American Made is a movie that floats by on the sheer enjoyment of Tom Cruise’s charismatic, devil-may-care performance as Barry Seal, a man who flew secret missions for the CIA, Colombian drug cartels, and Nicaraguan contras. It’s an appealing story with fun anecdotes of a scoundrel playing all sides against each other. Seal is unrepentantly without introspection and is simply having the time of his life. Under Doug Liman’s direction and Cruise’s sly performance, the movie flies by on good vibes until its inevitable crash once Seal cannot get out of the mess he’s made for himself. The film doesn’t have much in the way of depth or commentary on Seal’s actions or the CIA’s. Domnhall Gleeson (The Revenant) plays the enigmatic CIA handler who brings Seal into action and plots behind the scenes, and I wish he had a larger presence in the film. His character is the closest the film approaches legitimate satire. Other supporting characters leave little impression or have such limited roles, from Sarah Wright’s complicit wife, to Caleb Landry Jones’ bizarre screw-up of a brother-in-law, to Jesse Plemons as a small-town sheriff, to Jayma Mays as a frazzled prosecutor who can’t take down Seal. The near-escapes and comical skirting of legal consequences provide enough interest without making the film seem episodic. I’m even struggling to say more about the film because that’s how quickly it evaporates from memory. American Made isn’t going to make much more than a fleeting impression, but it’s fun while it lasts and a reminder about how entertaining movies can be when paired with a magnetic actor cutting loose.
Nate’s Grade: B
We’ve seen this story before, the efforts to uncover the Watergate scandal and its sloppy cover-up from the perspective of Washington Post reporters Woodward and Bernstein who tirelessly collected clues, followed leads, and investigated the facts. That movie was All The President’s Men and was terrific. This movie is all about Mark Felt, the man who was the “Deep Throat” confidential informant, and it’s a bit less than terrific. It’s hardly even a movie because Felt’s story just isn’t that interesting. The film offers little new insights into Felt as a character or his personal struggles working against his own government. The FBI director is portrayed like a glowering Bond villain. The other characters come in and out, leaving little impact except to remind you that they’re famous. Felt’s personal life is also a bore, including Diane Lane in a thankless role as his alcoholic wife distraught over Felt being passed over as the new FBI director. He also has a missing daughter who ran off to a commune. There’s one moment where Felt feels paranoid and tears apart his office, but then we simply move on. There’s not enough here to justify a full-fledged movie. Whatever writer/director Peter Landesman (Concussion) does it’s not enough to make this story interesting, and that’s because Felt’s involvement in Watergate is minimal at best. All the President’s Men was about journalists uncovering the evidence and putting together the pieces. This movie is just about a guy who knows everything and has to get it out there. It’s inherently less interesting. Even the subtitle of The Man Who Brought Down the White House seems misinformed; I’m fairly certain that was Nixon. The Mark Felt story was told better when he was merely a minimal figure in someone else’s Watergate story. Just watch All the President’s Men instead.
Nate’s Grade: C
Their Finest (not to be confused with Their Finest Hours, even though this is based on a book called Their Finest Hour and a Half) is a disarmingly sweet and poignant true story that resonates with empowerment and the power of creativity. Set at the start of WWII, the British film industry is trying to make ends meet as well as provide morale boosts to the public. Catrin Cole (Gemma Arterton, her best performance yet) goes in for a copywriting job and walks out a hired screenwriter, pegged to write the “women’s parts.” Thanks to the depleted workforce, Catrin has an opportunity she never would have otherwise and she blossoms under the crucible of creative collaboration. This was one aspect of the movie that I was very taken with, as a writer and screenwriter myself, the natural progression of creativity, solving a problem, finding a solution, and the elation that follows. The complications keep coming, first from the British film office who need the movie to be inspirational, then from the divergences from the true story of a pair of French girls who stole their uncle’s boat to rescue soldiers at Dunkirk, then from working with American producers who insist on an American hero who can’t act, and then from natural calamities of scheduling, casting, and oh yeah, the bombing and blitzes that could obliterate everyone. The movie is alive with conflict and feeling and the sweet story of a woman finding her sense of empowerment in the arts. The movie-within-the-movie is filmed to period appropriate techniques, and Bill Nighy is effortlessly amusing as an aging actor still fighting for some scrap of respect in an industry ready to forget him. The insights into the different stages of film production were fun and illuminating. I appreciated that the war isn’t just something in the background but a constant. It upsets the order, takes lives, and is a striking reminder why these people are doing what they’re doing. The film also rhapsodizes the power of the arts, and in particular cinema, in a way that feels reverent without being overly sentimental or self-congratulatory. A great collection of characters is assembled as a ramshackle sort of family with a mission, and the movie drives right into one payoff after another, lifting your spirits and warming your heart. There is a sudden plot turn that will likely disappoint many in the audience eager for a simple happy ending, but I almost view it as industry satire on the difference between American and European cinema tastes. Their Finest is a small gem with sympathetic characters trying their finest and achieving something great. It’s a rich story that deserves its moment in the spotlight and I’d advise seeking it out if possible.
Nate’s Grade: B+
Antonina Zabinski (Jessica Chastain) and her husband Jan (Johan Heldenbergh) are the keepers of the Warsaw Zoo. Their lives are thrown into turmoil when Germany invades and occupies Poland. Their animals are slaughtered or moved to the Berlin Zoo, under the care of Nazi party member and amateur geneticist Lutz Heck (Daniel Bruhl). Feeling impotent to the horrors around them, Antonina and Jan risk everything to hide Jews in their zoo and eventually smuggle them out to safe houses.
The Zookeeper’s Wife is one of those slice-of-life stories about good people risking much to save lives during the Holocaust that come from obscurity to remind you that there are still fresh, invigorating stories from a topic that can feel tapped out after 70 years. However, it’s also an indication that you need the right handling to do it justice. The Holocaust is by nature such a horrific subject matter that it’s hard to do it justice with a PG-13 or below rating, but it can be done with the right amount of artistic restraint as long as the overall story doesn’t feel hobbled with limitations. Reluctantly, The Zookeeper’s Wife feels a bit too sanitized for the story it’s telling. When it comes to cruelty and human atrocity, you don’t need to shove the audience’s face in the mess to fully comprehend its distaste, but overly avoiding the reality can also be a detriment. The Zookeeper’s Wife, as a PG-13 movie, does not feel like the ideal way to tell this real-life story. It feels too restrained and some of those artistic compromises make for a movie that feels lacking and distracting at points. Fair warning: there are plenty of animal deaths in this movie, though they are all dealt with off-screen with implied violence. The edits to work around this can be jarring and would take me out of the picture. This is only one example of an element that, in order to maintain its dignified PG-13 rating, unfortunately undercuts the realism and power of its story.
For a Holocaust story set in Poland, the stakes feel abnormally low. The zoo is a sanctuary compared to the Jewish ghettos. The danger of hiding over 300 Jewish people over the course of the entire war feels absent, which is strange considering it should be felt in just about every moment. There are a handful of scenes where we worry whether they will be caught but they’re defused so quickly and easily. After Antonina is caught talking to a very Jewish-looking “doctor” in her bedroom by the housekeeper, they just fire the housekeeper who leaves quietly and never comes back again. It’s a moment of tension that can be felt and it all goes away in a rush. This scene also stands out because the narrow escapes and close calls are surprisingly few and far between. Even when Antonina’s son commits stupid mistake after stupid mistake, including impulsively insulting a Nazi officer to his back, there’s little fear of some sort of retribution. The movie can also lack subtlety, like watching Heck say three times he’s a man of his word and will be trustworthy. We all know he’s going to fall short. There’s also a moment where Jan is literally loading children, who each raise their arms in anticipation, onto a train car. It’s like getting punched in the stomach with every child. Much of the time spent on the zoo is with the quiet moments trying to make the Jewish survivors feel like human beings again (the animals-in-cages metaphor is there). The details of the smuggling and hiding are interesting but cannot carry a movie without more.
The biggest reason to see this movie is the promise of another leading Chastain (Miss Sloane) performance. Ever since rocketing to prominence in 2011, Chastain has proven to be one of the most reliably excellent actors in the industry regardless of the quality of the film. She’s been dubbed a Streep in the making and Zookeeper’s Wife allows her to level up to her “Sophie’s Choice acting challenge stage” and try on that famous Slavic accent that turns all “ing” endings into “ink.” Chastain is terrific as a person trying to navigate their way through the unimaginable, calling upon reserves of courage when needed, and she’s at her best during the moments with Herr Heck. She has to play the dishonorable part of the possible lover, and Heck definitely has his heart set on Antonina. The scenes with the two of them draw out the most tension and afford Chastain a variety of emotions to play as she cycles through her masks. In some ways I wish the more of the movie was focused on this personal conflict and developed it even further.
There was a small practically incidental moment that got me thinking. As stated above, the film has a PG-13 rating and one of the reasons is for brief nudity from Chastain. Now the actress has gone nude before in other movies so that’s not much of a shocker, but it’s the context and execution that got me thinking. Antonina and Jan are lying together in bed after sex and Chastain does the usually Hollywood habit of the bed sheet being at her shoulders while it resides at the man’s waist (those typical L-shaped bed sheets). No big deal. Then, during their discussion over what to do, Antonina rolls over and exposes her breast for a second before she covers herself up again. The reason this stood out to me, beyond the prurient, is because it felt like a mistake. It seems obvious that Chastain was not intended to be seen naked in this intimate post-coital conversation but it was used in the final cut anyway, which made me wonder. Was the take so good, or so much better than the others, that director Niki Caro (Whale Rider, McFarland, USA) and Chastain said “the hell with it” and kept the briefly exposed breast? Did they enjoy the happily accidental casual nature to the nudity, creating a stronger sense of realism between the married couple? Or in the end was it just another selling point to help put butts in seats? I’m thinking best take is the answer. You decide.
I am convinced one of the main reasons that Chastain wanted to do this movie, and I can’t really blame her, is because she would get to hold a bunch of adorable animals. Given the subject matter, I was prepared for a menagerie of cute little creatures, but I started noticing just how many of them Chastain is seen holding. She holds a rabbit for a monologue. She holds a lion cub. She holds a baby pig. She holds a monkey. She even kind of holds a rubbery baby elephant doll (talk about Save the Cat moment, this movie takes it even more literally). There may very well be animals I simply have forgotten she held. I would not be surprised if in her contract there was a rider that insisted that Ms. Chastain hold at least one small, adorable animal every third day of filming on set.
Stately and sincere, The Zookeeper’s Wife is an inherently interesting true story that should have more than enough elements to bring to life a compelling film experience. It’s an acceptable movie that’s well made but I can’t help but feel that there’s a better version of this story out there. It feels a tad too safe, a tad too sanitized, a tad too absent a sense of stakes, like it’s on awards-caliber autopilot. Chastain is good but her Polish accent becomes a near metaphor for the larger film: it’s polished and proper but you can’t help but feel like something is lacking and going through the motions of what is expected. This is a worthy story and I’m sure there are great moments of drama, but The Zookeeper’s Wife feels a bit too clipped and misshapen to do its story real justice.
Nate’s Grade: B-
Richard (Joel Edgerton) and Mildred Loving (Ruth Negga) are a young couple deeply in love in the late 1950s. The only problem: he is white and she is black. The laws in their native Virginia forbid marriages to different races. The Lovings traveled to Washington D.C. to be married and then had to live as fugitives before ultimately getting caught and exiled under threat of jail time. Eventually an ambitious ACLU lawyer (Nick Kroll, broadening his range) challenges the legality of the miscegenation law, which will lead to the landmark 1967 Supreme Court ruling striking down laws barring interracial marriage.
The ordinariness of the Lovings betrays the kind of movie moments we expect from great historical turning points, namely moral grandstanding and stentorian speechifying. We’re so used to accentuated versions of history because, deep down, that’s what our storytelling impulses crave because the real thing is often less streamlined and usually more boring. We want Daniel Day-Lewis as President Lincoln admonishing his fellows with the power of his oratory. We don’t necessarily want to watch President Lincoln rewrite his speeches for grammatical mistakes. With all that being said, I appreciated the approach that writer/director Jeff Nichols took with Loving because the very point at the heart of the movie is just how powerfully ordinary Mildred and Richard Loving are. Their love is meant to be ordinary, their relationship relatable. They’re meant to be just like you or I. This thematically taps into the message of the movie about the fundamental human rights of American citizens to love who they love regardless of what others may think. There is nothing dangerous or subversive about their marriage. There is nothing radical. The rationale for why the state would care so much about a marriage can be flabbergasting, including one judge’s written opinion that God created separate races and placed them at separate points on the globe thereby never intending for them to mix. This was considered acceptable legal justification for discrimination in the 1960s and it’s absurd. The other argument against interracial marriage is that biracial children are a harm to larger society… somehow. It’s easy to look back to the past and shake our heads with a fury of moral indignation and say “How could they do that?” but some of these exact same legal arguments have been used in the twenty-first century to justify denying gay citizens the same equality. In that sense, Loving shows us how far we’ve come but also how far we have to go to make sure that human beings are simply considered human.
If that wasn’t enough the movie also makes a powerfully compelling case about how the state’s miscegenation laws were an offense to human decency. The Lovings are given the legal ultimatum to separate or be exiled from the state, their families, and the home they were making for their family. They have been banished for loving the “wrong” person. Mildred and Richard try living out of the state in a D.C. suburb but it’s not the same; Mildred misses the quiet and relative safety of the country as well as the warmth of her immediate family. They decide to sneak back into Virginia and lay low, and you get a genuine sense of the day-to-day anxiety of having to constantly look over your shoulder and fly under the radar lest someone throw you in prison for loving another race. The degradation and dehumanizing effect of the miscegenation laws is on full display with how Mildred and Richard must act like criminals afraid of their country of laws. They may be used to the glares and hateful comments from intolerant onlookers but it’s another thing when the power of the state is employed to enforce that same hate. The wear and tear of their love perplexes some of the Loving friends and family. Mildred’s brother and sister each take turns blaming Richard for knowingly bringing this heap of trouble upon their beloved sister and for taking her from them. Her brother confesses he doesn’t know why he doesn’t just divorce her and stay together, satisfying the definition of the law. It’s a pertinent question that asks what is the value of marriage? He could readily be with Mildred and save themselves the persecution, but why should they have to settle for something less with their love? Why should they have to be second-class citizens?
This is very much a duet of a movie and Negga and Edgerton deliver admirable, understated work that cuts deeply. I was most impressed with Edgerton (The Gift) who has the more private and insular character. He’s not seeking the spotlight and doesn’t want to be a civil rights crusader. Richard Loving isn’t exactly a man prone to those speeches we crave and he’s certainly not a man to blurt out his feelings. Edgerton has to play within a tiny frame of emotional reference and he makes it work. When he does start to break down, his stoic defenses melting under the pressure and soul-killing compromises, the moments carry even greater emotional weight. Negga is the more emotive of the two but even much of her performance lies in her large, expressive eyes, taking in the collective injustices and triumphs. Using approximately the same Southern accent from her plucky performance on AMC’s Preacher, she radiates warmth and goodness and a sense of indomitable perseverance. It’s a performance that speaks in small gestures and small moments. Much of the film is Negga and Edgerton working together and each lifts the other up, providing the right space needed. There’s a physical intimacy that says much as each member of the relationship seeks out the other’s touch, grip, presence for comfort. It’s a delicate and understated duet of performances that bring the Lovings to faithful life.
Nichols (Mud, Take Shelter) is the kind of filmmaker that astonishes me with every new movie. He reinvents himself with every picture and he takes genres and redefines them, shaping them to his needs, while never losing sight of tone and characters and narrative payoffs. He’s already delivered one of the best movies of the year with Midnight Special and now he impresses yet again, this time turning toward awards-friendly Important Stories of History. Nichols’ sense of place is implacable. He’s also superb at developing characters and giving them the time to properly breathe. He keeps the spirit of the story linked to his subjects, Richard and Mildred Loving, and makes sure we understand their plight and the larger issue at hand. This isn’t a film that’s going to hit you over the head with its message; in fact you could make a claim that perhaps the movie is too insular. As presented, the Lovings are relatable but we’re only given a fraction of insight into who they are as people and what makes them tick. There’s much subtext here to unpack. It does feel like we’re fighting through the defenses of Mildred and Richard to better know them. This specific approach allows the movie to keep in spirit with the ordinariness of the Lovings and their unknowing place in the history of civil rights, but it also caps the potential emotional impact. We’re invested in them as people but not as completely as characters. It’s a minor criticism perhaps but it’s really the only one I have for Nichols’ movie.
Given our recent turbulent political environment, Loving is an even more significant film. Jeff Nichols has crafted a poignant and affecting movie that passes over easy histrionics for a better representation of history and its characters. These people didn’t want to change the world; they just wanted to live out their lives. Mildred and Richard Loving are regular people living regular lives and that’s the ultimate message of the movie and their love. Having won their Supreme Court battle, the couple returns home to their original plot of land Richard bought in Virginia with the purpose of building his wife a house. Somber text appears in the sky to inform us that Richard would die in a car accident a mere six years later. It left me with a pall thinking about what a short span of time this man had to cherish the woman he loved without recriminations before it all came to a tragic end. It doesn’t seem fair, and I hope that’s a message other audiences take with them. When demagogues try and use religion in place of civil law to justify state-sponsored discrimination, saying the love others share is inferior and somehow a danger to their own lives, that’s when people need to remember the Lovings. This life is too short to harangue others about whom they choose to give their love to. Here is a beautiful, gentle, and restrained film that reminds us that the power of love is in its superhuman perseverance.
Nate’s Grade: B+
Peter Berg is becoming the go-to director for inspirational true-life thrillers following the heroic exploits of everyday Americans thrust into danger. It began with Lone Survivor, it will continue this year with the Boston bombing drama Patriot’s Day, and in between there is Deepwater Horizon about the oil rig drillers and the culminating explosion that lead to the worst environmental disaster in U.S. history. It’s a sober and reverent movie, with Berg and his screenwriters taking great care to educate the audience on the science of drilling, the technology, the geography of the floating rig, and just exactly why things went as badly as they did that fateful night. The windup lasts about half the movie but that’s because when the explosion hits there isn’t much plot left (the movie is barely 100 minutes). Deepwater Horizon becomes a full-tilt disaster movie by that point with Mark Wahlberg stalking hallways and looking for injured survivors. The tension prior to the blown pipeline can get genuinely powerful, and the action that follows is suitably rousing as the rig resembles a snapshot of hell. Flames and heat consume the rig and escape seems nigh impossible. The sound design is sensational. The characters are mostly stock roles, with Wahlberg as our blue-collar everyman, Kurt Russell as the irritable boss fighting for his workers, and John Malkovich as the villainous penny-pinching BP representative. Malkovich’s campy performance almost needs to be seen to be believed. It’s like he’s visiting from another planet, the garbled Cajun representative. The lack of politics and curiously narrow focus (nothing about Halliburton, nothing about BP consequences, no environmental effects) does hamper any greater impact the film could have had. It’s a respectful slice-of-life drama that humanizes some of the lives lost that day but only by keeping to formula and stock action character development. It’s like a Towering Inferno-style Hollywood disaster movie, except one that treats its subject with stiff-lipped seriousness. In this new docu-action sub-genre, Berg and Wahlberg are kings.
Nate’s Grade: B
There’s quite a difference when director Oliver Stone actually gives a damn with a movie, and you can tell with Snowden that he is passionate about making a compelling and accessible movie for American audiences to understand why they should be angry. He wants to lead the righteous civil liberties mob against the right perpetrators while providing an appreciative moral context to the actions of Edward Snowden, America’s most famous fugitive. That sense of purpose and drive animates Stone in a way that his recent films have not, and even though it’s far less gonzo and experimental as Stone’s quintessential catalogue, the storytelling skill is still consistently engaging and the resulting 134 minutes inform as well as entertain.
Edward Snowden (Joseph Gordon-Levitt) wanted to serve his country and his expertise in computers landed him in various jobs working for U.S. agencies. He discovered the abuse of surveillance over everyday citizens rubber-stamped by a FISA court meant to provide oversight. Callous private contractors would surf through thousands of collected data points, and if pressed, could justify through terrorism connections, as it seems anyone in the world is perhaps three connections away from a person of interest (consider is the really unfortunate version of the Kevin Bacon game). Snowden risks everything to reach out to a team of journalists (Zachary Quinto, Melissa Leo, Tom Wilkinson) to tell his story and make sure the larger public will know these abuses of power.
The best compliment I can give Stone as a screenwriter and director of Snowden is that he took a thoroughly challenging scenario with few cut-and-dry answers and made an accessible movie experience that effectively conveys moral outrage and dismay. It feels like Stone the educator is leading you by the hand, taking time out to explain some of the more delicate intricacies of the murky stuff that goes on behind closed doors. I won’t exactly declare it to be an intelligent examination on the moral implications of the material, but it’s certainly a movie that lands its goal of clarity. It produces a sense of clarity for the subject and a sense of clarity for why Snowden made the decisions he did. Gordon-Levitt delivers a steadily engrossing performance, even if it takes several minutes to adjust to his distracting speaking voice. Maybe my ears are just broken but it doesn’t sound like Snowden. Fortunately, my ears did adjust accordingly. Gordon-Levitt and Stone effectively kept my attention throughout the film. I was surprised how much I found myself enjoying long stretches of this movie, even if my own stance on Snowden is less clearly defined. He talks a good talk but the reality is messy.
Given Stone’s conspiratorial history, the plot definitely comes with a distinctive point of view over whether Snowden is a hero or a traitor. I don’t think inherent bias in a movie or the angle taken in storytelling is inherently misguided and that all stories should be as objective as possible. Sometimes the circumstances don’t permit objectivity. Stone’s film is clearly biased but it doesn’t fall into a hagiographical hero worship of its titular figure. This is a complicated subject and deserves a proper analysis to place the real-life people in the meaningful morally ambiguous context. Snowden ultimately makes the decision to become the world’s most famous whistle-blower for what he felt were systematic abuses of government surveillance, but before that climactic decision he comes across less than a spotless martyr. His character arc is a fairly recognizable awakening of alarm and horror at the great abuses of power in the name of security. He does start off as a lifelong Republican with family members who have served in the military and different governmental bodies. He’s devastated to be medically discharged from the Army and hungry to serve his country. He’s a patriot who becomes disillusioned with the system, but he’s also rather self-involved and excuses ego with civic duty. I didn’t know how gifted Snowden was in his field, and the movie has some amusement with the wunderkind training sequences where Snowden delivers shock and awe to his stunned superiors. However, the second act becomes more than a bit protracted because Snowden keeps quitting but eventually going back to government surveillance, whether CIA or private subcontracting. This is because of the pay, sure, but it’s mainly because nobody can do what he can do. He feels important. He feels needed. He convinces himself he’s making a difference in the War on Terror, but eventually the reality of the widening peripheral of the war zone is too much to ignore for him.
This is further epitomized through the romantic subplot with Lindsay Mills (Shailene Woodley), a liberal firebrand, photographer, and exotic exercise instructor. Woodley (The Fault in Our Stars) does her best infusing a warm personality into what is too often the underappreciated yet overly agreeable girlfriend role. It’s a storyline meant to further humanize Snowden as well as personalize the encroaching invasions of privacy and subsequent paranoia. After he discovers that the government can activate laptops and watch oblivious citizens through webcams, Snowden can’t help but stare down his open laptop during an almost laughably forced sex scene. My reaction as Lindsay climbed aboard Snowden was exactly this: “Oh, I guess this is happening now.” She would have a greater impact if the movie did more with her character, as she is the long-suffering girlfriend who keeps accommodating his life choices. They move three times across the country for his jobs and Snowden is always unable to fully explain why he feels the pull to these tech occupations, which further frustrates a woman who just wants trust and stability. There is one interesting conversation that Lindsay offers, typifying the blasé response to spying with a “well I have nothing to hide, so who cares” rationale. Snowden is quick to admonish this line of thinking, an opinion that many still share. The other regrettable reality is that the romance is inevitably going to be the least interesting facet of this story. By going behind the curtain of American secret surveillance, we’re indulging in our collective curiosity at how exactly all these moving parts operate. To then go home and watch a couple squabble is a consistent letdown of drama.
There are a few other artistic miscues that weigh down Snowden, mostly Stone’s penchant for heavy-handed symbolism. The same instincts that allow Stone to carefully thread a knotty story are the same impulses that tell him that subtlety is for cowards. There doesn’t need to be a frame story here. I understand that select media outlets trying to break this story naturally allows for a question-and-answer framing system of flashbacks. However, very little is added besides a skeletal structure. The media members act as reactionary acolytes. It was all captured much more credibly in the Oscar-winning documentary, Citizenfour. There’s no earthly reason for Nicolas Cage to be in this movie except for drawing financing. He plays an old CIA code-breaker and admirer of outdated technology, but really he’s there to serve as an institutional nod to Snowden. At the conclusion, when Snowden’s identity and message becomes public, there’s a scene where Cage’s character literally toasts his pupil’s actions. I would say it’s a bit much but the character is a bit much for an actor that hasn’t generally been known for restraint. When Snowden is leaving the CIA offices in Hawaii for the last time, he steps out into the light (get it? get it?) and the scene is practically rendered in slow motion as the enveloping white light fills the screen and bathes Snowden (get it? get it?). He smiles bigger than we’ve ever seen. Lastly, Stone can’t just help himself during the very end and has Gordon-Levitt replaced with the actual Edward Snowden to deliver the closure of an interview. I don’t think we needed a reminder that Snowden is an actual living person.
Snowden the man, and Snowden the movie, wanted to shake up an ignorant and apathetic American public about the dangers of unchecked power in a surveillance state, but was the mission a qualified success? Years later and Snowden living in exile in Russia, the charitable answer would be inconclusive, though the pessimist in goes further. It very well seems that the majority of the American public simply doesn’t care (out of sight out of mind). The trial over whether Snowden is a patriot or a traitor seems a little moot perhaps when the larger public shrugs at the revelations of security overreach. Does a movie about a Great Man have as much resonant cultural cache if that defining act of greatness produces a shrug? I’m by no means saying we should apply a polling system to accurately measure a person’s value and accomplishments to the larger cultural and political landscape. Snowden wanted to wake the public up but we hit the snooze button. In the meantime, the movie about his exploits is fairly entertaining, so at least he has that.
Nate’s Grade: B
I think I had the same initial thought that most did when they saw the news that there was going to be a movie about the Miracle on the Hudson airline pilot: where exactly is the feature-length story? The flight itself lasted only about 200 seconds before landing on the river, and the sequence is thrillingly recreated and held off until halfway through the movie. The hero in the cockpit, Sully (Tom Hanks), is consumed with ensuring each and every last passenger is accounted for. When he gets the news that all survived, he can finally allow himself to breathe, to take in the full magnitude of the events, and it feels like a cleansing moment of deep emotional catharsis for him and the audience. But what’s the movie here? Apparently the NTSB and the airline insurance companies are disputing whether Sully could have safely landed the plane back at an airport instead. It’s exactly the kind of flimsy, manufactured conflict that sets itself up for moral grandstanding and a courtroom confrontation where our heroes will be vindicated, and we get all that. Sully’s unexpected spotlight wears on him as he feels like an ordinary citizen not worthy of the term “hero.” No other plane has successfully landed in water without a loss of life, so I’m sorry pal, but you’re a hero, even if you think you were just doing your job. Hanks is suitably low-key and humble and strong and emotionally resonant, though he was better on just about every front with Captain Phillips. The direction from Clint Eastwood is respectful without going into hagiography. The overall message is one of uplift, widening the focus from Sully to other heroes in New York City that day that came together to help others. It’s a moving message without having to resort to melodrama. At a mere 96 minutes, Sully gets you in and out and provides a solidly entertaining glimpse at the people who rose to the challenge when needed most. It’s a well-made movie that goes as far as it can without trying your patience.
Nate’s Grade: B+
Michael Bay is the kind of filmmaker that naturally attracts negative attention and derision, so when he fast-tracked a movie about the Benghazi embassy attacks, and in a presidential election year too, there were plenty that cried foul. Bay’s not exactly known as the subtlest filmmaker, and many feared a Benghazi movie under his guidance would only reaffirm the worst. 13 Hours: the Secret Soldiers of Benghazi (a subtitle that never appears in the movie, by the way) is a surprisingly serious and generally apolitical action movie that reaffirms the strengths and weaknesses of Bay as a filmmaker.
On September 11, 2012, an armed mob stormed an American outpost in Benghazi, an attack that left four Americans dead. After Libya had toppled its decades-long autocrat, a power vacuum emerged and militants filled its place. An unclassified CIA annex in Benghazi was established to track the possible sale of munitions from the old regime. The CIA chief, Bob (David Constabile), has been forced to hire a security team of former Army Rangers and Navy Seals to protect his agents. Jack Silva (John Krasinski) is a family man reuniting with his old pal Tyrone “Rone” Woods (James Badge Dale), the head of the hired security team. The other guys (Pablo Schreiber, David Denman, Dominic Fumusa, Max Martini) welcome Jack, explaining the rising tensions in Benghazi and how they’re generally frustrated by the CIA know-it-all attitudes. They’re wary of the State department outpost for Ambassador Chris Stevens (Matt Letscher), wary of the security detail watching him, and wary of the Libyan local forces providing assistance. Flash forward to the night of the attack and Rone and his team are stymied in their early attempts to rescue the ambassador. Afterwards, the focal point of the fight shifts to that very CIA annex and one hellish night of intense combat.
This is Bay’s return to the realm of more “serious filmmaking,” a world he hasn’t considered since 2001’s lackluster Pearl Harbor, and while the standard Bay elements of boom are present and accounted for, the drama doesn’t stack up to the action. First, the good news is that the action in 13 Hours is often thrilling, beautifully staged and photographed by Dion Beebe (Collateral), and unlike Bay’s Transformers films, easy enough to follow along. It’s a chaotic incident where plans and communication are broken down, but Bay is able to keep the geography and the immediate and secondary goals of each action sequence clear. While the storming of the embassy isn’t quite as nerve-racking as Argo, it’s still plenty thrilling and communicates the fog of war and dawning horror of those trapped on the inside. The centerpiece is the attack on the CIA annex, which both sides anticipate and prepare for. It establishes the geography of the field of combat, the different access points, and the most likely ambushes. From there, it’s our outnumbered professionals versus a horde of armed Libyans, a standoff reminiscent in classic Hollywood action cinema. Over the course of those titular 13 hours, our security force faces wave after wave of attacks, each once becoming more sophisticated and bringing heavier firepower. Bay’s camera captures the explosions and gunfire in his usual balletic decadence. Say what you will about the man and his jingoistic tendencies, but he’s an ace visual stylist who bathes a sheen of popcorn entertainment to visceral struggle. When the action is heated, that’s when 13 Hours packs its most powerful punch.
Unfortunately, there are lulls in between the fighting, and it’s during these moments that we realize how poorly written our characters are. With the battle looming ahead, the mitigated character development emphasizes easy clichés we’ve come to expect, like the family man who needs to realize his family should come first, etc. These six guys are little more than stock characters on the screen, differentiated more by appearance and the occasional reading material than any significant personality differences. The dialogue is also rather clunky, falling too often upon tough guy speak to make up the difference. The way I was able to separate them in my head was through the actors’ previous roles (“There’s Pornstash, there’s Roy from The Office, there’s the guy from The Pacific who was the bad guy in Iron Man 3, and boy did Jim from The Office get buff”). Krasinski (Aloha) is the audience’s entry point into this world and given the most attention, so he’s ostensibly our main protagonist. He’s a strong presence to anchor the film despite the character’s shortcomings. I enjoyed watching Krasinski in such a different sort or role and started thinking about he and his wife, Emily Blunt, must have traded workout regiment advice. “Jim from The Office” with a six-pack is a surprising sight.
There’s a strange defining conflict for the first hour of the movie, namely Bay and Hogan narrowing personal clashes down to a slobs vs. snobs mentality of war. Bay has a history of fetishizing machismo and military hardware, so it should be no surprise that his movie lionizes the beefy, strapping military men serving as security. They’re placed against the eggheads of the CIA, who take every moment to remind our burly, bearded security guys that they were educated at Ivy League schools and know so much more about the Middle East. They often sound haughty when they’re scolding the security force for interfering even when it’s clear they’re saving their lives. The perspective aligns with the idea that the military-experienced, no-nonsense men of action are being ignored and looked down upon by the CIA ninnies who look at them as unnecessary babysitters. Naturally, with the hindsight of history, we know the concerns of Rone and his guys will be vindicated and the CIA snobs will be grateful they had these blue-collar American heroes. The entire role of Bob is to condescend and ignore our guys and their warnings. Bob even says early in his introduction that he’s on the brink of retirement and they won’t ruin it for him. Until the attack on September 11, we’re stuck with this reductive class warfare clash.
Another interesting aspect is that the movie makes use of its audience’s relative ignorance when it comes to the specific people involved in the Benghazi firefight. I doubt that many people know the names of the four victims excluding Ambassador Stevens. Because of that uncertainty we don’t know which of our six security characters will live, and the screenplay seems to know this, which is why it takes time to present each of the six with some sort of looming tragic back-story. We have multiple characters sending loving messages to their young children, learning they’re wife is pregnant, and making all sorts of “final” decisions, the kind that set up these characters in most movies for an early demise (if you write your girl during war or talk about your post-retirement plans, you’re guaranteed to die). I was slightly amused that the movie established each character to have a moment where it potentially sets up this tragic outcome.
One of my big questions walking into Bay’s Benghazi movie was exactly whose version of events was the story going to follow. After eight congressional investigations, and a prominent Republican slipping by admitting one of the guiding purposes is to tarnish Hilary Clinton as a presidential candidate, I was worried that the movie was going to be a hacky, manipulative promotion of propaganda. There’s a reason that eight congressional investigations, including one that has lasted longer than Watergate, don’t seem to satisfy those calling for blood: they keep coming to the same inconvenient conclusions, namely that there was no stand down order, no conspiracy, no cover-up. There’s been a flurry of rightwing fury brewed over stoking unfounded rumors of conspiracy with Benghazi; it’s a fundraising industry unto itself for politicians. Therefore, I was initially worried that the movie was going to reinforce a version of events that eight (and counting?) congressional committees have refuted. I was relieved then that Bay’s movie keeps its focus pretty much squared on the heroism of the security team. In a way it reminded me of Black Hawk Down as it strived to recreate a series of harrowing life-and-death events with its focus more on the brotherhood and bravery of the ones in harm’s way rather than the broader political context. There is the infamous “stand down” order; however, it’s played almost incidentally, as Bob is trying to process all the chaos unfolding and the best recourse. As presented, it doesn’t sound like “stand down and let them die,” and more, “wait and let me think for a minute.” The fight to get air support from Italy doesn’t mention the fact that those Italian fighter jets sitting on the runway were not combat ready and were for flight training. There’s only one other passing dialogue exchange that touches the political, when the guys recount that the news is telling them it was a protest, which they scoff at and then let it go. That’s it. I imagine the audience that would be most excited for a Benghazi movie will be deflated. For everyone else, the sidestepping of politics lets the movie stand on its own better.
An article from Vox.com raises the issue of whether any movie about Benghazi can possibly be apolitical. It appears like the topic of Benghazi has been so cravenly politicized that any rendition of the events of that fateful day will reinforce or contradict some narrative, be it the security contractors, the CIA, the politicians on both sides of the aisle. And the absence of what others declare with certainty will only make those same people cry “cover-up.” It’s a shame that this topic is so radioactive that an objective approach celebrating the courage of those involved, mourning the loss of life, and asking for better from those in power seems impossible given the current divisive political environment. Did it have to come to this? Bay’s Benghazi is easily his most restrained movie in his bombastic career, paying reverence to the people who paid the ultimate sacrifice. The action is well staged and often visually striking, but Bay wants this movie to be more than a series of escalating action sequences. You feel he wants this to be his version of a Zero Dark Thirty-style thriller. Except it’s not. You watch the movie and sense there’s a more intelligent, nuanced, and ambiguous movie here that can make cogent points about foreign policy and the state of the Middle East. This is an action movie where the good guys shoot the relatively faceless bad guys. 13 Hours is an acceptable action movie but that’s all it ever asserts to be. Is that enough after all?
Nate’s Grade: B-
In 1822, the men aboard the Essex, a whaling ship sailing from Nantucket, Massachusetts, encountered a beast unlike any they have ever seen. Captain Pollard (Benjamin Walker) and his first mate, Owen Chase (Chris Hemworth), were at odds throughout the voyage, that is until they encountered a 100-foot long white whale. The creature destroyed the Essex, forcing the crew to drift at sea and hope to find land, but the whale follows them as well. Tom Nickerson (Tom Holland as a young man, Brendan Gleeson as the older version) recounts this traumatic survival tale to author Herman Melville (Ben Whishaw), who is desperate to write this true story.
There’s an old-school throwback vibe to In the Heart of the Sea with its high seas adventure, but there’s just not enough attention to adventure, character, or even plot for this movie to really set sail properly. The first act feels so sluggishly long. It’s trying to set up life on a whaling vessel in the early 19th century but I didn’t feel like we got a coherent sense of life aboard the seas or how the various components worked. I didn’t know that whalers row out from the main ship, so there’s that. The opening act sets up the dull conflict between Chase and Pollard, which can be summarized as blunt upstart vs. unchecked privilege. The conflict doesn’t evolve from this dichotomy. Both men are boring in their unyielding simplicity. Hemsworth (Avengers: Age of Ultron) made a stronger impression in Rush, but a humorless movie role is not in his best interests as an actor. When the action does arrive, it can be genuinely thrilling. Director Ron Howard does a slick job of conveying the danger and destruction of the whale attack. Sadly, it’s over too soon and then the remainder of the movie is 45 minutes of a survival drama adrift in the ocean reminiscent of last year’s Unbroken. This period of isolation forces the characters to make some hard choices, yet we don’t feel the impact of those choices because the narrative, too, feels adrift. Implausibly, the giant whale has followed them for thousands of miles. Are whales really this vindictive? The documentary Blackfish makes me wonder but it still feels unbelievable. What was the whale waiting for? For the men’s spirits to be completely broken before it might attack again? We’re told this whale is a “demon” but who exactly are the bad guys in this story?
I believe another stopping point for this story is that the culture has moved beyond the acceptance of whaling as an honorable profession, to the point that I, and I assume others, was on Team Whale after witnessing a bloody hunt. It’s pretty gross, especially when they’re harvesting the whale body for the precious oil. Perhaps modern audiences, so far removed from hunting as an essential component of life have become more squeamish, or perhaps modern audiences just recognize something as barbaric when they see it. As a result, it’s hard to root for these guys. When the giant whale attacked it felt like retribution. My sympathies were more for the large mammal than the bipeds on ship. At the end of the film (some spoilers), the white-haired moneyed men of Big Whale Oil are worried what the truth will do to their industry. They want the surviving crewmen of the Essex to deny the existence of this gargantuan whale. This makes little sense to me other than awkwardly forcing a Big Business cover-up for relevancy. First off, whaling seems like a pretty unsafe working environment to begin with, especially considering voyages could last up to three years. Would the reality of one big bad whale destroy an industry? I doubt it since there is such money to be had. If anything it might rejuvenate the timber industry to reinforce the ships to make them more durable against larger whale attacks.
At first I thought a framing device was entirely superfluous; why do we need to watch Melville elicit this tale rather than simply just watching the tale itself? It seemed like a distraction, but as the movie progressed I understood that this framing device was its own sub-story and had its own complexity, namely the older Tom coming clean to the decisions that still haunt his soul. It’s an unburdening for both gentlemen, as Melville admits his deep fear that he is a mediocre writer (he’s no Nathaniel Hawthorne) and that he will be unable to tell this story as well as it truly deserves.
As these two men are allowing themselves to become more vulnerable and sharing their demons and doubts and worst fears, I started to realize that this framing device was weirdly more compelling than all the whale action. That’s because older Tom and Melville are the best drawn characters in the movie, which seems like a screenwriting mistake of sizable proportions. Obviously the nautical survival stuff should be the most compelling, and yet I as more taken with two men sitting by an oil lamp discussing their lives. Older Tom is infinitely more interesting than younger Tom; part of this is because young Tom hasn’t experienced the full effect of the events that shape older Tom, but most of this is from the very clear fact that young Tom is kind of a mute witness in this movie. He rarely speaks and is just kind of there, taking up space. There’s one personal harrowing moment when he’s thrust inside a hollowed out whale carcass to extract more blubber, but that’s the only personal perspective offered through young Tom. A question concerning the framing device: how is older Tom retelling events he had no participation or witness to? Another issue is that the characters on board the Essex are bereft of anything that would allow us to feel for them beyond simple human survival. Chase and Pollard are given one note to play and their eventual understanding and cooperation is fine but it feels like fleeting details in a story, lost to memory or disinterest.
From a purely technical aspect, this is one of the better Howard films. The cinematography by Anthony Dod Mantle (Slumdog Millionaire) is rich and often breath taking, with plenty of stunning aerial and underwater images. The whale attack sequence is harrowing and thrilling. Howard finds ways to imply the harsher aspects of this life without going overboard, maintaining that PG-13 rating. While the look of the film has an enhanced color palate thanks to the extra boost of CGI filters, I still appreciated the vibrancy of the on screen images. As I said with the similarly boosted Mad Max: Fury Road, I’d rather have vibrant and bright colors than a drab and washed-out color palate. Even as the movie drifts and the characters fail to grab you, at least the visuals are pretty. While sitting through the second half, I started to rethink my own prejudices concerning Howard as a filmmaker, a man who lacks a distinctive style but has a definite feel for how to tell a story. I’m not going to excuse him for The Grinch and other misfires, or his tendency to settle for maudlin in place of subtlety, but the man is a born filmmaker.
In the Heart of the Sea is an old school movie that feels too sluggish, too underdeveloped, and too free of characters for the audience to invest in. When the framing device scores the biggest emotional pull, you better start rethinking your rip-roaring high-seas adventure. Master and Commander this is not. As the inspiration for Moby Dick, I wish I had just watched a remake of Melville’s actual novel (now with extra chapters about rope!). If you ever wanted a movie that ends on a blurb by Nathaniel Hawthorne as a payoff for Melville’s artistic neurosis, then your wait is over. In the Heart of the Sea feels like a whale of a tale that is hard to believe, which ends up inspiring a far greater story, which made me yearn for just watching that superior tale. Sometimes the “truth” behind famous stories is less interesting.
Nate’s Grade: C+