by Josh Sewell
The cast: Yahya Abdul-Mateen II, Sacha Baron Cohen, Joseph Gordon-Levitt, Michael Keaton, Frank Langella, John Carroll Lynch, Eddie Redmayne, Mark Rylance and Jeremy Strong.
What it’s about: Aaron Sorkin writes and directs this look at one of the most revealing trials of the 20th century. After a peaceful protest at the 1968 Democratic National Convention escalates into a violent clash with police, newly elected president Richard Nixon instructs the Justice Department to make examples of the high-profile organizers. As a result, activists like Abbie Hoffman (Baron Cohen), Jerry Rubin (Strong), Tom Hayden (Redmayne) and Bobby Seale (Abdul-Mateen) are charged with conspiracy to incite a riot and shoved into the center of a media circus.
The good: Although Sorkin has been trying to get Chicago 7 made since the mid-2000s (not-so-fun fact: Heath Ledger was once considered for Redmayne’s role), it feels like he could’ve written the script yesterday. The conflicts at the heart of the story are just as volatile and important as they were back in 1968. As you might expect from the writer of A Few Good Men, this is a searing courtroom drama full of crackling dialogue and big, important speeches delivered by phenomenal actors.
Redmayne, Baron Cohen and Rylance, the closest this ensemble has to central figures, deliver some of the best performances of their careers. Gordon-Levitt is strong in a thankless straight role, keeping the narrative centered while everyone else chews scenery. But some of the film’s best work comes from Langella (as a contemptible, unhinged judge) and Keaton, who breezes in halfway through the film, steals the show and waltzes out again.
These days, a lot of people try to cope with an uncertain world with a cynical, detached outlook on life. Sometimes that’s an effective defense mechanism, but I think this Capra-esque tale of decent people standing up to government bullies is just what we need at this moment. Yes, Chicago 7 is unabashedly schmaltzy, but man does it work. It’s one of my favorite films of 2020.
The not-so-good: While Sorkin’s directing style gets the job done, Chicago 7 is very much a point-and-shoot affair that allows the dialogue to take center stage. Granted, it’s tough to make two hours of people sitting in rooms talking visually dynamic, but David Fincher did it in The Social Network and Rob Reiner pulled it off with the aforementioned A Few Good Men. This feels more like a long episode of television than a prestige awards season film, which is why I have no qualms with recommending you watch it on Netflix rather than risk going to a theater during a pandemic.
Grade: A-
On the Rocks
The good: Jones and Murray are terrific together, conveying a long, complicated history with quick glances and snippets of conversation. Murray isn’t in On the Rocks as much as you’d expect from the trailer, but he delivers whenever he shows up, playing on his public persona as a mysterious charmer.
The rest of the time, it’s primarily Jones’ show, aside from the handful of scenes she has with Wayans, who’s solid as her workaholic husband. I’ve been a fan of hers since Boston Public way back in 2000, so it’s great to see her get a such a compelling role that showcases her strengths as a performer.
Coppola’s great at escalating tension, although the narrative runs out of steam toward the end, right when audiences are craving catharsis. Regardless, she’s made a fun hang out movie that will likely get better with repeat viewings.
The not-so-good: I can imagine some viewers dismissing On the Rocks as a whiny, “rich people have problems too” film, although I’d argue that’s pretty much Coppola’s wheelhouse. People flipped over Lost in Translation despite its similar dynamic. Still, if you can get past wealthy characters complaining about problems that could be solved with a conversation, the film is an enjoyable experience.
Grade: B
This is an actor’s showcase for everyone involved, although the most obvious standouts are Parsons, Hutchison and Washington. Nine characters are packed into a small apartment for two hours, so everyone gets a moment or two in the spotlight, although some roles are clearly more engaging than others.
The running time flies by thanks to the nonstop barrage of devastating arguments, as well as Mantello’s skillful direction. He makes a handful of rooms in a cramped NYC apartment feel spacious at first, especially the charming balcony dance number set to Martha and the Vandellas’ classic “Heat Wave.” Then, as the intoxicated tension escalates, he ramps up the claustrophobia by bringing the characters inside and closer together via thunderstorm. It’s a brilliant choice.
The not-so-good: I’m a theater nerd, so I knew what I was getting into with The Boys in the Band. It’s an obviously dated look at the life of gay men a decade or so before the AIDS epidemic changed everything, and the play has been controversial since it premiered off-Broadway more than 50 years ago. It doesn’t depict the gay community in the most positive light. Instead, it focuses on flawed characters full of bitterness and self-loathing.
To say it’s not for everyone is an understatement. But for those who know what they’re getting into, the film is a fascinating time capsule full of great performances and brilliant production design.
Grade: B
The Trial of the Chicago 7
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| Courtesy of Netflix |
(Rated R for language throughout, some violence, bloody images and drug use. Available on Netflix starting Oct. 16.)
The cast: Yahya Abdul-Mateen II, Sacha Baron Cohen, Joseph Gordon-Levitt, Michael Keaton, Frank Langella, John Carroll Lynch, Eddie Redmayne, Mark Rylance and Jeremy Strong.
What it’s about: Aaron Sorkin writes and directs this look at one of the most revealing trials of the 20th century. After a peaceful protest at the 1968 Democratic National Convention escalates into a violent clash with police, newly elected president Richard Nixon instructs the Justice Department to make examples of the high-profile organizers. As a result, activists like Abbie Hoffman (Baron Cohen), Jerry Rubin (Strong), Tom Hayden (Redmayne) and Bobby Seale (Abdul-Mateen) are charged with conspiracy to incite a riot and shoved into the center of a media circus.
The good: Although Sorkin has been trying to get Chicago 7 made since the mid-2000s (not-so-fun fact: Heath Ledger was once considered for Redmayne’s role), it feels like he could’ve written the script yesterday. The conflicts at the heart of the story are just as volatile and important as they were back in 1968. As you might expect from the writer of A Few Good Men, this is a searing courtroom drama full of crackling dialogue and big, important speeches delivered by phenomenal actors.
Redmayne, Baron Cohen and Rylance, the closest this ensemble has to central figures, deliver some of the best performances of their careers. Gordon-Levitt is strong in a thankless straight role, keeping the narrative centered while everyone else chews scenery. But some of the film’s best work comes from Langella (as a contemptible, unhinged judge) and Keaton, who breezes in halfway through the film, steals the show and waltzes out again.
These days, a lot of people try to cope with an uncertain world with a cynical, detached outlook on life. Sometimes that’s an effective defense mechanism, but I think this Capra-esque tale of decent people standing up to government bullies is just what we need at this moment. Yes, Chicago 7 is unabashedly schmaltzy, but man does it work. It’s one of my favorite films of 2020.
The not-so-good: While Sorkin’s directing style gets the job done, Chicago 7 is very much a point-and-shoot affair that allows the dialogue to take center stage. Granted, it’s tough to make two hours of people sitting in rooms talking visually dynamic, but David Fincher did it in The Social Network and Rob Reiner pulled it off with the aforementioned A Few Good Men. This feels more like a long episode of television than a prestige awards season film, which is why I have no qualms with recommending you watch it on Netflix rather than risk going to a theater during a pandemic.
Grade: A-
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| Courtesy of A24 |
(Rated R for some language/sexual references. Opens in limited release Oct. 2 and available on Apple TV+ starting Oct. 23.)
The cast: Rashida Jones, Bill Murray and Marlon Wayans.
What it’s about: Filmmaker Sofia Coppola reunites with one of her Lost in Translation stars in this charming comedic drama about the importance of honesty and communication in relationships. Laura (Jones) is an author and stay-at-home mom whose marriage to Dean (Wayans) is strained because he’s working to get his new business off the ground. When he starts spending more time with an attractive new colleague, Laura begins to assume the worst. She goes to her womanizing father Felix (Bill Murray) for advice, but instead of suggesting she talk openly to Dean about her concerns, he suggests they spy on him.
The good: Jones and Murray are terrific together, conveying a long, complicated history with quick glances and snippets of conversation. Murray isn’t in On the Rocks as much as you’d expect from the trailer, but he delivers whenever he shows up, playing on his public persona as a mysterious charmer.
The rest of the time, it’s primarily Jones’ show, aside from the handful of scenes she has with Wayans, who’s solid as her workaholic husband. I’ve been a fan of hers since Boston Public way back in 2000, so it’s great to see her get a such a compelling role that showcases her strengths as a performer.
Coppola’s great at escalating tension, although the narrative runs out of steam toward the end, right when audiences are craving catharsis. Regardless, she’s made a fun hang out movie that will likely get better with repeat viewings.
The not-so-good: I can imagine some viewers dismissing On the Rocks as a whiny, “rich people have problems too” film, although I’d argue that’s pretty much Coppola’s wheelhouse. People flipped over Lost in Translation despite its similar dynamic. Still, if you can get past wealthy characters complaining about problems that could be solved with a conversation, the film is an enjoyable experience.
Grade: B
The Boys in the Band
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| Courtesy of Netflix |
(Rated R for sexual content, language, some graphic nudity and drug use. Now available on Netflix.)
The cast: Jim Parsons, Zachary Quinto, Matt Bomer, Andrew Rannells, Charlie Carver, Robin de Jesus, Brian Hutchison, Michael Benjamin Washington and Tuc Watkins.
What it’s about: Based on Mart Crowley’s groundbreaking play, director Joe Mantello reunites the cast of the 2018 Broadway production for this Netflix adaptation. In 1968 New York City – when being openly gay was still mostly forbidden in mainstream culture – a group of old friends gather for a birthday celebration. What starts as an evening of drinking and gossip turns darker as the night wears on.
The good: For fans of theater, self-important monologues and camp, The Boys in the Band might just be your new favorite movie. That might sound like a backhanded compliment, but I had a great time watching it. Granted, the narrative pumps the brakes on fun once the characters start hurling bitter, drunken bromides at one another, but it’s still a treat to watch these talented actors turn it up to 11. Because the cast worked together on Broadway a couple of years ago, the chemistry is still fresh.
This is an actor’s showcase for everyone involved, although the most obvious standouts are Parsons, Hutchison and Washington. Nine characters are packed into a small apartment for two hours, so everyone gets a moment or two in the spotlight, although some roles are clearly more engaging than others.
The running time flies by thanks to the nonstop barrage of devastating arguments, as well as Mantello’s skillful direction. He makes a handful of rooms in a cramped NYC apartment feel spacious at first, especially the charming balcony dance number set to Martha and the Vandellas’ classic “Heat Wave.” Then, as the intoxicated tension escalates, he ramps up the claustrophobia by bringing the characters inside and closer together via thunderstorm. It’s a brilliant choice.
The not-so-good: I’m a theater nerd, so I knew what I was getting into with The Boys in the Band. It’s an obviously dated look at the life of gay men a decade or so before the AIDS epidemic changed everything, and the play has been controversial since it premiered off-Broadway more than 50 years ago. It doesn’t depict the gay community in the most positive light. Instead, it focuses on flawed characters full of bitterness and self-loathing.
To say it’s not for everyone is an understatement. But for those who know what they’re getting into, the film is a fascinating time capsule full of great performances and brilliant production design.
Grade: B
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