ordinary 15-year-old from Queens, New York who was given amazing powers after being bit by a radioactive (or genetically modified) spider. It’s been weeks since he was called into action by Tony Stark (Robert Downey Jr.) to thwart Captain America (Chris Evans). Now Peter is back home and waiting for his literal call to adventure, for Stark to officially call him up to join the Avengers. Peter anxiously waits for school to end so he can don his Spider-Man suit, modified by Stark Industries, and fight local crime and injustice. This mostly amounts to stopping bicycle thieves, helping old ladies with directions, and other inglorious tasks. Peter’s Aunt May (Marisa Tomei) would prefer he focus on his studies rather than the time he’s been spent on the “Stark internship” (his fib to cover said crime-fighting). New weapons begin appearing on the streets, built from the discarded alien technology from The Battle for New York. Spider-Man investigates the source, Adrian Toomes (Michael Keaton), a pilot who adopts the moniker of The Vulture while in the sky with his winged jet pack. The formidable weapons pose a real pressing danger to society, and Peter pushes further, at his own peril, to confront the Vulture and stop the flow of high-tech weapons.
For many fans of the webhead, this will feel like the first time they’re watching the Spider-Man of the comics on screen. This is the first film incarnation where Peter remains in high school for the entire duration of the movie, and it’s also thankfully the only telling that eschews an origin story. He just is Spider-Man, however, the arc of the movie is him settling into that identity. It’s in many ways a coming-of-age story for the superhero set, as Peter has to come to terms with his earnest desire to help others and his own maturation, both as Spider-Man and as a high school sophomore. He’s learning just as much to be Peter as he is Spider-Man. Just because he has these powers doesn’t mean he’s ready for the rigors of the world. Homecoming is very much a high school movie. There are familiar John Hughes influences throughout, and the film smartly subverts certain high school tropes (driving lessons, prom dad from hell). It presents our hero struggling with asking the cute upperclassman (Laura Harrier) to the dance just as much as the demands of being a fledgling local superhero. His interior life is much more available and relatable but he’s still a teen navigating the world. Also, by having Peter be the youngest film incarnation yet, it allows for the satisfying indulgence of superhero wish-fulfillment. Whereas the X-Men powers are naturally linked to the progression of puberty, those are usually portrayed as a curse, something that ostracizes, confuses, and produces great anxiety and fear. With Spider-Man, being a superhero is the coolest thing in the world. He’s not consumed with angst like Andrew Garfield’s broody Peter Parker and his weirdly special DNA (what was the deal with his parents and that conspiracy? Oh well). Watching this exuberant Peter Parker embrace his new abilities with glee is a great way to keep the movie light and bouncy.
This is also, bar none, the funniest film yet in the MCU (yes, even dethroning Guardians of the Galaxy). With the lighter tone, the movie finds consistent opportunities to inject comedy, from the irony of Peter trying to lead a normal life, to the awkwardness of Peter’s attempts at crime-fighting, to his over eager demeanor, to misunderstandings and hasty excuse-making to conceal his double life, to the sterling supporting cast of characters that contribute different flavors of jokes when called upon. If anything there is so many talented supporting players I wanted even more time with them (Donald Glover, Hannibal Buress, Martin Starr). This cast is a comedic embarrassment of riches.
I was laughing pretty much from beginning to end with Homecoming. Just thinking back on the school’s morning announcements (complete with anchor Betty Brant) makes me giggle. Peter’s best friend Ned (Jacob Batalon) is the movie’s chief source of comic relief, and in less careful hands he would become rapidly annoying. Instead, he’s a reliable presence and given a character arc with a payoff of his own, his desire to be Peter’s “guy in the chair.” It’s genuinely impressive screenwriting when even the comic relief sidekicks have arcs. Zendaya does an impressive job of selling every one of her jokes, which traffic in a very specific smart-aleck, apathetic tone. She’s graduated from the Disney Channel to the bigger leagues. There’s a hysterical series of inspirational education videos featuring Captain America, and if you stay past the end credits there’s a great payoff for that. There’s even some sly meta jokes calling back to Raimi’s Spider-Man. Every joke at least lands and most of them hit hard, benefiting from strong development and timing.
Nevertheless, just because it happens to be one of the funniest movies of the year, Spider-Man: Homecoming still finds plenty of space to be dramatic and thrilling. The comedy doe not tonally detract from the other elements. This is not an insubstantial movie just because it knows how to have some fun (take notes, Zack Snyder and DC). This is not a flippant movie because of tone or the heavy joke quotient. There are sincerely sweet moments born out of the characterization, like when Aunt May takes it upon herself to teach Peter how to dance (this would not be possible with a geriatric Aunt May). Director Jon Watts (Cop Car) has a steady command with his high-flying visuals and maintains the tight walk of tone that allows all the elements to work together as a blissful whole.
There are superb action sequences that advance the story forward and allow for the characters to grow. It’s exactly what good action is supposed to do, besides, you know, quicken the pulse. The humor can also arise naturally from these set pieces. Take for instance Peter suiting up while attending a suburban house party. He spots some alarming energy discharges on the other side of the suburb, but without any tall buildings for him to latch onto, he has to hoof it the whole way on foot. It’s a smart comedic aside and it helps to remind us that this Spider-Man isn’t an instant pro after getting his powers. It all comes together best in a D.C. rescue at the Washington Monument. It bridges the personal with the action. The bifurcated ferry set piece serves as the Act Two break and it’s a killer segment that pushes Peter to his limits to solve a dilemma that seems incapable of being fixed. There may not be any action scene to rival Raimi’s finest but the character-centric action and the organic development of the complications lays a foundation for a consistently entertaining film littered with joyful payoffs.
The biggest fear I’ve read from Spidey fans was that the involvement of Robert Downey Jr. would tip the scales, turning a Spider-Man movie into a defaco Iron Man sequel. Considering America loves Iron Man, I don’t see how his inclusion is a problem. Civil War was still very much a Captain America film even though Iron Man was the co-lead. Tony Stark represents a distant mentor for Peter and also the gatekeeper. Peter is anxious to become an Avenger and looking for Stark’s approval, which brings an enjoyably unorthodox paternal side from Downey. If there is a complaint I can foresee, it will be that Spider-Man is too similar to Iron Man thanks to the special suit. Spider-Man’s suit has its own Jarvis-style A.I. program (adeptly voiced by Jennifer Connelly, wife to Paul Bettany, former voice of Jarvis) and extra special gadgets including a spider drone and unusual web shooting options. It provides a new sense of discovery for the character since we’re already starting with him powered. The second act is Peter getting accustomed to the boost his suit gives him, becoming reliant upon them, and then having it stripped away as a natural Act Two break so that the conclusion has even more stakes without the security of the suit. It makes Peter much more vulnerable. The Iron Man parts are more a background motivational force and this is still very much a Spider-Man film.
Holland (The Lost City of Z) is already my favorite Spider-Man. Period. He made such an immediate and strong impression in Civil War that I was greatly looking forward to his first big starring venture, and Holland does not disappoint. This is the first Spider-Man that doesn’t feel crushed by the heavy burden of being a superhero. He’s a kid eager to grow up and join the world of other caped crusaders, but he’s modeled his crime fighting from what he’s seen on TV. He doesn’t really know what he’s doing. He’s still an awkward kid, and Holland brings great authenticity to the smaller character moments and the bigger heroic strides (while maintaining a convincing American accent). This is a more relatable, vulnerable, and interesting Peter Parker. Even though he thinks he should be beyond the mundane life of high school, he doesn’t ever act pompous or look down on other characters, which is endearing. At times Holland feels like he’s going to explode with energy, as if life is too much to process in the intermediary. He’s a teenager and the world feels so big and open. It’s an instantly engaging and likeable portrayal that wonderfully capitalizes on the introduction from Civil War. This is a Spider-Man, and his spider world, that I want multiple sequels to further explore and challenge.
Keaton’s Vulture already ranks as one of the best villains in the MCU (a low bar, I admit), and that’s because the movie humanizes him and gives him significant moments. He’s just a regular working-class man trying to provide for his family. In fact the first five minutes of the movie focus exclusively on Toomes and explains his sticky situation. He feels cast aside by those in the upper echelons of power. His eventual “you and I are the same” speech to Spider-Man has credible points. You can see, from his perspective, how he’s an underdog sticking it to the rich elites. Shockingly, there’s only one death in the entire movie and even that is an accident. Toomes is not your standard comic book villain, and there’s a brilliant third act twist that makes him even more centrally involved in the narrative. That opens a delicious sequence of dramatic irony. Keaton has a quiet menace to him that’s very unsettling. It’s all in the lower register. His character doesn’t blow up. He just narrows his brow and intensifies that scary stare. I’m glad the filmmakers realized that more Keaton was an asset to the film.
Let’s also take some time to celebrate the sixth Spider-Man movie for having a diverse population of characters that would actually represent Queens. Peter’s best friend is of Filipino descent, the girl he crushes on is biracial, the loner girl is biracial, and even the high school bully, Flash Thompson, is Hispanic, played by Tony Revolori from The Grand Budapest Hotel. This might be Marvel’s most diverse cast yet, though “yet” being the operative word considering that Black Panther is arriving in early 2018.
This movie is a total blast. Spider-Man: Homecoming actually manages to give new life to a character that has already appeared in five other movies. That’s an amazing feat. Another amazing feat is that six different screenwriters, including the director, are credited with this movie, yet it feels fully coherent in its vision and presentation. This is Peter Parker, the teenager struggling with self-doubt, hormones, and an eagerness to grow up, and the movie feels much more human-scaled, forgoing giant CGI smash-em-ups for something more grounded, personally involving, and ultimately successful. Just because Homecoming is fast-paced and funny doesn’t mean it lacks substance. I was elated during long portions of this movie, impressed by the steady stream of setups and payoffs, the incorporation of the many characters and comedic voices, and the varied action set pieces that were focused on character progression. If you are tired of superhero stories, I’d still heartily recommend this movie. Dear reader, I feel like I’m failing you and turning into a frothing fanboy because I can only think, at worst, of negligible quibbles against the film. Everything in this movie works. Everything. It’s everything I was hoping for and then some.
Nate’s Grade: A
The Founder aims to be The Social Network of hamburgers and milkshakes, a warts-and-all biopic of a huckster who glommed onto other’s success and transformed it into an empire, a pragmatically ruthless entrepreneur run rampant with ambition and leaving behind a trail of lawsuits and disgruntled little people. Michael Keaton, on a roll since Birdman, teams up with screenwriter Robert Siegel (The Wrestler) and director John Lee Hancock (Saving Mr. Banks) to bring to life the story of the man behind the ubiquitous golden arches. The details are routinely fascinating and the movie presents a larger thesis on shifting and conflicting concepts of the American Dream and whether a ruthless yet victorious huckster is to be celebrated, pitied, scorned, or all of the above.
In the mid 1950s, Ray Kroc (Keaton) was a struggling milkshake mixer salesman striking out with just about every drive-in and dinner in the Midwest. His wife Ethel (Laura Dern) is exasperated by Kroc’s flights of fancy, shilling whatever new product might be his ticket to riches. His life changes thanks to one very efficient hamburger stand in San Bernardino, California. The McDonald brothers, Mac (John Caroll Lynch) and Dick (Nick Offerman), have ordered eight of Kroc’s milkshake mixers because they can barely keep up with demand. Kroc travels out West to see for himself and discovers a tasty and speedy hamburger assembly line that nobody else is doing. He pushes the McDonald brothers to franchise their model with him in the lead. They’re wary but agree with a strict contract that still gives full executive decision-making to the brothers. Kroc languishes at first but finds growing success, barely able to keep ahead with the mounting overhead costs. Kroc wants to keep going but the McDonald brothers are unyielding over their terms of business. Kroc schemes to push them out of their own business, establish himself as the founder, and take their very name for himself.
Firstly, the story of the formation of McDonald’s is probably far less known than the formation of Facebook, and this provides plenty of opportunities for illumination. It is an inherently interesting story. There’s the invention of the modern-day fast food assembly line and the difficulty in perfecting this process and getting customers acquainted with the new reality. Initially, after years of drive-in service, customers are befuddled that they have to physically walk up to a window and order and throw away their own trash. The early history, hiccups, and adjustments are interesting, but it all gets more engrossing once Kroc comes aboard. It’s here where the film becomes very business-like in its examination of Kroc’s ruthless business tactics that lead to his ascent. Without Kroc’s intervention, perhaps the world would never have known the name McDonalds. He’s not an instant success either. He’s already middle-aged when he comes across the McDonald brothers. He’s not a brilliant salesman by nature. He’s cunning and doggedly persistent, the key he tells us since the world is rife with talented, educated, and good people who go nowhere. Kroc is a constant motor that can never be satisfied. Ethel asks him if anything will ever be enough, and after a short pause he replies without pretense, “Probably not.” He cannot enjoy success because he always feels he should be entitled to more. It’s the kind of unmoored ambition that leads him to throw his litigious weight around, knowingly breaking legal contracts and handshake deals to get exactly what he wants. Kroc’s business triumphs will remind certain viewers of Donald Trump, a man who uses similar advantages of wealth to exploit others and force them into advantageous deals. Even when explicitly in the wrong he just rolls along undeterred.
It is Keaton’s (Spotlight) movie and he more than delivers under pressure. Keaton adopts a speaking affect that makes the character weirdly magnetic without being wholly charming, an interesting combination that reflects the conflicted nature of Kroc. He’s a fast-talking salesman who enjoys the sound of his own voice but he doesn’t fool himself. He’s a man who knows what he wants and it just happens to be everything. He knows his limitations but he strides forward. He is bursting at the seams to get out from under the thumb of the McDonald brothers, who he sees as limiting the growth of a company that is more his than theirs. Kroc delights in being treated to the upper echelons of power. He loves having people proverbially kiss his ring and lavish his greatness. It’s the story of a man who scraped by his entire life until stumbling upon someone else’s genius idea. Keaton plays the man with a wily canniness that is always entertaining, channeling the actor’s natural oddball energy and style into a Midwestern McBeth. He says if he saw his competitor drowning he’d “shove a hose down his throat.” He’s generally cold but Keaton and Siegel don’t present him with a standard redemption arc. He’s kind of a hapless jerk at the start and becomes a powerful, egotistical jerk by the end. Keaton’s layered performance gives the film a solid anchor to keep viewers invested in the film.
If only the other parts of The Founder had as much nuance and care as Keaton’s role. The supporting characters have flashes of interest but are too relegated to be much more than symbols or less developed foils to Kroc. The McDonald brothers have a poignant level of tenderness to them but they’re set up to be symbols of American values that will inevitably be trampled upon by Kroc’s corporatist version of the American Dream. Mac is the hopeful and trusting brother, Dick is the no-nonsense devote to quality and ethics, and together they could use additional ambiguity or depth. They’re meant to represent an older way of doing business, the familiar edict that hard work, dedication to customers, and quality will pay off. The brothers are successful and content at their level of success; they lack the naked ambition of Kroc and his disregard for the rules. They’re set up to be defeated and swindled and victims of Kroc’s tactics, which limits them as characters. There’s a sliver of detail with Dick’s concern for his brother’s diabetes threatening him, but the brothers are more martyrs than anything else. You anticipate their defeat with slight dread but more a sense of impending inevitability. Their good-natured values are no match for the winner-takes-all mentality of a man on a mendacious mission.
Similarly, Kroc’s wife is another figure set up from the start to be trampled upon. She’s supportive but not supportive enough Kroc feels. Like the McDonald brothers, she’s too content within her station and what she deems a good existence, a life of dinners at the club with a retinue of upper middle class friends. Ethel is a plain looking woman of simple pleasures. You already know that there’s a ticking clock before Kroc will trade up. With these expectations, more could have been done to establish her character. Too often Kroc’s selfish, indifferent, or casually hurtful broadsides are treated with silent suffering from Ethel. She’s set up as a walking pained reaction shot. It almost gets to comical levels as the pattern repeats itself and you anticipate a slightly elongated, wounded reaction shot. Kroc’s second wife, Joan Smith (Linda Cardellini), is a sweetly smiling prize but proves herself more than a pretty face. She shares Kroc’s ambitions and proposes swapping real milk for instant milk mix to save refrigeration costs. There’s obviously more to this woman, who we meet already married to a business associate of Kroc’s, but the movie keeps her as a mostly symbolic, almost Fitzgerald-esque trophy. The other side characters that come into Kroc’s orbit, B.J. Novak’s scheming real estate fixer, Kate Neeland’s esteemed secretary, Justin Randell Brooke’s loyal lieutenant, are clipped so that they only appear in the film when they offer some service or advice useful to Kroc. Perhaps there’s a meta level here exploring how Kroc views those seemingly closest to him in strict transactional terms, or perhaps I’m just reaching for more.
The other liability from an otherwise still entertaining script is the director. Hancock is better known for softer, feel-good films about American values. The Founder is a story that subverts all of those notions and Hancock doesn’t seem to master the skills in order for the satirical and darker implications to land. The onscreen visuals seem to clash with the movie’s overall disquieting tone. The colors are bright and the musical score by Carter Burwell seems curiously jolly at points, confusing the tone of darker scenes. It just doesn’t feel like Hancock had a good feel for the material and how best to execute it. It feels like he’s missing the layers of potential with Siegel’s screenplay. I’ll readily credit Hancock for part of Keaton’s terrific performance but Hancock’s touches are best realized in the art direction details recreating a bygone era. I feel that somebody like a Steven Soderbergh would have tapped more into this story’s satirical potential.
The Founder is an entertaining biopic of a scoundrel who ran roughshod over others dreams and turned their success into his own. It’s anchored by a complex performance from Keaton. It’s a rags-to-riches story that doesn’t tell the audience how to think about its centerpiece character. He’s underhanded, sure, but he’s also got everything he wanted and his tactics proved successful. Is this an ends justify the means story to rationalize the power of avarice, or is this an exploration of the darker undercurrents of the passing American Dream usurping others’ dreams and accomplishments (closing text informs us that McDonald’s feeds one percent of the world’s population every day)? The movie doesn’t seem to take a stand, neither fully condemning nor excusing Kroc’s actions. The tale behind the worldwide fast food giant is full of supersized drama and interesting procedural details about the rise of the most recognizable name in burgers. It’s unfortunate then that the movie struggles to reach the same heights as Keaton. The supporting characters are tragically underdeveloped and kept as figures for comparison to chart Kroc’s ascendance. Director John Lee Hancock also feels like an poor fit for the material, his instincts seemingly at odds with the film’s tone and intentions. The Founder is an interesting movie with a strong central performance but it can’t help but feel like its destiny was far greater, that it’s not meeting the full potential of the material.
Nate’s Grade: B
Spotlight is the true-story behind the 2002 expose into the Catholic Church’s cover-up of decades of sexual abuse and it is unflinching in its focus and animated by its outrage, which is the best and worst part of this awards-caliber movie. Writer/director Tom McCarthy (The Station Agent, Win Win) is a splendid curator of unlikely movie families, and with Spotlight he follows the titular investigative team (Michael Keaton, Rachel McAdams, Mark Ruffalo, Brian d’Arcy James) at the Boston Globe as they go about their jobs. That’s really about it. Over the course of two tightly packed hours, we watch as the Spotlight team chases down leads, goes through archives, interview subjects and know when to push harder and when to fall back, and day-by-day build their case to expose the massive corruption within the Church. It’s invigorating material and worthy of the careful and sincere reverence that McCarthy and co-writer Josh Singer have afforded, though the flurry of names can be difficult to keep track of. However, that’s about the extent of the movie. We don’t really get to know any of the journalists on much of a personal level or as a character; they are defined by their tenacity and competence. We don’t get much time for reflection or contemplation on the subject, especially its psychological impact on a majority Catholic city/staff, and the culpability of those within systems of power that chose to ignore rather than accept the monstrous truth. I don’t need more “movie moments” or emotionally manipulative flashbacks, per se. With its nose to the grindstone, Spotlight is an affecting and absorbing news article given life but it feels less like a fully formed movie of its own. It’s confidently directed, written, acted, and executed to perfection, and I feel like a cad even grumbling, but the ceiling for this movie could have been set higher had the filmmakers widened its focus.
Nate’s Grade: B+
Expecting a comedy from Mexican director Alejandro Gonzalez Inarritu would have preposterous. The man was known for his cinema verite of suffering, notably Babel, 21 Grams, Biutiful, and his best film, Amores Perros, roughly translated to Love’s a Bitch. Perhaps there isn’t much of a shift going from tragedy to comedy. Inarritu’s newest film, Birdman or (The Unexpected Virtue of Ignorance), has been wowing critics and audiences alike, building deafening awards buzz for its cast, Iarritu, and the superb cinematography, but will it fly with mainstream audiences? This may be one of the weirdest Oscar front-runners in some time.
Riggan (Michael Keaton) is an actor best known for playing the superhero Birdman in the early 1990s and walking away from the franchise. He’s still haunted by that role (sometimes literally) and struggling to prove himself as an artist. He’s brokered all his money into directing, adapting, and starring in a theatrical version of Raymond Carver’s short story, “What We Talk About When We Talk About Love.” The show is in previews and about to open its run on Broadway but it’s already got a rash of problems. The leading man needs to be replaced immediately. The supposed savior is famous actor Mike (Edward Norton), an undeniably talented but temperamental actor who pushes buttons to find some fleeting semblance of “truth.” Mike’s girlfriend, Lesley (Naomi Watts), is growing tired of his antics and desperate for her own long-delayed big break. Laura (Andrea Riseborough) is Riggan’s “girlfriend” and co-star and may be pregnant. Sam (Emma Stone), Riggan’s personal assistant and also his detached daughter, is fresh from rehab, and spiteful against her neglectful dad. Toss in Riggan’s best friend/manager/play producer (Zach Galifianakis), Riggan’s ex-wife (Amy Ryan), and a feared theater critic (Lindsay Duncan) who is determined to kill Riggan’s show to send a message to the rest of Hollywood polluting the integrity of the theat-tah. Oh, and throughout all this, Riggan hears an ominous voice that alternating encourages him and humiliates him.
It’s an industry satire, a bizarre comedy, a father/daughter drama, an examination on identity and the complicated pulls of affection and admiration, and a stunning virtuoso technical achievement. As a movie, Birdman is hard to pin down or categorize. It’s a movie that you definitely need to experience on your own rather than have described (don’t stop reading, come back…), and that is a reason enough to see the film, a rare aspect among modern movies. It’s an artistically offbeat movie and yet it ultimately is about one has been actor looking back on his career and coming to terms with his own impact with pop-culture, art, and his family. It’s about a man struggling to find his place in his own life, beset at all odds by doubters and traitors and obstructionists. The refreshing aspect about Riggan is that he’s a has-been but not a sad sack; he’s fighting from the beginning, sometimes pathetically and sometimes in vain, but the man is always fighting to regain his dignity, to reclaim his life’s narrative, and to fight for his legacy. Riggan, after all, set the stage for the modern superhero industry that currently dominates Hollywood bean counters. He was too just soon, and the parallels with Keaton (Batman) are superficially interesting but there’s more of an original character here than a reflection of the actor playing him. He’s neurotic, egotistical, hungry, and fighting for respect, like many actors, and the film flirts with the façades people inhabit. Many of the characters are emotionally needy, desperate for validation wherever they can find it.
Another strength of the film is that it finds a moment for each of its talented ensemble players to shine, chief among them Keaton. The actor hasn’t had a showcase like this in some time and he is a terrific guiding force to hold the entire story together. Whether it’s marching in his tighty whities or working through his complicated degrees of neuroses, Keaton is alive in a way that is electrifying. We see several highs and lows over the course of two hours, some moments making us cheer on Riggan and others making us wince, but he comes across more like a person than just the butt of a joke. It’s also just fun to watch him adopt different acting styles when he steps on stage, including one early on where he’s purposely too stilted. It’s so comforting to watch Norton (The Grand Budapest Hotel) get to be great again, not just good but great. Early on, you see the appeal of Mike, his allure, and Norton keeps pushing the audience, as well as the characters, back and forth with his wealth of talent. Stone (Amazing Spider-Man 2) spends most of the film as the sulky daughter but she gets to uncork one awesomely angry monologue against her loser dad. The thawing father/daughter relationship ends up supplying the film with its only degree of heart. Watts (The Impossible) is comically frazzled for the majority of her time but gets a memorable character beat where she breaks down in tears, realizing her dream of “making it” might never materialize. Riseborough (Oblivion) also has moments where he sadness and vulnerability cut deep. The supporting characters aren’t terribly deep but they all have a moment to standout.
It’s a decidedly offbeat film that dips into the surreal though never dives completely inside. The movie is rather ambiguous about whether or not the fantastical flourishes are a result of Riggan being mentally ill, or at the least overtaxed with stress. Is there really a Birdman or is it a voice in his head, a manifestation of his ego or a ghost to remind him of the past when he was a star? Does Riggan really have the powers he seems to believe he does, including the ability to make objects move with his mind? Innaritu playfully keeps the audience guessing, treating the bizarre in an offhand manner reminiscent of magic realism. The bizarre embellishments blend smoothly with the film’s darkly comic tone. It’s a funny movie but one that you laugh at between clenched teeth.
Is it all the unblinking camerawork a gimmick? I don’t think so. While the story can engage with its weirdness and surreal unpredictability, the long tracking shots bring a heightened reality to the unreal, they bring a larger sense of awe to the proceedings, watching to see the magic trick pulled off to the end. If anything, it’s an extra thrill to the script and greatly compounds the artistic audaciousness of the film, but I think it also channels the live-wire energy of theater, of watching actors have to walk that tightrope of performance and blocking, weaving together to pull off the ensemble. It makes the film medium feel more like live theater. Thematically I think the style also connects to the anxious mentality of Riggan. In the end, I don’t truly care that much whether it’s a gimmick or not (though I vote it is not) because the camerawork is rapturous. Made to resemble an entire two-hour tracking shot, it is a joyous thrill to watch these technical wizards do their thing, to watch the best in the business perform a visual magic trick over the duration of two hours. Even if you don’t care for the overall movie you can at least be entertained by the imaginative and thoroughly accomplished cinematography by Emmanuel Lubezki, fresh from his Oscar for Gravity and who should be clearing shelf space for the next bushel of awards he’s destined to win with this film. It’s an intoxicating experience to behold, though the film is structured into 10-minute or so chunks for feasibility. If you want to watch a real cinematic magic trick, check out the film Russian Ark, which is an entire movie, performed in one uncut single tracking shot.
I’m still wrestling with the debate over whether Birdman is an artistically ambitious romp or a truly great movie. Much like the characters in the film, I’m wrestling with whether I have confused my admiration with adoration. It’s a movie that I feel compelled to see a second time, and maybe a third, just to get a handle on my overall thoughts and feelings. That may be a sign that Birdman is a film for the ages, or maybe it’s just a sign that it’s not as approachable and denied a higher level of greatness by its obtuseness. Inarritu’s surreal showbiz satire is plenty entertaining, darkly comic, and a technical marvel thanks to the brilliant camerawork. The percussion-heavy musical score is another clever choice, naturally adding more urgency and anxiety to the proceedings. Birdman is a strange and beguiling movie, one that deserves to be seen, needs to be experienced, and stays with you rolling around in your brain. That sounds like a winner to me.
Nate’s Grade: A
I was completely unprepared for how emotionally involving Toy Story 3 would be. Sure, Pixar has managed to break and melt your heart through ten previous movies, but I suppose I foolishly felt that I was beyond caring for toys. But even in the opening minutes, a tremendous make-believe fantasy, I felt punches of emotion as each character was reintroduced. It felt like I was reconnecting with old friends and it was such a pleasant reunion. It’s okay, guys, to cry over toys.
Cowboy sheriff Woody (voiced by Tom Hanks), the leader of Andy’s toys, is trying to keep hope alive. Andy is now 17 years old and on the verge of leaving for college. His favorite childhood toys have long since been relegated to a chest as Andy has matured. Joining Woody are spaceman Buzz Lightyear (Tim Allen), Jessie the cowgirl (Joan Cusack), Mr. and Mrs. Potato Head (Don Rickles and Estelle Harris), Slinky Dog (Blake Clark), the timid Rex (Wallace Shawn), and the piggy bank, Hamm (John Ratzenberger). They are all the toys in their gang that remain. As Andy leaves their main goal seems to have been accomplished. They were there for their owner and now he no longer needs them like he once did. The toys have a few options left: stuffed into the attic, sort of like a retirement home, until perhaps Andy digs them out for his own kids, or being thrown out with the trash. Woody assures them that Andy would never just throw them all out, though even he has his doubts about their current purpose. They all feel the loss.
After a mix-up, the toys decide to take matters into heir own adjustable hands. They will sneak away inside a donation box for Sunnyside Day Care. The center seems too good to be true. The courtly Lotso Hugs Bear (Ned Beatty), who seems to lead the center, promises that all toys will never be forgotten again. When the children grow too old then a new batch moves in to play. It’s a toy’s dream, that is, until Buzz and the gang discover that they’re canon fodder for hyperactive, maniacally destructive toddlers. They can’t keep up with the daily abuse. Sunnyside Day Care is less a haven than a prison. New toys have to pay their dues and earn a place in the vaulted Butterfly Room, where young children lovingly interact with their toys. It’s a toy class system. Lotso refuses to cotton to rule-breakers, and toys are locked away nightly so they cannot escape. Woody must try to save his friends by breaking them out and getting back to Andy before he departs for college.
Given that the movie tackles major issues like moving on, growing up, and mortality, I knew I was in for some heavy moments, but absolutely nothing prepared for some of the emotions that clobbered me. You do realize through the course of this third film as the toys try and find a suitable place to retire, if you will, how attached you are to these characters. Late in the movie the toys are in some dire circumstances. There’s a horrifying junkyard sequence that even manages to evoke Holocaust imagery, which means parents are going to have to calm some spooked tykes come bedtime. There’s a silent moment, where the toys all seem to accept their fate, and all they want to do is join hands and face it together, as a united family one last time … and my God, I could not control myself. My face was dripping with tears (even thinking back right now is causing my eyes to well up a bit). Toy Story 3 isn’t the strongest of the trilogy in terms of character or plot (in some respects, the plot is a reworking of The Brave Little Toaster), but you better believe that it delivers emotional resonance in spades. Major credit goes to screenwriter Michael Arndt who won an Oscar for Little Miss Sunshine.
But fear not, Toy Story 3 is not all sturm und drang, it also provides plenty of laughs and plenty of visual wonder and excitement. The toy’s point of view has always allowed for plenty of amusing insights and satirical riffs. The personality clashes makes for the most jokes, and the new characters pull their own weight, particularly Ken (Michael Keaton), an effeminate clothing-conscious doll who finds his true love with the arrival of Barbie. The use of Big Baby as a malevolent goon is also refreshing and quite creepy. The Spanish Buzz reboot personality seems superfluous but cute. The jokes come by at a steady pace and while they all may not work as well (Ken in a trying-on-clothing montage set to “Le Freak”?) there are still moments of great creative ingenuity. The detailed escape from Sunnyside feels like a terrific parody of prison movies, and they way it utilizes all the different characters as key components is satisfying and fun. But the best moment of the break-out, by far, is when Mr. Potato Head is trapped, hurls his pieces out of an opening, and reassembles thanks to a tortilla body. It’s a weird visual, like something out of Salvador Dali, and yet I could not stop giggling from watching his floppy movements. It’s comedic while at the same time a genius move in drawing out an action sequence — it makes keen use of the players and their skills. From an action standpoint, G-rated Toy Story 3 manages to have more thrills and spills than any other 2010 movie so far.
Director Lee Unkrich (co-director for three previous Pixar flicks) makes quite a debut for himself. The complexity of the action, while still maintaining an internal logic, is hugely rewarding. The Pixar wizards truly know how to craft inventive action sequences and stay true to character. Unkrich’s command of visuals is impressive. The action is well paced, but it’s the man’s use of composition, camera movement, and editing make Toy Story 3 a visual treat. Unkrich fully knows how to best utilize and fill up the screen. The world of Toy Story is popping with color and visual whimsy, as well as plenty of sight gags and subtle movie references for adults. Ten years of advancements in computer effects has also allowed the toys to get a bit of a facelift. The 3-D process enhances the overall experience without calling attention to itself. There aren’t any standard 3-D moments where big and pointy things keep flying out at the audience. The 3-D provides a greater field of depth without distracting you from the pivotal moments of story.
The voice acting is just about perfect from top to bottom. Allen and Hanks are a welcomed pair, Cusack provides plenty of spunk, Rickles brings his usual dish of joyful disdain, and new characters like Timothy Dalton as a stuck-up thespian porcupine and Kristen Schaal (TV’s Flight of the Conchords) as a bubbly triceratops toy are fun additions that don’t overstay their welcome. Blake Clark takes over the voice of Slinky Dog from the late Jim Varney who died in 2000, and he does a fine job without sounding like a direct imitation. I was really delighted by Beatty. He has such a Southern gentlemanly demeanor that underscores the hardened heart of his villainous character. And yet, Lotso gets his own rich back-story of abandonment and bitterness similar to Jesse the cowgirl. Even when he’s dastardly we can see where the big purple Teddy bear who smells like strawberries is coming from. Ned Beatty has finally appeared in another breakthrough cultural film to redefine his identity. Perhaps now he won’t be best remembered as the guy who gets raped in Deliverance. He probably still will be.
A lot has changed in the 15 years since Pixar revolutionized the world of animation and family films with their first feature, Toy Story. Kids at the time are now teenagers; some embarking on college this summer themselves much like Andy. They too have to put away former childish things and move forward. Toy Story 3 is magic confluence of heart, wit, visual whimsy, cleverness, and drama. Not quite as sharp as the first two installments, or as artful as Pixar’s high-water mark, WALL-E, the third Toy Story is still a mighty entertaining piece of work. The last 30 minutes of this movie is harrowing and then deeply satisfying and moving, finding a fitting sendoff for characters that we’ve come to love. It’s all about moving forward, saying goodbye, and reflecting about times shared. I wouldn’t be surprised if Toy Story 3 inspires kids, and adults alike, to go home and play with their old toys, giving them renewed life and purpose.
Nate’s Grade: A
While I’d never call Pixar’s latest animated film a disappointment, it is the company’s first speed bump in their unprecedented reign of unmatched quality. Cars is technically dazzling; it’s almost redundant to say a CGI film is the best-looking ever because the technology keeps improving with time but Cars is incredible to watch. The lushly painted vistas, the way light gleams on surfaces, the blurs of color, the near-photographic likeness of cars themselves, this is a beautifully animated film, obviously. What isn’t as beautiful is the lackluster storyline. I can feel Pixar’s heart in the right place but they don’t put enough effort to touch our own hearts. Cars lacks the depth of Pixar’s other features. The two Toy Story films managed to take a kiddy concept of the secret life of toys when no one’s watching and infuse it with serious moral dilemmas and a mature insight into mortality and community. In Cars, the main storyline involves a cocky hot rod Lightning McQueen (voiced by Owen Wilson) who lives in a glitzy world that revolves around him. He goes off the beaten path and finds himself trapped in Radiator Springs, a tiny town that’s all but been dried up since the interstate took folks away from them. There, Lightning learns there’s more to life than material riches from this eclectic mix of good, honest small-town folk. What I’ve just described to you could be the plot of hundreds of movies championing the likes of small town folk. They surprisingly never really go much deeper, though Paul Newman is terrific as an old time car that had a taste of the glory and arrogance way back.
This is the first Pixar movie to exist in a world without humans, which begs the question how living automobiles were able to construct their world minus opposable thumbs. Cars themselves are weirdly inexpressive creatures.
The climax to Cars is suitable and heartfelt but the movie, at two hours in length, sputters a while in the middle. This is the first film directed by Pixar’s big cheese, John Lasseter, since 1999’s Toy Story 2, so excuse me for expecting a little more. Still, the movie is certainly fun, exciting, more cute than funny, and it has a genuine sweetness to go with its visual prowess. I just wish the 8 credited screenwriters, including Lasseter himself, had revved up their imaginations a bit more beyond the conceptual stage. Cars isn’t a great movie, but coming from Pixar, it’s still very good. Hey, anyone that can make the voice of Larry the Cable Guy tolerable deserves my thanks.
Nate’s Grade: B