by Josh Sewell
Golda
(Rated PG-13 for thematic material and pervasive smoking. Opens in select theaters on August 25.)
Golda Meir, who remains the only female Prime Minister in Israel’s modern existence, is a fascinating political figure whose life and career more than warrants the big screen treatment. Although various television movies and plays have attempted to tackle her story, this weekend’s Golda (starring the great Helen Mirren in the titular role) might be the most high-profile. That’s why it’s so disappointing that, despite Mirren’s terrific performance, the film is a standard paint-by-numbers historical drama.
As with Steven Spielberg’s Lincoln, screenwriter Nicholas Martin (Florence Foster Jenkins) eschews a birth-to-death account, instead focusing on one of the most pivotal events of Meir’s political career. The dramatic thriller is set during the harrowing 19 days of the Yom Kippur War in 1973, when Israel is faced with the possibility of total annihilation.
To save her country, Meir must navigate a shrewd enemy, a divided cabinet and a complex relationship with the United States, represented by Secretary of State Henry Kissinger (Liev Schreiber). Meir’s tough leadership, mixed with surprising moments of compassion, ultimately saves her nation. However, it leaves her with a controversial legacy around the world.
Much like Christopher Nolan’s recent smash hit Oppenheimer, this film is essentially a bunch of scenes with people talking in rooms. In both cases, these conversations have global ramifications, changing the course of history and geopolitics.
However, where Nolan makes these talks feel epic, Golda director Guy Nattiv’s effort makes everything feel bland and claustrophobic. That’s frustrating when you consider these meetings are full of arguments and strategic decisions about battle that – while ultimately successful – result in thousands of dead or wounded Israeli soldiers. That shouldn’t feel dull.
Mirren does what she can (which is a lot) to elevate the material above the traditional biopic, but it doesn’t help that she’s buried under layers of iffy makeup and prosthetics. I’m not sure why the movie goes to such lengths to deglamorize the gorgeous actress, yet Schreiber basically looks like himself as Kissinger (a man who in no way resembles the handsome actor). It’s a weird, contradictory choice.
Still, Golda taught me a bit about a pivotal moment in world history, so I appreciate it in that respect. I’m just not sure it’s a strong enough film to break out with mainstream moviegoers, even in the relatively slow end-of-summer days at the box office.
Grade: C+
Blue Beetle
(Rated PG-13 for sequences of action and violence, language and some suggestive references. Now playing in theaters.)
It’s a shame that DC’s cinematic universe finally started to course-correct just as everything crashed and burned. I know Zack Snyder’s interpretation of superheroes like Superman and Batman had their admirers (who are extremely vocal on social media), but I had very little interest in an ultra-bleak, fascist take on such beloved characters.
There were a lot of hills and valleys along the journey. For every Wonder Woman, Birds of Prey and James Gunn’s The Suicide Squad sequel, viewers also got the OG Suicide Squad, two different mediocre versions of Justice League and a bland Black Adam. I thought Wonder Woman 1984 was pretty good, but I was definitely in the minority based on critical and audience reception.
That’s why it’s such a bummer that The Flash, which was silly fun (despite its problematic star and troubled production) tanked and Blue Beetle looks to follow in its footsteps, even though it might be the most warm, heartfelt DC entry so far. I would’ve enjoyed seeing the continuing adventures of these compelling characters, but there’s no telling what their future looks like considering the studio is in the midst of strikes and headed by a clueless CEO.
The new superhero flick centers on recent college grad Jaime Reyes (Xolo Maridueña), who returns home full of enthusiasm for what lies ahead, only to discover his family is on the verge of financial ruin. Fate intervenes when the Scarab, an ancient alien biotechnology, chooses Jaime to be its symbiotic host. Bestowed with superpowers and otherworldly armor, he must protect his family (played by Damián Alcázar, Elpidia Carrillo, Belissa Escobedo, Adriana Barraza and George Lopez) from a corporate warmonger (Susan Sarandon) determined to destroy everything he loves if it helps achieve her goal.
While it still has plenty of dark moments, Blue Beetle stands apart from previous grim DC films thanks to a goodhearted nature and a strong emphasis on the importance of family. Maridueña is endearing as Jaime, so it makes sense Gunn wants to keep him around in whatever the semi-rebooted DC universe looks like.
He’s terrific in his scenes with the actors who play his family (especially Lopez as his uncle and Escobedo as his younger sister). He’s also got scorching chemistry with the stunning Bruna Marquezine, as the villain’s estranged niece who inadvertently gets Jamie involved in all this superhero mess in the first place.
Although director Angel Manuel Soto and writer Gareth Dunnet-Alcocer end up following the traditional hero’s journey almost step-by-step (they clearly “borrowed” ideas from Iron Man, Spider-Man, Venom and other similar flicks), Blue Beetle is still a fun, heartfelt entry in the comic book genre. Too bad it came along just as audiences seem to be getting superhero fatigue.
Grade: B+
(Rated PG-13 for thematic material and pervasive smoking. Opens in select theaters on August 25.)
Golda Meir, who remains the only female Prime Minister in Israel’s modern existence, is a fascinating political figure whose life and career more than warrants the big screen treatment. Although various television movies and plays have attempted to tackle her story, this weekend’s Golda (starring the great Helen Mirren in the titular role) might be the most high-profile. That’s why it’s so disappointing that, despite Mirren’s terrific performance, the film is a standard paint-by-numbers historical drama.
As with Steven Spielberg’s Lincoln, screenwriter Nicholas Martin (Florence Foster Jenkins) eschews a birth-to-death account, instead focusing on one of the most pivotal events of Meir’s political career. The dramatic thriller is set during the harrowing 19 days of the Yom Kippur War in 1973, when Israel is faced with the possibility of total annihilation.
To save her country, Meir must navigate a shrewd enemy, a divided cabinet and a complex relationship with the United States, represented by Secretary of State Henry Kissinger (Liev Schreiber). Meir’s tough leadership, mixed with surprising moments of compassion, ultimately saves her nation. However, it leaves her with a controversial legacy around the world.
Much like Christopher Nolan’s recent smash hit Oppenheimer, this film is essentially a bunch of scenes with people talking in rooms. In both cases, these conversations have global ramifications, changing the course of history and geopolitics.
However, where Nolan makes these talks feel epic, Golda director Guy Nattiv’s effort makes everything feel bland and claustrophobic. That’s frustrating when you consider these meetings are full of arguments and strategic decisions about battle that – while ultimately successful – result in thousands of dead or wounded Israeli soldiers. That shouldn’t feel dull.
Mirren does what she can (which is a lot) to elevate the material above the traditional biopic, but it doesn’t help that she’s buried under layers of iffy makeup and prosthetics. I’m not sure why the movie goes to such lengths to deglamorize the gorgeous actress, yet Schreiber basically looks like himself as Kissinger (a man who in no way resembles the handsome actor). It’s a weird, contradictory choice.
Still, Golda taught me a bit about a pivotal moment in world history, so I appreciate it in that respect. I’m just not sure it’s a strong enough film to break out with mainstream moviegoers, even in the relatively slow end-of-summer days at the box office.
Grade: C+
(Rated PG-13 for sequences of action and violence, language and some suggestive references. Now playing in theaters.)
It’s a shame that DC’s cinematic universe finally started to course-correct just as everything crashed and burned. I know Zack Snyder’s interpretation of superheroes like Superman and Batman had their admirers (who are extremely vocal on social media), but I had very little interest in an ultra-bleak, fascist take on such beloved characters.
There were a lot of hills and valleys along the journey. For every Wonder Woman, Birds of Prey and James Gunn’s The Suicide Squad sequel, viewers also got the OG Suicide Squad, two different mediocre versions of Justice League and a bland Black Adam. I thought Wonder Woman 1984 was pretty good, but I was definitely in the minority based on critical and audience reception.
That’s why it’s such a bummer that The Flash, which was silly fun (despite its problematic star and troubled production) tanked and Blue Beetle looks to follow in its footsteps, even though it might be the most warm, heartfelt DC entry so far. I would’ve enjoyed seeing the continuing adventures of these compelling characters, but there’s no telling what their future looks like considering the studio is in the midst of strikes and headed by a clueless CEO.
The new superhero flick centers on recent college grad Jaime Reyes (Xolo Maridueña), who returns home full of enthusiasm for what lies ahead, only to discover his family is on the verge of financial ruin. Fate intervenes when the Scarab, an ancient alien biotechnology, chooses Jaime to be its symbiotic host. Bestowed with superpowers and otherworldly armor, he must protect his family (played by Damián Alcázar, Elpidia Carrillo, Belissa Escobedo, Adriana Barraza and George Lopez) from a corporate warmonger (Susan Sarandon) determined to destroy everything he loves if it helps achieve her goal.
While it still has plenty of dark moments, Blue Beetle stands apart from previous grim DC films thanks to a goodhearted nature and a strong emphasis on the importance of family. Maridueña is endearing as Jaime, so it makes sense Gunn wants to keep him around in whatever the semi-rebooted DC universe looks like.
He’s terrific in his scenes with the actors who play his family (especially Lopez as his uncle and Escobedo as his younger sister). He’s also got scorching chemistry with the stunning Bruna Marquezine, as the villain’s estranged niece who inadvertently gets Jamie involved in all this superhero mess in the first place.
Although director Angel Manuel Soto and writer Gareth Dunnet-Alcocer end up following the traditional hero’s journey almost step-by-step (they clearly “borrowed” ideas from Iron Man, Spider-Man, Venom and other similar flicks), Blue Beetle is still a fun, heartfelt entry in the comic book genre. Too bad it came along just as audiences seem to be getting superhero fatigue.
Grade: B+
Reach out to Josh Sewell on Twitter @IAmJoshSewell
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