Greetings again from the darkness. Tom Hayden, Alex Sharpe, Abbie Hoffman, Jerry Rubin, David Dellinger, Bobby Seale, Lee Weiner, and John Froines. Those were the defendants charged with conspiracy and inciting a riot at the 1968 National Democrat Convention in Chicago. So why were there 8, when they are known as the Chicago 7? Well, writer-director Aaron Sorkin (Oscar winner for THE SOCIAL NETWORK, 2010) not only answers that question, but also fills in many of the blanks for those of us who have known only the highlights of the story.
This story has been told many times before in books, articles, and other movies, but it’s never before had Sorkin’s focus on the spoken word and the transcripts pulled from the 1969 trial. For those familiar with Sorkin’s work, his penchant for absurdly rapid and a bit too on-the-nose chatter is renowned. Here, he has assembled a truly superb cast that revels not just in the words, but in the historical aspect and the modern day relevance. There are a lot of characters to get familiar with, and Sorkin doesn’t delay in introducing each of them by name and affiliation.
Tom Hayden (Eddie Redmayne, Oscar winner for THE THEORY OF EVERYTHING, 2014) and Rennie Davis (Alex Sharp) represent Students for a Democratic Society (SDS) and are focused on the lives being lost in the war. Abbie Hoffman (Sacha Baron Cohen) and Jerry Rubin (Jeremy Strong) are the leaders of the Youth International Party (the Yippies) and their goal is to disrupt the system through chaos. Actual Boy Scout leader David Dellinger (John Carroll Lynch) is a conscientious objector and part of the National Mobilization Committee to End the War in Vietnam, aptly nicknamed “The Mobe”. Bobby Seale (Yahya Abdul-Mateen II) is the leader of the Black Panthers, while Lee Weiner (Noah Robbins) and John Froines (Danny Flaherty, “The Americans”) were protesters, but can’t understand why they are lumped in with the more recognizable group leaders.
William Kunstler (Oscar winner Mark Rylance, BRIDGE OF SPIES, 2015) and Leonard Weinglass (Ben Shenkman) are the attorneys for all except Bobby Seale, whose attorney was unable to attend due to a medical emergency. Richard Schultz (Joseph Gordon-Levitt) is the hand-picked prosecutor for the Justice Department, while Julius Hoffman (Frank Langella) is the presiding judge. Other key players include Kelvin Harrison Jr as Fred Hampton, leader of the Chicago Black Panthers, and the always great Michael Keaton as former U.S. Attorney General Ramsey Lewis.
There is a lot going on here for a courtroom drama. The diverse personalities alone make this a must watch. Flashbacks to the violence and the interactions between police and protesters are mixed in between testimonies. We are also taken into the Conspiracy House, where conversations and debates between the accused get quit colorful. There are also glimpses of Abbie Hoffman’s college campus speeches/performances which illuminate his thinking, and some of the best conflicts occur when Abbie and Hayden are going at each other in such contrasting manners. Langella’s Judge Hoffman is a true lightning rod in the courtroom. Is he biased or incompetent … or both? His behavior is what drives attorney Kunstler, the ultimate believer in the law, to finally understand what Abbie had said all along … this was a political trial – a show of governmental power, and an attempt to quash anti-war activists. This trial occurred mere months after Nixon was elected, and though they never share a scene, the sword-fight between newly appointed Attorney General John Mitchell (John Doman) and outgoing AG Ramsey Lewis (Keaton) is a thing of beauty. Keaton especially shines in his two scenes.
“The Whole World is Watching” became a common protest chant as the government worked to shut down the movement to end the Vietnam War. Netflix and Sorkin have capitalized on the current political and social environment to demonstrate what happened 50 years ago … the more things change, the more they stay the same. Abbie Hoffman states, “I’ve never been on trial for my thoughts before”, and that ties in brilliantly with the desire for Cultural Revolution. Hayden’s intellect in on display here, and Rylance is the real standout as Kunstler, though Langella (the Judge) and Abdul-Mateen (Bobby Seale) aren’t far behind. The scene where Seale is bound and gagged in an American courtroom is one of the most uncomfortable moments I can recall. There may be some questionable directorial choices, but the story and performances make this one to watch.
Greetings again from the darkness. Setting one’s film up to be compared to a long time classic can be quite challenging for a filmmaker, but that’s precisely the situation director John Lee Hancock finds himself. Known for crowd-pleasers like THE FOUNDER, SAVING MR BANKS, and THE BLIND SIDE, Mr. Hancock delivers a Netflix film destined to face off against Arthur Penn’s 1967 classic BONNIE AND CLYDE. Where the earlier film focused on the anti-hero celebrity (and beautiful faces) of the young outlaws, this latest film flips the lens and puts law enforcement (particularly grizzled veterans) front and center (Bonnie and Clyde are barely glimpsed until near the end).
The film begins with a well-planned and deadly prison break in 1934 and then moves into a meeting where Lee Simmons (John Carroll Lynch) of the Department of Corrections is pitching Texas Governor “Ma” Ferguson (Kathy Bates) on his idea of reactivating the defunct Texas Rangers, and bringing legendary lawman Frank Hamer out of retirement. It’s pretty simple – the FBI and its new-fangled forensics is failing miserably in tracking down Bonnie and Clyde, and the hope is that Hamer and his old-fashioned detective work will succeed.
Kevin Costner plays Frank Hamer, and we first see him and his well-trained pet pig trying to enjoy a peaceful retirement at home with his wife Gladys (Kim Dickens). Not long after, he’s joined by his old partner Maney Gault (Woody Harrelson), who is down on his luck, drinks too much, and is in desperate need of a purpose. Thus begins the buddy road trip featuring the no-nonsense Hamer and the quipster Gault. Not many play self-importance better than Costner, and few deliver wisecracks better than Woody.
The screenplay comes from John Fusco, whose previous western projects include HIDALGO and YOUNG GUNS. Though this isn’t a traditional western, it has most of the expected elements. Aging lawmen chasing colorful outlaws. Good versus evil. Right versus Wrong. While it’s a relief the film doesn’t romanticize the Barrow gang and their violent ways, it’s a bit frustrating to see that the movie tries to make Hamer and Gault as famous and iconic as the outlaws they were chasing. Sure Bonnie’s fashion influenced many women of the era, but that had to be nauseating for those lawmen in pursuit who were putting their lives on the line. In the 1967 film, Denver Pyle played Frank Hamer in a shamefully written role, and here Costner strikes so many hero poses and seems to invoke mystical ESP abilities in his police work, that we half expect Hamer to walk on water at some point.
The best part of the film is watching Costner and Harrelson work together, with the latter really making this work on whatever level it does. Additionally, there is a scene with Hamer and Clyde’s dad that features William Sadler in a cameo. I don’t know if this meeting actually took place in real life, but it teases what the film could have been. As a fantasy for cinema aficionados, the project was originally intended to be a vehicle for Robert Redford and Paul Newman, but just never progressed. Combine that with BUTCH CASSIDY AND THE SUNDANCE KID and THE STING, and you’d have an unmatched triumvirate of buddy greatness. Hancock’s film certainly pales in comparison to the 1967 film, but it’s a worthy story that deserves to be told.
Greetings again from the darkness. If you’ve always wanted to see a movie about “Andy Griffith’s sad brother”, this is the one for you. That’s actually the description one of the characters has for Early, the depressed widower we come to know. Houston-born writer/director Timothy McNeil’s first feature film is adapted from his own stage production. It’s surprisingly intimate and emotional while avoiding many of the clichés we might be braced for, given the subject matter.
John Carroll Lynch (FARGO, ZODIAC) plays Early as a soft-spoken, mild-mannered gentleman from Mississippi. In the immediate aftermath of the tragic death of his wife, Early is dazed. He is sleep-walking through life right up to the point of an attempted suicide. Faced with the choice of a psychiatric hospital or moving cross country to live with family, Early obviously chooses the Brentwood home of his studio executive sister Laurette (Maura Tierney).
Sister Laurette means well, but her controlling persona and determination to “fix” things, leads Early to find his own place. He picks a sketchy apartment complex with ‘eclectic’ neighbors, one of which is Freda (Matt Bomer), a transgender sex worker. Though they appear to be from different planets, she is drawn to his inherent kindness and strength of character, while he is drawn to her vitality and courage. A bond develops.
It’s fascinating to watch the friendship grow, and despite another neighbor, Brianna, (Margot Bingham) calling him “cracker” and do-gooder, it’s clear there is mutual respect amongst the complex residents. When Early invites his family to a dinner party with Freda, awkward and cruel are merely the first adjectives that come to mind. It doesn’t go well, and harsh judgments abound.
Early is a simple man, but Mr. Lynch’s performance ensures he is never a simple character. Mr. Bomer is terrific as Freda, though some will surely protest that a transgender actor was not cast. Plenty of sharp humor accompanies the deep drama, and we are reminded that love is really about the acceptance of others, and finding meaning and connection in life. It’s a small scale film that draws us into the characters, and we find ourselves grasping at hope for each of them.
Greetings again from the darkness. How you define success will likely determine your interpretation of this film that is every bit as much about the humble beginnings and explosive growth of McDonalds as it is a biopic of Ray Kroc, the self-professed “founder” of the golden arches empire. Capitalism and its corresponding businessmen have not typically been favorably portrayed by Hollywood in such films as The Social Network, Wall Street, Glengarry Glen Ross, Steve Jobsand The Wolf of Wall Street. This latest from director John Lee Hancock (Saving Mr. Banks, The Blind Side) and writer Robert Siegel (The Wrestler) is no exception, and it’s obvious why.
It’s 1954 when we first catch up with Ray Kroc (as played by Michael Keaton). He’s the type of traveling salesman who totes around his latest widget (a multiple milkshake machine), rehearses and polishes his spiel (via extreme close-up), and listens to motivational record albums that preach the importance of persistence, while he stays at roadside motels that act as his home away from home. Kroc doggedly pursues the American dream, and optimistically bounces from one project to another … convinced that he’s found “the next big thing”.
When circumstance leads him to a crowded little octagonal burger shop in San Bernardino, Kroc becomes fascinated with its simplicity and success. Over dinner, Dick (Nick Offerman) and Mac (John Carroll Lynch) McDonald detail the Spee-Dee kitchen design and unique focus on quality, consistency and speed that today is considered the starting line of the fast-food industry. The tennis court sequence is especially creative and fun to watch. While the brothers prefer to keep the business small and remain in control, Kroc pitches his vision of franchising … a pitch with emphasis on “Crosses. Flags. Arches”.
The full story is likely one most people don’t know … despite the fact that McDonalds now feeds 1% of the world population each day (a statistic posted on screen). The relationship between Kroc and the McDonald brothers was never a smooth one, and it’s a perfect example of dog-eat-dog, or unprincipled vs idealistic. Kroc sees himself as a “winner”, while it’s likely most will view his actions as unscrupulous, even if legal.
Keaton’s performance accurately captures a man who is impatiently ambitious, and whose confidence and ego grow incrementally as it becomes inevitable that the decency of the brothers is actually a weakness in business. Offerman and Lynch are both excellent, and other support work is provided by Laura Dern as Kroc’s first and mostly neglected wife who is tossed aside when something better comes along; BJ Novak as Harry J Sonneborn, the key to Kroc’s power move; Justin Randell Brooks as Fred Turner and Kate Kneeland as June Martino, two trusted employees; and Patrick Wilson as a key franchisee. Linda Cardellini (Mad Men, Bloodline) plays Joan, Ray’s wife (she was actually his third) and business advisor from 1969 until his death in 1984. The film shortchanges her importance – at least until the closing credit recap.
Bookending that opening extreme close-up sales pitch, is a near-conclusion zoom on Keaton’s face as he prepares for an event where he will tell his story … at least his version of the story. The film does a really nice job of capturing the era. Of particular interest is that the cars don’t look like they rolled right out of a classic car show, as happens with most movies. It’s nice to see some faded paint and a dented fender on screen. The early McDonalds locations are beautifully and realistically replicated to provide a nostalgic look for some, and a first glimpse for others. Carter Burwell’s score is complementary to the proceedings, and director Hancock deserves credit for not just making this the Michael Keaton/Ray Kroc show. Rather than serving up a Happy Meal movie, the film instead provides a somewhat toned-down historical view of ambition and drive, and the birth of an empire … one that changed our culture.
Greetings again from the darkness. There will be two distinct groups that erroneously presume this is a traditional biopic of the glamorous former first lady: those who wave it off as Lifetime Channel fare, and those who excitedly walk in thinking they are going to be swept away in the pink Chanel suit from that fateful day in November 1963. Instead, the first English language feature from director Pablo Larrain (No, 2012) offers up a what-might-have-been look behind the scenes and takes a stab at the psychological make-up of the often underestimated and complex woman known even today as simply Jackie.
The opening scene provides the first of countless close-ups of Natalie Portman as Jackie. Different than the usual movie close-ups, these are somehow closer – more intimate and more intrusive. The shots make us uncomfortable, as if we are intruding on her personal space. This is by design, as the film takes us to a surreal place where we see Jackie the person, rather than Jackie the icon. The framing device used is an interview she granted to Life Magazine reporter Thomas H White (Billy Crudup billed only as “the journalist”) at the Kennedy compound in Hyannis Port, merely a week after the assassination.
To grasp the concept here from director Larrain and writer Noah Oppenheim (in a big stretch from The Maze Runner), it’s imperative to understand that, at the time, Jackie was the personification of a nation’s grief and the ultimate example of dignity and grace (yes, Seinfeld fans, she had grace). We quickly witness the power and control she wielded. “Don’t think for a second I’m going to allow you to publish that” … she states after exposing her most vulnerable and personal thoughts. Later, she puffs on a cigarette and tells the reporter, “I don’t smoke”. It’s in these moments that we begin to realize the point – Jackie was a master at generating the “proper” public perception from even the harshest personal realities (many of which the film politely ignores).
Much of the film deals with her dogged pursuit of creating a lasting legacy for her husband. The idea of Camelot was meant to provide hope and idealism to the public who so wanted to idolize and romanticize the first couple. The symmetry with Lincoln – the portrait, the bedroom and the meticulously planned elaborate funeral procession – were meant to establish heft and substance for an all-too-brief administration that even had brother Robert (Peter Sarsgaard) lamenting how little was accomplished. These were the calculated strategies of a woman who was much more than the charming and slightly nervous host who took America on a televised tour of The White House on CBS in 1962.
The film utilizes flashbacks to the Lincoln Continental with the Texas Schoolbook Depository in the background, as well as detailed recreations of The White House, Parkland Hospital, Air Force One, St. Matthew’s Cathedral, and of course, the pink Chanel dress. That said, this is certainly not a movie designed to solve the case or disprove one of the conspiracy theories … it remains steadfast as a close-up of Jackie.
Others in supporting roles include a nearly unrecognizable (and minus her usual ticks) Greta Gerwig as Nancy Tuckerman (Jackie’s social secretary and friend), John Carroll Lynch and Beth Grant as LBJ and Lady Bird, Max Casella as Jack Valenti, stunning lookalike Caspar Phillipson as JFK, and a remarkable John Hurt as the Priest helping Jackie through her spiritual crisis. But of course this is Natalie Portman’s movie. She captures the breathy vocals and the contrasting strong directness when dealing with Bobby and Lyndon. Her movements mirror those from the actual footage of the White House tour … it’s really a performance to behold.
Many original images, videos, and clips are blended/spliced into the re-enactments to add a touch of sentimentality and prove how close to reality the film holds. One thing to brace for is the most unique score you’ll likely hear in a film this year. Mica Levi’s unusual sound brilliantly complements the many moods of Jackie, and even manages to remain strong around Richard Burton’s rousing rendition of “Camelot”. Ms. Portman’s performance and the behind-the-curtain approach work well in reminding us that these were real people … not just Kennedys.