Tag: Based on True Events

THE BEANIE BUBBLE – Review

Well from the sea of pink still filling multiplex lobbies all across the country it appears that moviegoers are wild about toy property-based movies. Perhaps we can officially call it a genre. And this new film could be a “sub-genre” as it details the creation of a beloved plaything in, well not a docudrama, but more like a “docu-comedy”. This new flick is perhaps closer to TETRIS (same producers), with elements of AIR and BLACKBERRY. Making it more engaging is that it was something of a pop culture “craze”, maybe even a “fad”. And it also benefits from a cast with some major comedy “creds”. They’re all involved with the tiny dolls that collectors thought were a big investment, which, in turn, created and inflated THE BEANIE BUBBLE.


That refers, of course, to the Beanie Babies, a 1990s sensation spearheaded by company spokesman (and face of the fad), Ty Warner (Zach Galifianakis). But, this isn’t a standard “bio-pic” about the man on the “tags”. Instead, the film is focused on three women who made a big impact on his personal and business life. The structure jumps about through a decade or so timeline, so I’ll zero in on the first of the ladies, Ty’s neighbor in their high-rise apartment building, Roberta AKA Robbie (Elizabeth Banks). She’s rushing between her job as an auto mechanic and her duties at home where she tends to her wheelchair-bound hubby. Then Ty befriends her and brings her into his fledgling toy business, a niche stuffed version of Himalayan cats. Robbie proves to be a superb saleswoman and is pivotal in the idea to make smaller animals plushes that aren’t stuffed to the seams with foam. Maybe more like the “beans” in beanbag chairs, though very ‘floppy”. Soon she and Ty are a real “couple” as the line grows. Enter med student Maya (Geraldine Viswanathan) who is hired on as an intern. Ty enlists her to “work the desk” at a toy trade show. There he sees her using a “hook” to reel in retailers. Maya cons them with stories of investors making tons of money by scooping up these “limited edition” variants whose value increases (y’know like Action Comics #1). Besides having the “gift of gab”, Maya is forward-thinking and designs a Beanie site for the just emerging worldwide web. This is also fueled by another burgeoning site, eBay. The expansion, and fractured relationship with Robbie, leads to Shelia (Sarah Snook), who is a lighting designer working on Ty’s big fancy new mansion. After a terse first meeting, Ty begins to romantically pursue the single mother of two adorable preteen girls (who contribute ideas for new Beanies). The lives of all four intertwine as the stock keeps rising and Maya awaits the inevitable collapse. Ah, but those critters are too cute, so it can’t happen, right?

And since they inspire the “chapter headings” for the story, I’ll start with the trio of talented actresses involved. Banks, who has an impressive directing resume, is a true force of nature as the tough but also kind-hearted Robbie. We see the conflict across her furrowed brow as the lure of wealth attached to Ty begins to dissolve a very difficult marriage. It’s clear that Robbie yearns to spread her wings despite the stifling pangs of painful guilt. When Ty shows his true nature, Banks makes Robbie a seeker of justice and equality. Much of that could apply to Viswanathan as the initially bright-eyed and eager Maya, who also has a dream beyond the medical career her parents have planned for her. There’s the delight in her smile as an idea blossoms and bears fruit, mainly in her early internet ambitions. And then Ty squelches them, and Maya must find her own way out before the kingdom crumbles. Much of that escape applies to Snook as Shelia, who fortifies a wall between her and the amorous Ty, only to have it be slowly chipped away by his charm and flattery, plus his bond with her beloved daughters. She’s isolated from his shaky company dealings, but eventually, Shelia has to tell him that she’s not in need of a new child, especially a “man-child”. And as the man in the center of their stories, Galifianakis gets to showcase his dramatic skills alongside his impressive comedic “chops”. His version of Ty is a swaggering peacock, always looking in mirrors to see if a “touch-up” is needed (and even suggesting one for his future stepdaughter), while looking to promote himself and gobble up all the glory (and cash). He even believes that his ego can stop the gradual downslide started by public disinterest. Mr. G truly immerses himself in the role, trading in his scruffy beard for a black pompadour and big dark-framed glasses, offset by a variety of wild pastel suits and ascots.


Unlike the aforementioned AIR and TETRIS, this isn’t a story of triumph, but the sharp direction and a clever script keep us engaged in this rags-to-riches-to-rags cautionary fable. Co-helming the film (with director Damiian Kulash) and penning the screenplay adaptation of the Zac Bissonnette book is Kristin Gore. And yes, she’s the daughter of former veep Al Gore, who is branching into features after a long stint on the writing staff of the witty TV series “Futurama”. She smartly juggles the timeline and switches the focus from one woman to the other until it all seems to converge and intersect in surprising ways. Sure, there are laughs garnered by the fashions of the 90s along with the “ancient” tech (the long screech while you’re sent to the world wide web), and the use of actual archival news footage of retail riots, but Gore really gets to the emotional heart of the characters (Shelia’s “wake-up” rant to Ty). It all makes for a briskly paced true-life romp that has us rooting for the heroines even as we know of the product’s eventual fate. THE BEANIE BUBBLE is bursting with terrific acting and insightful dialogue. You could say that it is not at all over-stuffed.

3 Out of 4

THE BEANIE BUBBLE is now playing in select theatres and it streams exclusively on AppleTV+ beginning on Friday, July 28, 2023.

DEVOTION(2022) – Review

It’s important to keep in mind when sitting down to the big holiday meal in a day or so, that many families will have a temporary missing seat at the table. That’s the case with so many households with loved ones serving in the military. And then there’s the empty seat that goes from temporary to permanent. This Thanksgiving weekend’s new film release touches on that with a tale of real-life heroism in the sky. Oh, but it’s not another TOP GUN wannabe, although it features one of the recent sequel’s hunky young stars. This is based on a conflict 72 years in the past. And, as I said, it’s all true concerning a group of men who possess a very special kind of DEVOTION.


The saga starts at a naval air base in Rhode Island as Navy fighter pilot Tom Hudner (Glen Powell) arrives for his new assignment. After checking in with his CO Dick Cevoli (Thomas Sadoski), Tom heads to the locker room and nearly runs into another pilot Jesse Brown (Jonathan Majors). He’s the only African American flyer Tom’s ever met, but the men find they have much in common. Ditto for the rest of the elite squadron. However, Brown rarely socializes with his co-workers (he doesn’t even drink), preferring to spend all of his time with his wife Daisy (Christina Jackson), and their toddler daughter in their rented house. One night, Tom sees Jesse stranded after his car breaks down and offers him a lift home where Tom and Daisy share a beer. Soon after, time at the base gets more intense as Korea becomes a “hot zone. The whole squadron must get familiar with their new Corsair fighter jets in preparation for the “big show”. And things pick up even more when the squad is transferred to an aircraft carrier off the coast of Italy, where Brown must deal with on-deck landings and a group of racist Marines. Tom offers his help, but Jesse wants no special treatment. Everybody has a relaxing shore leave in Cannes, France (and rubs shoulders with an iconic silver screen starlet), But Tom and Jesse butt heads over dealing with equality and confronting prejudice. This flares up in Korea when Jesse ignores orders from Tom (put temporarily in command) during a bombing raid on a bridge. But they’ve got to put their “beefs” aside when they’re sent to back up ground troops during a deadly battle with an overwhelming horde of Chinese forces. Can they become a tight team and make it back home alive?

This story provides another terrific role for a star on the rise, Majors (he’ll soon face off against CREED before, reportedly, taking on the Avengers). His Brown is often quiet, even stoic, but we see that his emotions are bubbling beneath the surface. When he does vent, in a powerful solo sequence facing the camera as a mirror, Majors is riveting and heartbreaking as he rattles off a litany of racist bile he’s endured. Yet he also shows his tender side with his two loves (other than flying), Daisy and his sweet baby. When seeing this, Powell as Tom subtly sneaks in an envious grin. Yes, in many of the scenes, particularly with the French ladies, he’s got that Han Solo roguish charm, but Powell gives us much more of the inner soldier loyalty, building on his scene-stealing turn in the last TOP GUN flick. Sadoski projects a patriarchal warmth as the best “old man” these hotshots could ever hope to follow. He’s tough but doesn’t hide his pride and affection for his “guys”. And speaking of affection, Jackson shines as the apple of Jesse’s eye, who quietly worries for her spouse, but tries to coat her fear with a sassy, “no BS” demeanor. We also get an energetic group of young actors, including pop star Joe Jonas, who provide superb support for the lead duo.

Director J.D. Dillard has ably recreated the nostalgic look of the early 1950s tempered with the rise of tension in the early start of the “Cold War” (and those frozen Korean battlefields illustrate it). He shows us the monotony of the constant readiness for that siren to blare, ushering the guys into their cockpits. The screenplay by Jake Crane and Jonathan Stewart, adapting Adam Makos’ book, avoids several flying ace cliches while giving the Browns a rich, romantic backstory. At times the film gets bogged down with too many heated exchanges between Jesse and Tom over the racial bias of the era. Oh, but when this film gets airborne, it soars. with scenes almost as stunning, well as that other aerial epic from a few months ago. The planes twirl and twist, breaking formation and cutting the clouds from every possible angle. The dog fights are just as deadly as the ones in that “galaxy far far away”, and the sequence with the pilots making practice landings in their new rigs is a tense nail-biter. It all leads to an ending that’s a true emotional “gut punch”. It makes us wonder whether if in the similar type of situation, we’d have the same level of DEVOTION.


3 Out of 4

DEVOTION is now playing in theatres everywhere

AMERICAN UNDERDOG – Review

Anna Paquin as Brenda Warner and Zachary Levi as Kurt Warner in American Underdog: The Kurt Warner Story. Photo Credit: Michael Kubeisy/Lionsgate

So, you’ve survived the big holiday rush and are feeling a bit restless after the big meal. Perhaps you usually recoup by watching one of several football games on the tube that afternoon. But what if you’re not that invested in the match-ups and just want to get out of the house for a bit? Well, why not combine the two by taking in a new flick at the multiplex…one all about football. Oh, but it’s not a fictional tale of a group of “ragtag’ misfits pulling together for a beloved but often cranky coach. No, it’s all true, a sports biopic, but also a love story in the vein of the classic PRIDE OF THE YANKEES, minus the disease finale. And unlike that “chestnut, this man’s story is still “being written”. So, as all the details are revealed it becomes clear why the title is AMERICAN UNDERDOG..

It all starts with a young boy’s dream of tossing the ole “pigskin” like his idols on TV. That lad studying the tube and practicing his throw grows into the quarterback for the University of Northern Iowa Panthers, Kurt Warner (Zachary Levi). After much prodding from a teammate pal, he sets aside his studies and practice for an evening at a local country-western bar. And that is where he meets her, Brenda Meoni (Anna Paquin). He’s so gobsmacked that his buddy teaches him line dancing in order to join her on the dance floor. The former marine and current nursing student is stunned when Kurt shows up on her doorstep with a rose. That day he meets her mama along with her two children from a previous marriage, sweet five-year-old daughter Jesse and ten-year-old son Zack who is legally blind. The kids, especially Zack, bond with him immediately, so the ‘gun-shy” Brenda agrees to date him. Their budding romance is tested over the next four years as Kurt tries to get a shot at the NFL Then finally the Green Bay Packers tap him for a tryout. But his time is short there, as the coach sends him back home after just two days. Brenda’s family lets him stay in their basement as he stocks groceries at night while still dreaming of another opportunity. And it happens, not with the NFL though. The scrappy owner of the Iowa Barnstormers, a team in the AFL(Arena Football League), Jim Foster (Bruce McGill) offers him a contract. After barely scraping by, Kurt takes the job despite the hardships of traveling on his new family. Eventually, he marries Brenda just as a rep for the NFL’s St. Louis Rams comes to see him. And though he’s a bit “long in the tooth” for a rookie, he works with coach Dick Vermeil (Dennis Quaid) as a backup quarterback. But things change when the first-string QB is injured. And though the media believes that he’s an “aging hack”, Kurt, buoyed by the love of Brenda, knows that this is his moment.

In the title role, Levi deftly balances the drama and athlete aspects involved in this story. He looks confident on the field, while also doing his best to prove his worth to his soulmate. He’s charming in their courtship and warms to the kids with no prodding. But he still has his frustrations as he looks wistfully at a box of Wheaties, thinking he’ll never adorn it. Luckily Levi has great chemistry with Paquin as the tough, world-weary Brenda. She’s touched by this lumbering “puppy dog’ even though her emotional wall is still solid. We see the sadness in her eyes as she opens up to Kurt about her first marriage. And Paquin doesn’t make her merely a devoted “cheerleader”, confronting him about his goals. They’re the heart of the film, ably assisted by a quartet of great teachers/ coaches to Kurt. Adam Ballwin is his growling bulldog-like college coach (“Stay in the pocket”). And just as tough, but more amusing is McGill as the larger-than-life Foster who’s got Foghorn Leghorn’s bluster paired with Scrooge McDuck’s wallet as he promises a “C-note” for every touchdown. But he’s a pushover compared to Rams coach Mike Martz, played with scowling intensity by Chance Kelly. Luckily he’s offset by the warm, father-like Vermeil played with a calm strength by Quaid, Their conversation in which he sees Kurt as a kindred spirit is an emotional highpoint of the film.

The direction by the brothers Erwin (Andrew and Jon) is brisk and confident, whether in the locker room or at the dinner table, making it an engrossing story for those with little interest in sports. Though many of the domestic scenes have the feel of a basic cable miniseries, the sprawling intensity of the game scenes elevates the story taking us right to the center of the action, and groaning with each tackle and “hit”. The script by Jon, Joe Gunn, and David Aaron Cohen adapting the book “All Things Possible” by Michael Silver and Kurt avoids many sports film cliches as we see how the relationship of the Warners endure through the dark dire times ( a scene on a snowy road is harrowing) right through the triumphs. And although the Erwins are mainly known for “faith-based” films, the message is never hammered home but is tackled with subtlety and sincerity. They show us how to move past the disappointments and tragedies of the past, often gaining strength from adversity and turning failure into determination. It’s inspiring and sweet without getting syrupy. As far as biographies go, AMERICAN UNDERDOG is often a solid scorer.

2.5 Out of 4

AMERICAN UNDERDOG opens in theatres everywhere on Christmas Eve

BEING THE RICARDOS – Review

JAVIER BARDEM, J.K. SIMMONS, NINA ARIANDA, and NICOLE KIDMAN star in BEING THE RICARDOS Photo: GLEN WILSON © AMAZON CONTENT SERVICES LLC

As awards season is now in full swing, just what subject is the source of the newest work by an Oscar-winning screenwriter and three Oscar-winning directors? An acclaimed literary classic, perhaps? Maybe a pivotal moment in history, eh? No, they’ve decided to shine their talents, and considerable “star power”, on … a TV show. Really? Well, it’s not just any bit of “video escapism”. Oh no, this is a “biggie”, a true icon, one that still influences all matter of media to this day. And it’s still on the air, either being broadcast or streamed or replayed in all recorded formats, from Beta to Bluray. In any list of the “greatest TV shows of all time” it’s placed near the very top. And during its “hay day”, it was garnering “Soper Bowl-sized’ ratings…every week. It could be called the “mother of all situation comedies”. Its stars Lucille Ball and Desi Arnaz, who were fairly well-known as a film star and a singer/bandleader before the show premiered, but they achieved “pop culture immortality” by BEING THE RICARDOS.


But rather than giving us a full biography of the stars or a year-by-year history of that TV show, the filmmakers decide to spotlight one production week, Sunday through Friday (filming day) of a 1953 episode of “I Love Lucy”. To tie things together, some recreated 1970’s talking heads interviews with the former writers and executive producer “frame” the drama with a running narration/commentary. Those trying times commence with the interruption of some pre-work romance by the last minutes of newspaper gossip Walter Winchell’s radio broadcast as he drops some not-so-subtle hints that America’s favorite TV “funny lady” is a “red” AKA a “Commie”. Needless to say that this destroys the mood for Lucy (Nicole Kidman) and Desi (Javier Bardem). The resulting “discussion” leads to another recent scandal, as a photo of Desi sharing drinks with a woman, not Lucy. has made the cover of “Confidential” magazine (recall “QT” from LA CONFIDENTIAL). He reminds Lucy that this was an old pic of him entertaining the daughter of their show’s sponsor. Still, Lucy has her suspicions over Desi’s claim that he was “playing cards” with the boys on their boat the previous night. But it’s back to work the next morning for a “read through” of that week’s script. There’s open animosity between co-stars Vivian Vance (Nina Arianda) and Bill Frawley (J.K. Simmons) who play the Ricardos’ neighbors Ethel and Fred Mertz. Plus the rivalry between writers Madelyn Pugh ( Alia Shawkat) and Bob Carroll (Jake Lacy) is in full force. Keeping them on track while keeping the stars, the network, and the sponsors happy is over-worked executive producer Jess Oppenheimer (Tony Hale). But a new bombshell soon drops on him. The show’s star duo informs him, along with the CBS and the other “money men”, that Lucille is pregnant. What will they do? How will it affect the show? But if this whole Communist headline isn’t squelched, will there even be a show? Perhaps the couple will be drummed out of “show biz”. You’d think that getting a show on “its feet” within five days is stressful enough!

Amidst all the social media bashing over the casting of these beloved, almost worshipped TV icons, the ensemble does a terrific job of not nearly mimicking, but bringing real humanity to them. At the forefront of the frenzy is Ms. Kidman, who may be scrutinized most of all. The “Lucy legion” need not fret, as her performance captures the comic genius while giving us a woman truly ahead of her time. And in certain shots, at certain angles, you’d think Mrs. Aranz was recreated ala CGI (much like another comic star in a recent “re-boot”). Kidman shows us the hard-working “pro”, the exacting perfectionist who dares to question her “role”. Despite the outlandish slapstick, she won’t throw out “logic” for a laugh. At times she seems to go into a “trance’ as we almost see through her eyes how she plans to “sell” a gag. There’s even a glimpse of Ball’s playful sexy “vibe’ in some steamy flashbacks. But best of all, we get her vulnerability as her old studio home at RKO “evicts” her, as she begins to fight to keep her marriage together (she doesn’t budge on casting Desi as “Ricky”). Kidman makes her the unstoppable “hero” of the story. And Bardem’s Desi is a big part of that. He conveys the wild, untamed passion of his nightclub act (with tables of swooning admirers. But we also see his “taming”, if only temporary, by the glamorous starlet (Bardem has a great “gobsmacked’ expression during their very “lengthy” first date). But we see his frustration via Bardem’s expert body language, as Desi’postwar movie dreams are dashed. But on the set of his sitcom, his shoulders broaden, as his finely tailored suits barely contain his new “swagger”. And pity those who try to patronize him as the affable Cuban turns into a roaring lion. These talented actors show us how this “power couple” generated laughter, ratings, and heat.

From left to right, Vivian Vance, William Frawley, Desi Arnaz (1917 – 1986) and Lucille Ball (1911 – 1989) on the popular television series ‘I Love Lucy’, circa 1955. (Photo by Pictorial Parade/Archive Photos/Getty Images)

The “ice” is created in the interactions between the show’s supporting couple. Simmons gives Frawley a “seen-it-all” snark as he tries to stay away from his “cups” while staying above the chaos. He’s even a warm father-like mentor to his boss and co-star Lucy. But he just can’t “get” his other co-star, played with annoyed energy by Arianda (so good as Mrs. Laurel in STAN AND OLLIE). Her Vivian is dismayed that Ethel is the brunt of jokes about her appearance, while nothing is made of the big age difference with her sitcom spouse. She wants her light to shine, but it must be dimmed next to the title role. Hale breaks out of his nebbish former TV roles in “Arrested Development” and “Veep”, as the no-nonsense producer Jess. His intense glare tells us that he will do his job and won’t be intimidated by anyone, especially the “stars”. His “AD” castmate Shawkat is terrific as the lone female writer in a mostly male talent pool. She won’t be pushed aside even as she tells Lucy of her fight to keep her character from being “infantile”. And there’s a teasing rivalry/attraction with Lacy as her scheming co-writer/partner, who delights in claiming credit, even as he hesitates on presenting new ideas.

The Oscar-winner in charge is lauded screenwriter turned director (this is his third feature) Aaron Sorkin. Sure, he indulges in his “talky-walky” penchant that he used most famously in his own TV show “The West Wing”, as Desi and company argue through endless hallways behind studio sets. But here it feels somewhat natural to the frantic pace of doing a weekly show. In a wise move, he eschews the usual bio-format (“this happened which let to this…then this…”) to focus on a five-day period (similar to what Spielberg did with LINCOLN). The idea somewhat stumbles by pushing too many things in the time frame, as those scandals didn’t rally “pile-up’ over one episode. But it can be chalked up to the need for “dramatic conflict” (I’d hope the rest of their ‘season” was a “cake-walk”). Although a final confrontation between the main duo seems highly implausible. Plus the story is “fleshed-out” with those aforementioned “flashbacks” as we get a handle on the romance of Lucy and Desi. But there’s also a “flash-forward’ as Lucy imagines what will be a signature scene, though I’d have enjoined another “forward” of her buying RKO after they gave her the “boot”. Happily, the era is expertly recreated via the talented production artisans (nice to see the Ricardos tiny living room in color) and the lush cinematography from Jeff Cronenweth. Oh, and those fashions from Susan Lyall are stunning, too. I may quibble with what’s left out, but the cast really delivers, giving us an inside look into the very real people who kept us entertained for over 70 years by BEING THE RICARDOS. Babaloooo!!

3.5 Out of 4

BEING THE RICARDOS opens in select theatres on Friday, December 10, 2021

THE LAST DUEL (2021) – Review

Matt Damon as Jean de Carrouges and Adam Driver as Jacques LeGris in 20th Century Studios’ THE LAST DUEL. Photo by Patrick Redmond. © 2021 20th Century Studios. All Rights Reserved.

Now, here’s some “end of the year” old-school Hollywood spectacle-blockbuster “award fodder”. It takes place over 600 years ago, a true-life medieval tale set in “days of old, when knights were bold”. And it turns out those armored warriors were a lot like folks today (as Us magazine loves to say, “Stars, they’re just like us”…sure). There are issues at the heart of this story that still resonate, even dominating the current debates and elections. Yes, this has lots of swordplay, but inflated egos fuel the flames of deadly combat. And the end result is helmed by a director known for historical epics like GLADIATOR (hey, his first film way back in 1977 was THE DUELLISTS), though many forget they he also was behind the camera on THELMA AND LOUISE. Add a trio of screenwriters which includes actors, directors, and producers and you’ve got a most interesting mix for the epic yet intimate THE LAST DUEL.

The “inspired by true events” tale begins in late 1300s France, mere moments before the big showdown between Sir Jean de Carrouges (Matt Damon) and Jacques de Gris (Adam Driver). As their aides assist them in donning their battle amour, countless spectators, including the royalty, line the long jousting field, as hundreds crowd around, many climbing the walls, of the massive venue. The scene shifts abruptly as the title chapter heading takes us back several years for Sir Jean’s version of the lead-up to this day. He and Jacques once fought side by side on the battlefield, pledging their loyalty and service to a member of the court of King Charles VI, Count Pierre (Ben Affleck). Later Jean returns to his family home, a castle crushed by weighty debts. He gets a visit from Jacques, who is now a tax collector for Pierre, and is warned of the hefty amount owed in back taxes. This reminds Jean that he has no heirs as his wife and only son passed away years ago. A visit to the disgraced Tribouville estate (Sir Robert had collaborated with enemies of the crown) prompts Jean to inquire about the family’s lovely single daughter, Marguerite (Jodie Comer). Eager to erase his tarnished name, Robert agrees to Jean’s marriage proposal and provides several prime pieces of land as a dowry. But it’s not long after the wedding that Jacques claims some of the property in lieu of back taxes. This drives a wedge between the old friends, as Jean even files a lawsuit. When that fails, Jean tries to mend fences by attending a festival in honor of Count Pierre. It’s there that Jacques meets and becomes somewhat smitten with Marguerite. His ardor leads to the incident that instigates their “fight to the death”. The film has two other chapter titles, with the events told from the perspective of both Jacques and Marguerite before the fateful clash of honor between the two former friends.

The power of the film is greatly bolstered by the talented cast of screen vets and a very promising newcomer. Regarding the actors, it may be best to start with the duo at the center of the title duel. Damon is quite compelling as the brusque, often boastful knight Jean, proudly trimming his beard to accent his jagged facial battle scar. He thinks of himself as a noble warrior for his country, though his plans for glory are hindered by his ego that’s paired with an obstinant streak. Away from battle, he rules his castle with an iron glove, showing little passion for his bride outside of the bed chambers (which is his own battlefield of thwarted procreation). As his BFF turned foe, Driver as Jacque is also a fearsome fighter, though he’s more dangerous out of the armor. He juggles many plots and schemes as he presents a different face to everyone. Driver gets a chance to display his comic skills as he joins the royal court debauchery with zeal while insulting all that dare to join him. And Driver certainly returns to “the dark side” in the different views of the “incident”. That scene is compelling and horrific thanks to the splendid performance by the aforementioned newcomer (a critical favorite in the lead on TV with “Killing Eve”, she made the leap to the movies with the very recent FREE GUY) Comer. She’s neither wilted victim nor “damsel in distress” as Marguerite, but rather a woman rebelling against the norms of the age. After enduring a passion-free marriage, her spirit is energized by the chance to manage the estate (she enjoys doing the books and getting her hands dirty). When the”event’ occurs she’s determined to stand up to those who would consider her “property”. Though she watches from the sidelines, Comer’s eyes and body language tell us that she’s right there in the thick of the fight. And though we see little of him in the “Jean chapter”, Affleck shines in one the year’s great supporting performances as the endearingly arrogant and lecherous Pierre. He steals nearly all of his scenes, whether reading prose to a belittled pack of dinner guests or as he tops off the evening with a naked multi-partnered bedroom romp (while his very pregnant wife sleeps next door). With his blonde hair, Affleck is the campiest “Queen B”. Rounding out the cast is Harriet Walter as the toxic mother-in-law of Marguerite.

Yes, this is the latest work from veteran filmmaker Ridley Scott (he’s now in his fifth decade behind the camera), who teams again with Damon (THE MARTIAN) for a riveting big screen (really try and catch it on the biggest one possible) entertainment with a most contemporary message (don’t be put off, thinking it’s too “woke”). Of course he’s got an excellent “map’ in the form of the screenplay adaptation (from the book by Eric Jager) by Damon, Affleck (their first collaboration since the Oscar-winning GOOD WILL HUNTING), and Nicole Holofcener (celebrated writer/director of ENOUGH SAID). It was a wise move to get such a team since the film hinges on three distinct interpretations of the “insult”. It’s amazing that a 1300s story can relate so well to the current climate, as middle-aged and elderly (often white) men make ludicrous declarations concerning the female reproductive system. Plus we get to see exchanges through the eyes of a “predator” who can’t fathom the idea of rejection from a woman. It’s incisive and smart, while never insisting that either of the duellists is wholly good (one is perhaps greatly delusional). We’re getting a lot more than a “gritter” take on the kings and knights epic. Oh but, the duel itself is more than worth the build-up, making us wince in pain as we try to avert our eyes (it’s not just about knocking you off your steed) to the brutality. Every artist excels in recreating the time period, from make-up to art direction to costume design. Plus the story really comes to life thanks to the subtle scoring of Harry Gregson-Williams, the cinematography of Darlusz Wolski, and the superb editing of Claire Simpson. Everything and everyone truly works at the top of their skills to make the medieval but very relevant THE LAST DUEL one of this year’s best films.

4 Out 4

THE LAST DUEL is now playing in theatres everywhere

THE EYES OF TAMMY FAYE (2021) – Review

Andrew Garfield as “Jim Bakker” and Jessica Chastain as “Tammy Faye Bakker” in the film THE EYES OF TAMMY FAYE. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

Though Summer’s in its last week or so, the studios have moved on to another season. Not Fall, but a bit closer to Winter as the “awards season” flicks begin to trickle in and nudge the big escapist blockbusters aside (though they’ll capture most of the screens at your multiplex). And what’s ‘catnip” to those academy voters (and many critics)? Why, the big screen biography genre has gotten more than its fair share of the gold. Now, this week’s flick almost slides into the “show biz-bio” heading, though its subject dominated the news headlines on the front page perhaps more than the features in the entertainment section. Ah, but she was certainly fodder for many comics and mimics. Yes, it’s hard to imagine, but at the end of the 20th century, you’d have a tough time trying not to stare into THE EYES OF TAMMY FAYE.

The film begins in a much-frequented spot for the title subject, namely a backstage makeup room (we’re not sure if it’s at a theatre or a TV studio). Tammy Faye Baker (Jessica Chastain) is getting “dolled-up” by a makeup artist, who sounds surprised by the different “cosmetic enhancements” that she’s done. Quick cut to several decades earlier in the 1950s, as then pre-teen Tammy LaVallery hears the “siren call” of a backwoods church in full “revival mode”.Mother Rachel (Cheery Jones) insists she not attend (since she’s the result of a previous marriage that ended in divorce), but the wide-eyed child is like a “moth to a flame”. Spring ahead to 1960, as Tammy meets and falls in love with another student, aspiring pastor Jim Baker (Andrew Garfield). They marry and move in with her mother. It’s there that Tammy fashions a set of puppets in order to spread the gospel to small children. The married duo travels the revival circuit with their Bible-based kids’ show, While in Virginia, Jim is transfixed by the dynamic Pat Robertson (Gabriel Olds) and his Christian Broadcasting Network (CBN) on TV. A chance meeting leads to the Bakers getting their own kids’ show on CBN. But Jim has ideas for a religious late evening “Tonight Show” style program he dubs “The 700 Club”. When Pat later takes over that show, with the aid of the powerful Jerry Falwell (Vincent D’Onofrio), Pat decides to go out on his own with the Praise The Lord (PTL) satellite network, anchored by the “PTL Club” starring himself and Tammy Faye. Money from call-in donations and business connections (known as their “partners”) pours in leading the Bakers into an opulent lifestyle as they expand with a “theme park”, Heritage USA. But the wealth doesn’t bring happiness as the couple drifts apart and Tammy spirals into a prescription drug dependency. And then the press and the feds start looking into “the books”…

The enormously talented Ms. Chastain shows us her incredible range by diving deep into a personality so often mocked and reviled. TF was an easy target for the late-night TV spoofs, so the easy route might have been caricature. But Chastain actually restores her humanity by not going for the easy laughs and shows us the naive small-town gal swallowed up by the machinery of wealth and fame. Tammy, early on, declares her love for people and goes against much of her denomination by embracing the “other’ ( a scene of her interviewing a pastor with AIDS is quite powerful). Chastain shows us Tammy’s unflagging optimism, keeping her sunny outlook as others make her a punchline. She’s amazing. And happily, she’s got a great screen partner in Garfield who imbues Jim with an endearing, goofy, nerdy charm. Then he shows that slow slip into the dark side, as the spark dims in his squinty eyes, and his greed leads to casual cruelty towards his biggest booster. Another great asset to the film is the brutally honest line deliveries by Jones as mama Rachel, who sees beyond the glittery gifts and becomes a moral compass to her daughter, though it barely registers with Tammy. Greed is this fable’s main villain, along with the lust for power, which is given flesh by the fabulous D’Onofrio who channels some of his sinister bravado from his role as the Kingpin on the Netflix Marvel shows, as the strutting conniving Falwell. Sure the Bakers are far from angels, but they don’t come close to this calculating back-stabber. His superior sneer dominates nearly every scene.

Veteran comedy-craftsman Michael Showalter, perhaps best known for helming THE BIG SICK, does an admirable job in attempting to balance camp and real human conflict. The first act generates lots of amusement as the frisky young Bakers engage in clumsy awkward acts of passion. And we got lots of the 70s and 80s kitsch in the recreations of their gaudy TV shows and the melodramatic music (Tammy emulates “Physical” in a shiny disco workout suit). But the conflicts of the second act, the power grabs, and pill-popping, often delve too hard into soap opera melodramatics (though the right mix happens as Tammy lusts after her hunky music producer). Plus the whole final act downfall feels a bit rushed as the actors recreate famous photos and headlines quickly zip in and out (maybe a streaming or cable miniseries would better flesh things out). But as the fun memories of the opening scenes fade, we still have the great performances, enhanced by some impressive and subtle prosthetics that fill out Chastain’s face to emulate Tammy’s near “chipmunk cheeks”, yet the expert enhancement never inhibits Chastain’s facial expression and emoting (I’m reminded of Martin Landau as Bela in ED WOOD). Plus the fashion recreations are spot-on as the polyester pastels parade past in the PTL shows and studio audience. Yes, this story of rags to riches to rags is fairly familiar but Chastain injects a sympathetic spark into THE EYES OF TAMMY FAYE that makes it worth reliving.

3 out of 4

THE EYES OF TAMMY FAYE opens in selected theatres on Friday, September 17, 2021

FLAG DAY – Review

FlagDay_FilmStills_081_R Sean Penn stars as John Vogel in FLAG DAY A Metro Goldwyn Mayer Pictures film Photo credit: Courtesy of Metro Goldwyn Mayer Pictures Inc. © 2021 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.

With Labor Day less than a couple of weeks away, it’s only natural that the studios would release a family flick around a holiday, though not this particular one. No, it’s from a couple of months ago, though the exact date differs in other countries. Ah, but that word “family” is the constant, and not in the overused “blanket” term mumbled by the cast of F9. No, this is for real, an autobiographical “coming of age” drama that rips away the hazy nostalgia that obscures the truth about growing up with a parent, who, despite all odds, refuses to grow up. That’s the case of this tale’s heroine, whose ner do well daddy proudly proclaimed that he was born on FLAG DAY.

The film begins very near the end of the story’s main relationship. Law-enforcement officers “saddle up” in the mid-1990s during a wild highway pursuit. Just as they surround a speeding SUV, we’re taken to a conversation between a US marshall and twenty-something Jennifer Vogel (Dylan Penn), who learns of her father’s skill as a counterfeiter. Her mind then drifts back to hazy mid-seventies Summer days as she, along with kid brother Nick and mother Patty (Katheryn Winnick), are awaiting a brief visit from father John Vogel (Sean Penn). After a short interlude filled with horseplay and laughter, Papa John would be on the move. Eventually, they became a complete family again, but violent arguments (usually about money) split the parents up. But since Mom wasn’t the “fun one”, the kids wanted to be with their daddy “full time”. But after a few months, John sent them back to his ex as he evaded the law (yet another of his houses burned down), creditors (including some “leg-breaker” outlaw-types), and heartsick girlfriends. Soon Mama remarried, but after stepdad got too “handsy”, teenage Jennifer ran away to rejoin her father, who bragged of his business prospects. When she learns of his real job as a groundskeeper at a tiny airport, the two split (after John’s arrest for an inept bank hold-up). Jennifer reunites with Mom and Nick before becoming a journalism student at a Minnesota college. Her investigating skills land her a job reporting for the local free newspaper (some call it a “hippie rag”). Then Daddy shows up, out of the blue. He boasts of his ownership of a small print shop. As usual, Jennifer learns the hard way, that “Papa John” just can’t tell the truth, or keep on the “straight and narrow”.

The film’s strength is definitely in the real-life father-daughter dynamic of the two leads. Though she’s only had roles on TV and film, Dylan Penn has a compelling star charisma as the camera adoringly frames her (she is a stunning beauty). Ms. Penn convincingly ages from 16 to nearly 30, while handling drastic changes in makeup (a punk/goth style in high school) and fashions (that Lois Lane reporter-look). Her Jennifer also changes emotionally from vulnerable, but tough-talking teen to probing, smart investigator (though a “gotcha” interview feels clunky). Ms. Penn also works well with the rest of the cast, but her best moments are with her “old man”, the two-time Oscar winner. We’ve seen a bit of the twitchy “hustler’ character in some of Sean Penn’s earlier roles (THE FALCON AND THE SNOWMAN and CARLITO’S WAY spring to mind), but there’s a much darker tragic edge to John Vogel. We see the twinkle in his eyes as he relates to his kids by going to their level, whether he’s helping little Jennifer “drive” or as he gleefully takes an “aqua-car” into the lake on his birthday/holiday. But then that spark is dimmed as we see the “gears working’ as Vogel must come up with a new set of lies and excuses when he’s cornered. Penn still projects some charm as we see how pathetic John’s spiraling life has lead him (he actually believes his B.S.). Winnick is terrific as the frustrated matriarch who struggles to keep her family together while ignoring the pleas for help from her siblings. Mr. Penn has also lined up several acting vets for small supporting roles. Josh Brolin is solid as the understanding but stern Uncle Beck. Eddie Marsan is slick and sinister as he tries to intimidate the inquisitive Jennifer. And Norbert Leo Butz oozes evil as the slimy, creepy stepfather.

Oh, I forgot to mention that Mr. Penn is doing “double duty” as the film’s director (he’s made several features, but hasn’t cast himself till now). He does a very good job of capturing the hazy golden glow of childhood memory in the story’s early sequences, expertly evoking the feels of the still wild and wooly seventies. Ultimately his work is undone by the meandering, often unfocused script by Jez Butterworth whose screenplay adapts Ms. Vogel’s memoir. The plot’s construction, beginning with the tragic conclusion, dilutes some of the story’s surprises. And at times, this film doesn’t know if it wants to be Jennifer’s story or the saga of John. The end result lurches between the somewhat cliche struggles of Ms. V and the funny, but very sad adventures of Mr. V. That whole idea that living with an impish Peter Pan “man-child’ is hammered home with a numbing frequency. And in repeating this, some of the characters are given short shrift with brother Nick almost an afterthought in many sequences. Despite the strong work of the Penns, this father/daughter fable never soars. It’s one FLAG DAY just fails to inspire. And certainly not worthy of celebration.

2.5 Out of 4

FLAG DAY opens in theatres everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas on August 27, 2021

DREAM HORSE – Review

We’re all overdue for a Summer excursion, but if you’re still a bit skittish over air travel, then the multiplex has the perfect virtual Summer visit to Wales, from about nearly twenty years ago. Oh, there’s a bonus for you animal fans and sports enthusiasts, since this story, which is inspired by true events, is all about the “sport of kings”, horse racing. So, you know you’ll get to see these beautiful animals up-close in several suspense-filled tourneys. But you’ll be emotionally invested due to the film’s focus on a most unlikely group of thoroughbred backers. They’re the true heart of this tale. We’re rooting for them as much as this new equine cinema superstar, coming around the track, hot on the heels of SEABISCUIT and SECRETARIAT, is Dream Alliance, a “real-life” DREAM HORSE.

It’s the start of the new 21st Century, though the folk in the economically depressed village of Blackwood in South Wales have little to celebrate. Especially Jan Vokes (Toni Collette), who’s struggling to make ends meet. Her hubby, Brian (Owen Teale) has little work as a handyman/farmer so he spends much of his day tending to their ducks (an investment) and mocking agriculture-based reality TV shows. In the pre-dawn hours Jan looks in on her aged ailing parents before heading to job number one as a cashier at the town supermarket. At the end of her shift there, she has a spot of tea with Brian before changing for job number two as a barmaid at the main pub. One night she overhears a new customer, Howard Davies (Damian Lewis) entertaining his mates with stories of his time in horse racing. Jan approaches him later to learn more about the sport. Howard admits that he was part of a group, a “syndicate”, that invested in a racehorse. Even though the pub owner tells her that Davies nearly lost everything, the wheels begin spinning in Jan’s brain. After some research she believes that a syndicate can be organized In Blackwood. Though things are “tight” she thinks a few can spare a ten spot a week to cover expenses. Howard agrees to join her,though he has promised wife Angela (Joanna Page) that he’ll never return to racing. The two organize a meeting in the pub’s pool room, and after a late start, they sign up eight or so citizens. This leads to the purchase of a mare Rewbell, which is bred with champion stallion (for a big stud fee) Bien Bien to produce a beautiful brown colt that the group names Dream Alliance. After a training stint, Dream fianlly begins racing in hurdle competitions. As the tales of Dream circulate, the town is recharged with hope. But will Blackwood’s mascot continue to inspire as he faces a physical trauma that could end his career and life?

The talented Ms. Collette demonstrates her considerable range with her subtle portrayal of a real small-town hero, after dazzling us recently in her offbeat roles in I’M THINKING OF ENDING THINGS and the horrific HEREDITARY (which earned her the coveted Best Actress award from the St. Louis Film Critics Association). Her Jan is a hard worker, nearly invisible to her neighbors, who is just trying to keep (and her hubby’s) head above water. Then Collette shows us a different side, as the dark circles seem to vanish when her eyes reflect Jan’s new purpose. The naysayers will not damper her as her inner spark after it finally starts to glow. That heat even rejuvenates Teale’s Brian, who springs to life like he found that golden ticket in his”Wonkabar”. Lewis, as Davies, finds himself affected by the “plan” becoming a fervent business partner after his initial reluctance. He’s still healing from his past racing failures and is often the voice of reason and reality to the enraptured villagers. He tells them to not invest for financial return, but for the love of the race. That zeal arises in him, though he tries to hide it from his wife, who has a clearer memory of his last syndicate (it seems to be the only thing chaining him to his soul-crushing loan officer job). The rest of the “syndicate’ is composed of some wonderful character actors, though the scene-stealer might be Karl Johnson as barfly Kerby, an “old sod” that loves his drink (smuggling cans into the swanky racetrack owners’ longue) more than being clothed (after a hurdles victory, the pants seem to vanish).

Director Euros Lyn has lovingly crafted a modern-day rags-to-riches fable from the witty, expertly constructed screenplay by Neil McKay. Much as with the iconic WIZARD OF OZ, life’s color looks drained away in the dreary Welch town (especially true in the fluorescent tube-lit supermarket where Jan spends her days) until the colt’s birth which bathes every scene in a warm, rustic glow (thanks to the inspired cinematography work of Erik Wilson). The story also benefits from its gentle tweaking of the class system as the “upper crust” must suddenly deal with the “working class” who have somehow invaded their expertly manicured turf. But everything’s not “hearts and flowers’ as Jan and her partners have to make a tough “call” when things go staggeringly bad at one competition. Ah, but that’s why the victories taste so sweet. And sweet’s the operative word for this little gem. After the tragedies and frustrations of the last year, this might be another terrific “shot in the arm”. Well, the heart really. I’ve no choice but to reuse the old cliche, “the feel-good hit of the year” since the ending still has me smiling after 24 hours (I implore you to stay for the truly joyful end credits). DREAM HORSE is one sweet dream of a movie. And there’s no need for a “photo finish”.

3.5 Out of 4

DREAM HORSE opens in select theatres on Friday, May 21, 2021

THE DIG (2021) – Review

Word of this week’s new movie release, all about archeology, may have quickened the pulses of many action film fans. Perhaps visions of a daring, rugged adventurer escaping insidious death traps, battling vicious rivals and their burly henchmen, rescuing damsels in dire distress, and snatching up mystical riches swirled in their fevered brains. Or perhaps of heroes facing peril from an ancient evil, released from the tomb to cause havoc and horror may come to mind for many. Well, maybe the word that this is based on an actual event puts the brakes on those expectations of Indiana Jones and monstrous mummies. Turns out it’s tedious and filthy work with dirt in your boots and embedded under fingernails. Ah, but despite that, along with power politics, there’s still the thrill of discovery. That may be the biggest “find” in the new “docudrama THE DIG.

The story doesn’t begin in a humid jungle or in an arid desert. It all starts on an overcast, chilly day in 1939 near Woodbridge in Suffolk, England. After a brief ride in a local’s boat, Basil Brown (Ralph Fiennes) pedals his bicycle through the countryside to an opulent mansion. He has an appointment with the lady of the house, Edith Pretty (Carey Mulligan), a widow with an energetic nine-year-old son Robert (Archie Barnes). She takes Basil to the land behind her home to a field dotted with several mounds of soil. Edith wants to engage his services as an archeologist to dig up whatever is beneath them. Basil is a bit hesitant as the local Ipswich Museum is keen on exploring a discovered Roman villa, but after a bit of negotiating, and despite a visit of the Ipswich director Reid Moir (James Ready), Basil accepts the job and will live at the estate in the servant’s quarters. He quickly becomes a mentor to Robert who is keen on all the sciences (he even wears a foil hat after his hero, Buck Rogers). This is a relief to Edith, whose weakened condition stems from a childhood heart ailment. As aircraft swoop in from the skies overhead in preparation for a possible war, Basil discovers two ancient rivets, possibly from a ship. In need of more aides than his two locals, Edith brings in a distant cousin, the nomadic photographer Rory Lomax (Johnny Flynn). And after meeting with Moir, he then contacts Charles Phillips (Ken Stott) of the British Museum who brings in several scientists to reveal the seventh-century burial ship deep below the mound. Included in the crew are the husband and wife team of Stuart (Ben Chaplin) and Peggy Piggott (Lily James). But can they explore the site and discover its secrets before the country enters this armed conflict engulfing nearly all of Europe?

A big switch from his usual suave, “upper crust” roles, Fiennes slips into the skin of determined “digger” Basil as though the part were a pair of old dependable work boots (the kind he’s wear on the mounds). Fiennes captures the tired stoop of a man who’s spent most of his life outdoors toiling from sun up to sundown. But he also gives him dignity and a feeling of pride in his skills. And though he’s considered “working class”, Fiennes conveys that Basil’s zeal for learning and natural curiosity has not dimmed at all since his youth. Yes, he’s often gruff and stubborn, but he shows a real tenderness as he nurtures young Robert’s interests and as he deals with his employer. Mulligan’s quite believable as the aristocratic Edith, who never puts on “airs” around anyone, especially Basil. She shows us Edith’s adventurous spirit as she visits the mounds, but it’s tinged with sadness as her heart continues to fail her. Edith doesn’t quite give in to despair, as Mulligan slows her stride and lets us see her delight of motherhood while knowing her boy will soon be on his own. She perhaps sees Basil as a mentoring uncle who challenges her intellect and honesty. All while being an “older sister” in spirit to the adventurous Rory who is given the full rebel “good bad-boy” vibe (he‘s going into the services, camps outdoors, and rides a motorbike) by the dashing Flynn. It’s no wonder that he catches the eye of Peggy who James plays as a neglected wallflower finally bathed in sunlight and ready to blossom. Also of note are the twin pompous “supervisors” played with prickly charm by Stott and Ready, along with the warm-hearted spouse of Basil played with subtlety by Monica Dolan.

Director Simon Stone captures the quiet country life of 30s England, while always letting us know of the chaos to come, with newspapers and the radio bracing the land for the upcoming conflict (those planes are always zipping above). He keeps the story moving at a leisurely assured pace which adds impact to an early scene showing the real dangers of exploration (a real scare for the claustrophobic). The relationship and emerging friendship between Edith and Basil is quite compelling and progresses naturally. Unfortunately the script by Moira Buffini, adapting the novel by John Preston, veers into romantic clichés in the second half with the Piggott/Lomax love triangle that veers into the swooning predictable soap territory as she’s rebuffed by her hubby prompting her to free herself (why, without those spectacles she’s …) with the headed to war Rory. Despite this sappy subplot, the locations and period settings are lovely and the whole finding of the boat and the ancient money is quite involving. Those elements, combined with the teaming of Mulligan and Fiennes, make THE DIG well worth exploring.

3 Out of 4

THE DIG opens in select theatres and screens exclusively in the St. Louis area at the Hi-Pointe Theatre along with Landmark’s Plaza Frontenac Cinemas

THE OUTPOST (2020) – Review

Last year in the times of opulent movie showcase palaces with big wide screens and thundering digital sound (yes, the “before times”) two major studio features focused on the last century’s two world wars: 1917 and MIDWAY. This holiday weekend sees the release of a major battle film from a more recent conflict. Without the big theatres to bask in the epic scope, this film goes for a more intimate approach. Instead of hopping from country to country, we’re embedded right there with the warriors as the world seems to explode all around them. Even with modern tech, the danger is just as abrupt and deadly. And for the last couple of decades, the hottest of the world’s hot spots (in nearly every way) was Afghanistan. As we celebrate our freedom on this patriotic holiday, it may be the perfect time to look back at another incident concerning those who gave everything for us to enjoy our cookouts and fireworks, those soldiers who valiantly defended THE OUTPOST.

The story actually begins in 2006 as Staff Sergeant Clint Romesha (Scott Eastwood) and several other new additions arrive at their new assignment, Combat Outpost Kamdesh (later renamed Keating) in the dead of night (the Taliban forces haven’t acquired night-vision tech, valuable since the mountain block-outs the moonlight and most stars). Upon landing they are immediately taken to the C.O.1st Lieutenant Benjamin Keating (Orlando Bloom) who re-states their purpose there to support counterinsurgency efforts against the flow of weapons from nearby Pakistan into neighboring towns like Kamdesh in the Nuristan Province of Eastern Afghanistan. One way to win the locals’ “hearts and minds” is by funding local constructions (roads, schools) and recruiting the younger men as “peacekeepers” (lured by some “financial aid”). Keating himself meets with the village elders to convince them of the US military’s just intentions. Prior to the “sit-down”, Romesha and the new men get a taste of the daily routine there as the outpost is suddenly under attack from shooters high up in the mountains surrounding them. It’s then that we meet the main ammo supply “runner” Specialist Ty Michael Carter (Caleb Landry Jones) who evades machine gun fire as he delivers the much-needed supplies (bullets, etc.). The men return fire until the mortar launcher finds its target, scattering (or destroying) the attackers. As the years pass, the men try to adjust to rigors of downtime while being alert to the constant threat of the insurgents. The base officers come and go until one of the “long-timers” is put in charge until the base’s rumored shutdown (after the local elections in October). But then the tension amps up. The village intel man’s warnings about incoming Taliban troops become more frantic. Then the elders head into the camp demanding immediate payments for destruction and “insults to their honor”. Not long after, the early morning sunrise reveals waves and waves of heavily armed Taliban troops descending down the mountainside. The outpost’s location in the valley surrounded by high ground makes them a “sitting duck” with no real escape option. Luckily the communications aren’t cut off. But the air firepower (mainly Apache helicopters) is a couple of hours away. Can these 53 soldiers possibly survive against the hundreds all around them until back-up from above helps to “even the odds”?

With his work as real-life hero Romesha, Eastwood continues to build an impressive resume on his way to big screen hunk/ action star (some cowboy romance in THE LONGEST RIDE, switched with the fantasy of THE FAST AND THE FURIOUS franchise). He’s required to be a steely-eye (easy considering his DNA) man in charge, which he excels at, particularly as he barks out strategy and instructions to his often overwhelmed “band of brothers”. It’s not until the high-energy third act do we see some of that tough exterior begin to soften as frustration over the whole “boxed-in” scenario begins to wear on him seeming to cause him more pain than the oozing shoulder wound (he dismisses countless offers for a “patch-up’). While he’s solid in battle, Jones excels in expressing the “inner fight” inside the mind of the complex Carter. He shows us a man barely given the respect of a “service animal” by his squad (you can almost see him wince as they basically scream “Run! Fetch!”, then berate him for mixing up any ammo numbers). Nobody appears to appreciate his “zig-zagging” through the firefights in order to load up and repeat over and over. During the “downtime” he softly seethes as the others bond and joke, even brushing off digs at his odd resume (from school to the Marines, then a stateside gig at a “big-box’ store before jumping into the Army). His opinion, much as his mortality, doesn’t seem to matter to anyone, especially when he expresses his concerns about the new C.O. to an officer ( a verbal “slap-in-the-face” is his “reward”). Jones isn’t concerned about making Carter “likable” even as that attack brings out his inner “protector”, a turn that will no doubt lead to many sleepless nights. He delivers the film’s best performance. As for the film’s first act, Bloom is most impressive as the “papa bear’ trying to protect his men while carrying out conflicting orders from the top that require him to humble himself to the locals who would take advantage of their “deep pockets”. He’s noble in his desire to be right alongside “his guys” in the dirt and dust, though he’ll pay the ultimate price for his compassion.

Though perhaps best known for his political dramas like THE CONTENDER, Rod Lurie proves to be an effective action director. He expertly captures the sweaty panic of the near-daily attacks and ramps up the disorienting chaos of the big battle. Unfortunately, the long stretches of everyday aggravation and monotony quickly become repetitive with petty squabbles and booze (and pot) fueled revelry (what’s the deal with the two naked guys mumbling “I love you” to each other as they slow dance). Still, there are scenes of great suspense with a nighttime convoy trek over crumbling roads of the mountain that recalls the nail-biting moments of SORCEROR. But aside from the surprisingly abrasive Jones as Carter, the rest of the troops soon adhere to the old war film stock characters (at least none of them is nicknamed “Brooklyn”). Perhaps the screenplay by Eric Johnson and Paul Tamasy, adapting Jake Tapper’s lauded non-fiction book, needed a bit more ‘tightening’. And though combat sequences feel authentic, they also seem too similar to the now-standard “desert battles’ from recent films like AMERICAN SNIPER, LONE SURVIVOR, 13 HOURS, and even the flashbacks of HBO’s series “Barry”. But aside from such familiar trappings, the film is respectful of those sacrifices, even getting in a jab at the “higher-ups” for establishing a base in such a dangerous, “hemmed-in” locale. Be sure and stick around for the end credits to see the real faces of those heroes of THE OUTPOST, before you resume your Fourth festivities. After all, they picked up “the tab”.

Two and a Half Out of Four

THE OUTPOST screens at select theatres. Beginning Friday 7/3 it will be available as a Video On Demand via most cable and satellite systems along with many streaming apps and platforms.