by Josh Sewell
The Woman King
(Rated PG-13 for sequences of strong violence, some disturbing material, thematic content, brief language and partial nudity. Opens in theaters on September 16.)
The premise: In this epic drama, which takes place in the early 1800s and is inspired by true events, Oscar-winner Viola Davis stars as Nanisca, general of an all-female band of warriors known as the Agojie. Tasked with protecting the African kingdom of Dahomey and its ruler (John Boyega), Nanisca and her trusted compatriots (Lashana Lynch and Sheila Atim) train the next generation of recruits (including Thuso Mbedu). They must prepare for battle against a rival kingdom set on conquering Dahomey with the help of colonizing slavers.
The verdict: After a sluggish few weeks at the box office, The Woman King has the potential to be a big crowd pleaser. The combination of palace intrigue, harrowing fight sequences and fully fleshed out characters feels like water in the desert considering there hasn’t been a high-profile studio release since August 5’s Bullet Train.
There are definitely shades of Black Panther here, but underrated director Gina Prince-Bythewood and screenwriter Dana Stevens (who shares story credit with Maria Bello) go to great lengths to give this film its own tone and personality. I’ve been a big fan of Prince-Bythewood for years (Beyond the Lights is one of my favorites), but she elevates her skill to an entirely new level here.
Davis is fantastic as always – clearly relishing the chance to play an action hero at this stage in her career – but Mbedu, Lynch and Atim make memorable impressions too. I’m not sure about the awards potential for this one so early in the season, but I’d love to see Davis and Lynch in the Best Actress and Best Supporting Actress discussions, respectively.
Grade: B+
See How They Run
(Rated PG-13 for some violence/bloody images and a sexual refence. Opens in theaters on September 16.)
The premise: In 1950s London, plans for a movie version of Agatha Christie’s hit play The Mousetrap are jeopardized after a crucial member of the crew is murdered. When a jaded inspector (Sam Rockwell) and his eager rookie partner (Saoirse Ronan) take on the case, they discover a puzzling mystery where everyone connected to the victim is a suspect.
The verdict: A bit like Knives Out directed by Wes Anderson (although it’s actually from Tom George), this quirky, rapid-fire whodunit is boosted by its stellar cast and Mark Chappell’s sharp screenplay. Rockwell and Ronan are always a blast to watch, and their dynamic here is particularly endearing. The world-weary veteran and fresh-faced protégé is a familiar trope, but the actors’ chemistry keeps it from feeling too clichéd.
The actors who portray the suspects/victims are obviously having fun with period garb and accents, but a few stand out. Adrien Brody is in his element as a sleazy Hollywood director; David Oyelowo is exasperating – in a good way – as a pretentious screenwriter; and Harris Dickinson (last seen in the sleeper hit Where the Crawdads Sing), shines as a fictionalized, hilariously egotistical version of real-life actor Richard Attenborough.
Although the big reveal is somewhat anticlimactic, the frenzied journey to that point is entertaining enough that it didn’t bother me too much. See How They Run serves as a perfectly acceptable appetizer until Glass Onion, Rian Johnson’s highly anticipated Knives Out sequel, opens later this year.
Grade: B
Confess, Fletch
(Rated R for language, some sexual content and drug use. Opens in theaters on September 16, also available On Digital and On Demand.)
The premise: In this new take on Gregory McDonald’s popular novel series, Jon Hamm plays roguishly charming investigative journalist Irwin M. Fletcher (assuming the mantle from Chevy Chase, who portrayed the character in the 1980s). While searching for a stolen art collection, Fletch becomes the prime suspect in a murder investigation. Despite proclaiming his innocence and offering to help with the case, the cops (Roy Wood Jr. and Ayden Mayeri) on his trail still think he’s hiding something.
The verdict: In the interest of full disclosure, I should probably start by saying I’ve never read McDonald’s books or – sacrilege alert, considering I’m an ’80s kid – seen Chase’s Fletch movies. Since I’d made it this long without experiencing them, I thought it would be an interesting experiment to go into Confess, Fletch with zero context or expectations. As a result, I had a really good time with the flick.
The barely-there mystery at the heart of the plot (I guessed the real murderer early on) is essentially an excuse to cast a bunch of recognizable actors and let them bounce off one another, but I’m not complaining when the performances are this fun. Anyone who has seen Hamm in Mad Men, Bridesmaids or this summer’s blockbuster hit Top Gun: Maverick knows the actor is great at playing jerks. However, while his interpretation of Fletch isn’t a full-fledged hero, the character’s a lot more charming and funny than he typically gets to play.
Leading man is a good fit for Hamm, so I hope Confess, Fletch does well enough that we get to see him play the character again. It was also a thrill to see him reunite with his Mad Men co-star John Slattery, fantastic as Fletch’s friend and former editor. Wood, a comedian best known for his work on The Daily Show, is also strong playing against expectations in a straight-man role. He still gets to be funny, but his delivery is much drier compared to Hamm’s sarcastic tone.
The pandemic delayed Confess, Fletch and also altered its release strategy, so it’s kind of frustrating that the film is opening against the aforementioned See How They Run. While the two comedic mysteries are unfortunately pitted against each other, they’d actually make a solid double-feature. I recommend making an afternoon of it and checking them both out.
Grade: B+
(Rated PG-13 for sequences of strong violence, some disturbing material, thematic content, brief language and partial nudity. Opens in theaters on September 16.)
The premise: In this epic drama, which takes place in the early 1800s and is inspired by true events, Oscar-winner Viola Davis stars as Nanisca, general of an all-female band of warriors known as the Agojie. Tasked with protecting the African kingdom of Dahomey and its ruler (John Boyega), Nanisca and her trusted compatriots (Lashana Lynch and Sheila Atim) train the next generation of recruits (including Thuso Mbedu). They must prepare for battle against a rival kingdom set on conquering Dahomey with the help of colonizing slavers.
The verdict: After a sluggish few weeks at the box office, The Woman King has the potential to be a big crowd pleaser. The combination of palace intrigue, harrowing fight sequences and fully fleshed out characters feels like water in the desert considering there hasn’t been a high-profile studio release since August 5’s Bullet Train.
There are definitely shades of Black Panther here, but underrated director Gina Prince-Bythewood and screenwriter Dana Stevens (who shares story credit with Maria Bello) go to great lengths to give this film its own tone and personality. I’ve been a big fan of Prince-Bythewood for years (Beyond the Lights is one of my favorites), but she elevates her skill to an entirely new level here.
Davis is fantastic as always – clearly relishing the chance to play an action hero at this stage in her career – but Mbedu, Lynch and Atim make memorable impressions too. I’m not sure about the awards potential for this one so early in the season, but I’d love to see Davis and Lynch in the Best Actress and Best Supporting Actress discussions, respectively.
Grade: B+
(Rated PG-13 for some violence/bloody images and a sexual refence. Opens in theaters on September 16.)
The premise: In 1950s London, plans for a movie version of Agatha Christie’s hit play The Mousetrap are jeopardized after a crucial member of the crew is murdered. When a jaded inspector (Sam Rockwell) and his eager rookie partner (Saoirse Ronan) take on the case, they discover a puzzling mystery where everyone connected to the victim is a suspect.
The verdict: A bit like Knives Out directed by Wes Anderson (although it’s actually from Tom George), this quirky, rapid-fire whodunit is boosted by its stellar cast and Mark Chappell’s sharp screenplay. Rockwell and Ronan are always a blast to watch, and their dynamic here is particularly endearing. The world-weary veteran and fresh-faced protégé is a familiar trope, but the actors’ chemistry keeps it from feeling too clichéd.
The actors who portray the suspects/victims are obviously having fun with period garb and accents, but a few stand out. Adrien Brody is in his element as a sleazy Hollywood director; David Oyelowo is exasperating – in a good way – as a pretentious screenwriter; and Harris Dickinson (last seen in the sleeper hit Where the Crawdads Sing), shines as a fictionalized, hilariously egotistical version of real-life actor Richard Attenborough.
Although the big reveal is somewhat anticlimactic, the frenzied journey to that point is entertaining enough that it didn’t bother me too much. See How They Run serves as a perfectly acceptable appetizer until Glass Onion, Rian Johnson’s highly anticipated Knives Out sequel, opens later this year.
Grade: B
(Rated R for language, some sexual content and drug use. Opens in theaters on September 16, also available On Digital and On Demand.)
The premise: In this new take on Gregory McDonald’s popular novel series, Jon Hamm plays roguishly charming investigative journalist Irwin M. Fletcher (assuming the mantle from Chevy Chase, who portrayed the character in the 1980s). While searching for a stolen art collection, Fletch becomes the prime suspect in a murder investigation. Despite proclaiming his innocence and offering to help with the case, the cops (Roy Wood Jr. and Ayden Mayeri) on his trail still think he’s hiding something.
The verdict: In the interest of full disclosure, I should probably start by saying I’ve never read McDonald’s books or – sacrilege alert, considering I’m an ’80s kid – seen Chase’s Fletch movies. Since I’d made it this long without experiencing them, I thought it would be an interesting experiment to go into Confess, Fletch with zero context or expectations. As a result, I had a really good time with the flick.
The barely-there mystery at the heart of the plot (I guessed the real murderer early on) is essentially an excuse to cast a bunch of recognizable actors and let them bounce off one another, but I’m not complaining when the performances are this fun. Anyone who has seen Hamm in Mad Men, Bridesmaids or this summer’s blockbuster hit Top Gun: Maverick knows the actor is great at playing jerks. However, while his interpretation of Fletch isn’t a full-fledged hero, the character’s a lot more charming and funny than he typically gets to play.
Leading man is a good fit for Hamm, so I hope Confess, Fletch does well enough that we get to see him play the character again. It was also a thrill to see him reunite with his Mad Men co-star John Slattery, fantastic as Fletch’s friend and former editor. Wood, a comedian best known for his work on The Daily Show, is also strong playing against expectations in a straight-man role. He still gets to be funny, but his delivery is much drier compared to Hamm’s sarcastic tone.
The pandemic delayed Confess, Fletch and also altered its release strategy, so it’s kind of frustrating that the film is opening against the aforementioned See How They Run. While the two comedic mysteries are unfortunately pitted against each other, they’d actually make a solid double-feature. I recommend making an afternoon of it and checking them both out.
Grade: B+
Reach out to Josh Sewell on Twitter @IAmJoshSewell
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