Jeremy Strong – We Are Movie Geeks

SPRINGSTEEN: DELIVER ME FROM NOWHERE – Review

We must be “all in” for the end-of-the-year awards season as we’ve got a new big biographical film of a music superstar from an acclaimed director. Last year, Christmas Day to be exact, filmgoers got to do a deep dive into the 60s musical odyssey of Bob Dylan with James Mangold’s A COMPLETE UNKNOWN. Though it didn’t garner as many awards (and box office) as BOHEMIAN RHAPSODY in 2018, it still racked up lots of critical raves (and even a Sag Best Actor for its star Timothee Chalomet). Now, like that earlier biopic, this one showcases another rising young star who is best known for an acclaimed TV show. Oh, but the big difference is that this is set a couple of decades later, at the start of the 1980s. Still, there’s a lot of musical “common ground between “Mr. Zimmerman” and SPRINGSTEEN: DELIVER ME FROM NOWHERE. As “the Boss” might say, “One, two…”.

After a brief black and white prologue with our young hero riding his bike through the means streets of Long Branch, New Jersey, the story jumps ahead to the splashy color of 1981 as fans are left breathless after the final concert number from Bruce Springsteen (Jeremy Allen White) at a packed arena. As he winds down backstage, his trusted manager Jon Landau (Jeremy Strong) tells him that after a few post-concert dealings (including an interview with “Creem” magazine, remember it), his rental home on a lake in Colts Neck, New Jersey is ready. After he settles in there, the Boss contemplates his next album while recalling his turbulent early life with dutiful mother Adele (Gaby Huffman) and his boozing, abusive father Douglas (Stephan Graham). Later, in an effort to “blow off some steam” he joins the local rockers at The Stone Pony bar/music venue in Asbury Park. As he leaves, Bruce runs into an old high school buddy, who introduces him to his sister Faye (Odessa Young), a single mother working at a nearby diner. She gives him her number, in case he wants to “hang” sometime. Chilling back at his lake house, he does a bit of channel “surfing” and stumbles upon the 1973 Terrence Malick classic BADLANDS. Bruce is riveted, heading to the library to gather more info on the film’s inspiration, killer Charles Starkweather, then returning home to jot down lyrics and strum on his guitar. He has an epiphany: the new song collection “Nebraska” will have no polished studio sound. He brings in his audio-tech Mike Batlan (Paul Walter Hauser) to record a demo tape using very low tech (cassettes). When Landau meets Columbia Records’ Al Teller (David Krumholtz), the exec is stunned by Bruce’s subject matter and his rules. There will be no singles, right after Bruce landed a single on the Billboard top ten. But Jon and Bruce persist. Meanwhile, the Boss struggles to get “the sound” just right while the process dredges up brutal memories from childhood. Can a burgeoning romance with the “hometown gal” vanquish the inner demons inside the rising rock and roll superstar?

Wow, in this film you get two (yes two) great Jeremys heading the ensemble. First, of course, is White, who we’ve not seen on the big screen since 2023’s THE IRON CLAW (though he continues to cook up a storm on TV’s “The Bear”). Without the use of prosthetic makeup, but with a little color “tweaking” in his curly mane, he makes us believe that he’s the “Boss”. He’s got that confident strut as he wields that guitar like a gladiator’s broadsword before the adoring throngs. But he’s more Clark Kent as leaves the backstage door, trying to blend in with the “average Joes”. However, White shows us his simmering intensity, whether achieving his artistic goals, struggling to put the right words in his battered notebook, or clamping down on his childhood monsters. Plus, he projects an almost boyish charm during his “downtime” with Faye. The other J is the superb Mr. Strong (so wonderful in last year’s THE APPRENTICE) as the laser-focused Landau. He’s Bruce’s strong right hand, whether he’s dealing with the press or anxious record execs demanding more “hits”. Strong’s stare seems to burrow into White’s brain, forming a connecting line of creative thought. The two actors’ performance anchor the tale. But then they have a great supporting cast. Young exudes a sexy “tough gal” persona as the smitten, but steadfast (not putting up with any “Boss BS”) as Faye. Hauser provides a few needed laughs as the perplexed but hard-working audio geek, Mike (he questions, but never refuses Bruce’s needs). The other big emotional role may be Graham as the stoic papa Stephan who lashes out in order to “toughen up” his boy, while casting a dark shadow that looms over the crumbling house, leaving Hoffman as mama Adele as the sole bright light in the lad’s life. Krumholtz is also funny as recording bigwig Teller, while the great Marc Maron shines with just a few lines as audio mixer Chuck Plotkin.

The acclaimed filmmaker is director/screenwriter (adapting the book “Deliver Me from Nowhere” by Warren Zanes) is Scott Cooper (CRAZY HEART), Wisely, he decided to focus in on an important year or two in Bruce’s life, rather than giving a full “life story” (though we do have those 1957 snippet flashbacks), to not get into the cliché biopic “checklist” (then he did this, then that, then…) which gives the personal drama more room to “breathe”. Also, it allows Cooper to really explore the creative process of an artist, which is usually a “stumbling block” (always a problem with stories about writers). At times, Bruce seems rigid and too unwavering, but Cooper shows us that it’s a quest for purity in the music’s intent. The era of the early 80s is painstakingly recreated with nods to pop culture and a big ode to the power of cinema, not only BADLANDS (young Bruce watches a 1950s cult classic with his pop). The pace is rather languid, with bursts of the remarkable rock and folk anthems. At times that measured pace is sidetracked by the romantic subplot, (it somewhat evaporates by the final act) which doesn’t add much to the story of the creation of an album. And a few fans may wish there were more recreations of the marathon concerts, but Cooper gives us enough of a taste to convey the power of Mr. S. But in those final moments, Cooper provides a positive message about seeking help from mental health professionals (might nudge those struggling to see a “rock god” getting back on track) It’s not a bombastic tune-filled spectacle, but rather a powerful, intimate portrait of a man exploring new artistic territory while exploring his own past. That power of creation fuels SPRINGSTEEN: DELIVER ME FROM NOWHERE.

3.5 Out of 4

SPRINGSTEEN: DELIVER ME FROM NOWHERE is now playing in theaters everywhere

Jeremy Allen White Is The Boss In First Trailer For Bruce Springsteen Biopic SPRINGSTEEN: DELIVER ME FROM NOWHERE

20th Century Studios has released the first trailer for SPRINGSTEEN: DELIVER ME FROM NOWHERE starring Jeremy Allen White.

The film chronicles the making of Bruce Springsteen’s 1982 “Nebraska” album when he was a young musician on the cusp of global superstardom, struggling to reconcile the pressures of success with the ghosts of his past. Recorded on a 4-track recorder in Springsteen’s New Jersey bedroom, the album marked a pivotal time in his life and is considered one of his most enduring works – a raw, haunted acoustic record populated by lost souls searching for a reason to believe.

Director Scott Cooper, who wrote the script for the screen based on the book “Deliver Me from Nowhere” by Warren Zanes, said, “Making ‘Springsteen’ was deeply moving as it allowed me to step inside the soul of an artist I’ve long admired – and to witness, up close, the vulnerability and strength behind his music. The experience felt like a journey through memory, myth, and truth. And more than anything, it was a privilege to translate that raw emotional honesty to the screen, and in doing so, it changed me. I cannot thank Bruce and Jon Landau enough for allowing me to tell their story.”

Jeremy Allen White as Bruce Springsteen in 20th Century Studios’ SPRINGSTEEN: DELIVER ME FROM NOWHERE. Photo courtesy of 20th Century Studios. © 2025 20th Century Studios. All Rights Reserved.

Starring Jeremy Allen White as the Boss, the film is written for the screen and directed by Scott Cooper based on the book “Deliver Me from Nowhere” by Warren Zanes. “Springsteen: Deliver Me from Nowhere” also features Jeremy Strong as Springsteen’s long-time confidant and manager, Jon Landau; Paul Walter Hauser as guitar tech Mike Batlan; Stephen Graham as Springsteen’s father, Doug; Odessa Young as love interest, Faye; Gaby Hoffman as Springsteen’s mom, Adele; Marc Maron as Chuck Plotkin; and David Krumholtz as Columbia executive, Al Teller.

Arriving only in theaters October 24, 2025, the film is produced by Cooper, Ellen Goldsmith-Vein, Eric Robinson and Scott Stuber. Tracey Landon, Jon Vein, and Zanes executive produce.

A scene from 20th Century Studios’ SPRINGSTEEN: DELIVER ME FROM NOWHERE. Photo courtesy of 20th Century Studios. © 2025 20th Century Studios. All Rights Reserved.

THE APPRENTICE – Review

*Jeremy Strong, left, as Roy Cohn and Sebastian Stan as Donald J. Trump in THE APPRENTICE. Briarcliff Entertainment*

It is not the old TV show but Donald Trump’s “apprenticeship” under his attorney and mentor Roy Cohn, the corrupt lawyer whose ruthless approach to the law did so much to make the young Trump who he became. Starring Sebastian Stan as Donald Trump and Jeremy Strong as Roy Cohn in powerhouse performances, THE APPRENTICE is a making-of-the-man drama that starts out with a darkly comic bent but then shifts subtly to a more serious one as the relationship between mentor and apprentice shifts.

While the filmmakers are clearly not pro-Trump, the tone of THE APPRENTICE has a surprisingly neutral tone towards the people in the film, treating them as just people and letting events unfold without commentary. It even seems a bit sympathetic towards the young, almost naive Donald Trump as he encounters the legal pit bull that is Roy Cohn, someone often described as evil, then at the top of his powers as a New York fixer. But even Cohn is treated as a human being, just one with a very different view of ethics.

Early on, attorney Roy Cohn teaches his young apprentice his three rules, the ones he follows in his legal business. Number one: Attack, attack, attack, in every case. Two: Deny, deny, deny, no matter what the facts. And three: No matter what the outcome, always declare victory. Roy Cohn built that ruthless reputation in the Cold War “Red Scare.” Roy Cohn first made a name for himself as a relentless commie hunter for his role in prosecuting the Rosenbergs, and pressing for Ethel’s execution despite her being the mother of young children. He continued the hunt for suspected communists with a young Richard Nixon, and then Sen. Joe McCarthy. When McCarthy’s unethical methods fell out of favor, Cohn moved on to became a powerful “fixer” for corporate interests.

When the two first meet, Roy Cohn (Jeremy Strong of “Sucession”) is at his height as a powerful, crooked New York lawyer who was a mover-and-shaker in New York City, while young Donald Trump (Sebastian Stan) is a small-time real estate businessman with bigger ambitions. Young Trump and his father Fred are facing federal charges for racial discrimination in renting apartments when the young Donald caught Cohn’s eye at a posh restaurant frequented by the notable and notorious, inviting the tall, blonde young businessman to join him and his party for dinner in a private room.

The meeting was an eye-opener for Donald, and he immediately sought out Cohn, despite his real estate dealer father Fred’s opposition to Cohn as a crooked lawyer. Young Trump chased Roy Cohn until the attorney reluctantly took the Trumps’ case, which he got dismissed through a combination of delaying tactics and a little blackmail, using Cohn’s extensive of “dirt” he continually collected on any and all public figures. Trump is hooked, although at first, young Trump is a bit shocked and taken aback by Cohn’s lack of ethics.

Sebastian Stan is having a heck of a year, starring in this film as well as the thought-provoking A DIFFERENT MAN, but it is “Succession’s” Jeremy Strong who steals this show. His Roy Cohn is perfectly sleazy but also hypnotic. Strong takes his Cohn from scary beyond words at the start but with a sharp intelligence and magnetic personality, to a sadder, eventually even pitiful as the power shifts and Cohn’s health declines, as he suffers from AIDS, which he always denied having, even suing anyone who said he was gay.

Roy Cohn makes a deal with Trump to aid each other and be friends, rather than having a paid attorney-client relationship, clearly seeing a useful potential in the tall, blonde, handsome young man to gain entry to spheres of power less open to the short, less attractive, closeted-gay lawyer.

Roy Cohn imparts to his apprentice his three rules – always attack when confronted with an adversary or obstacle, always deny no matter what the facts, and always declare yourself the winner not matter the outcome. Cohn follows this rule in his legal work but not her personal life, but his apprentice takes a different path. In the first part of the film, the mentor is in charge but tables turn in the latter part.

At first, Trump is Cohn’s faithful accollite, and Cohn even becomes like a second father to him, a more supportive one than his own criticizing father. The film delves into the Trumps’ family dynamics, including his father Fred’s harsh treatment of Donald’s older brother, Fred Jr. It also shows us Trump meeting and wooing Ivana (an excellent Maria Bakalova), following their romance and marriage, and it’s final souring, including a controversial rape scene.

The film keeps us grounded in historical events by giving us markers with little news video snippets, starting with Nixon and his “I am not a crook” speech, then Reagan footage and references.

Scriptwriter Gabriel Sherman and director Ali Abbasi strike a perfect neutral tone that lets the actors work their characters and events unfold without commentary, making the film more powerful.

This is an impressive film, one that treats the people in this historical drama as human, and even sympathetic at times, while being clear-eyed about the facts. That is no small feat, and boosted by riveting performances, especially by Jeremy Strong, this is a must-see for anyone to understand the man running for president, Donald Trump.

THE APPRENTICE opens Friday, Oct. 11, in theaters.

RATING: 4 out of 4 stars

ARMAGEDDON TIME – Review

(L to R) Michael Banks Repeta as “Paul Graff” and Anthony Hopkins as “Grandpa Aaron Rabinowitz” in director James Gray’s ARMAGEDDON TIME, a Focus Features release. Courtesy of Anne Joyce / Focus Features

Well, it’s been over two years now. I’m talking about the near-global pandemic “time-out”. So, do you recall what you did to pass the hours? Was “recall” part of it, as in revisiting old memories and childhood experiences? It appears that many “creatives”, including lots of filmmakers, took a “sentimental journey”. Of course, that’s not rare as many movie makers have opened up about their past, from Fellini to Scorsese (sure it’s the story of Henry Hill, but there’s a lot of young martin in GOODFELLAS). And now, with a few years put into making them, the nostalgic film “floodgates” are opening up. In the next few weeks, we’ll delve into the recollections of Sam Mendes and Steven Spielberg. This weekend another artist gives us his “take” on the “coming of age” saga. Ah, but things aren’t bathed in a “rosy haze” in this work. Which explains its title, ARMAGEDDON TIME.

The time in question is the Fall of 1980. Aspiring comic book artist Paul Graff (Banks Repeta) shares his artistic gifts with his eight grade classmates via a cartoon of their teacher Mr. Turkeltaub (that name just begs for a human/ poultry hybrid sketch). Of course, Paul is busted but luckily another student, Johnny (Jaylin Webb) defends him. Being the only black student there, due to recent “busing” rulings, Johnny “butts up” against the school faculty. But he and Paul forge a strong friendship, leading to lots of after-school adventures and mischief. Johnny’s ailing and addled grandma (his sole parent) lives far across town, so Paul lets him stay in the clubhouse shed behind his Queens, NY home. It’s the site of many Graff family dinners, prepared by mother Esther (Anne Hathway), who’s involved in the PTA, and hosted by electrician papa Irving (Jeremy Strong). Oh, Paul’s older brother who attends a swanky private school, Ted (Ryan Sell) is there. But the most revered guest is Esther’s father, beloved grandpa Aaron (Anthony Hopkins). He and Paul bond over their shared love of art and model rockets. And yet the lad continues to get into trouble both at school and at home, which is on edge due to the upcoming elections (“That movie actor will have his finger on the button”). When the antics of Paul and Johnny get more serious, the Graffs decide that public school is not working for their youngest. Can Paul fit in with the “swells” at that stuffy elitist place? And what will happen to his friendship with the “unsupervised” Johnny?

Despite the “heavy hitters” in the cast (at least two Oscar winners), the focus of the story is Repeta as the impulsive Paul. The young actor seems relaxed and very natural in the role. Oh, and very real as he can turn from endearing and sweet to annoying and cruel “on a dime”. Sure, he’s the “center” but he’s not truly the hero. Much of that also applies to Webb as Johnny who projects an aura of tough apathy, which deflects any further disappointments and frustrations. He has big dreams that would take him far from the “mean streets”, but he knows that the odds are against him, along with almost everyone in the inner city. Supporting Paul on the homefront is Hathaway as the nurturing Esther who wants to be a progressive, but fears for her lil’ guy as he pushes against her protective embrace. The most complex parent may be Strong as Irving who must temper his affection for “his guys” with the need to be the “final word”. Strong convey a nerdy warmth as he sings a song (aided by banging a pan) to wake his lads, then becomes a terrifying “rage monster’ while dealing with Paul’s latest escapade. He truly scares the boy, but we can see in Strong’s eyes that he’s also unnerved by his out-of-control anger. Then in the final act, Irving insists on staying in the car with the boys during a memorial service, though not for their benefit as he suppresses a sob. But Repeta truly shines in his scenes with Hopkins as the ultimate grandpop’, full of patience and grumbly good humor, eager to be Paul’s sidekick in mischief. Though he seems an unlikely choice to play a Jewish family patriarch, Hopkins commands the screen as he regales his precious children with old songs or rivets them with his horror stories of survival and escape. Plus you just might feel your heart melt as Paul addresses him as “my good man”.Oh, and another big talent provides a most compelling cameo as a real figure from the era (with a big connection to the present).

All of this flows from the mind and memories of writer/director James Gray, who has fashioned an engaging “memory piece” that expertly invokes an era with almost no sentimentality. Yes, these years are full of wonder, but they’re also infused with anxiety. that mood is best seen as the adults discuss the presidential elections which may surprise younger filmgoers. Reagan may seem like an affable uncle in archival footage, and too soft now for his old political party, but for many at that time he was seen as the fellow who could bring about…the movie’s title. But the tale’s real tragedy may be the “arc” of Johnny, who will not get the second and third “chances” afforded to Paul. He’s the sacrifice to make the “system work”. The pace of the piece is problematic as it seems to lurch from one “dire incident” to the next with little coherence. Perhaps some more interaction between the parents would give a better understanding of the family. Or at least it would explain their inconsistent disciplinary strategies, especially when Paul really goes “over the line” and rebels at the first big family meal. Kudos to the production team for re-creating the hairstyles and fashions of the era (being a middle-class family, they wouldn’t be sporting the big “disco duds”). It’s worth seeing for the superb cast, but a wobbly script that just seems to abruptly stop drains the drama out of ARMAGEDDON TIME.

3 Out of 4

ARMAGEDDON TIME opens in select theatres on Friday, November 4. 2022

See The New Trailer For James Gray’s ARMAGEDDON TIME Starring Anthony Hopkins, Anne Hathaway And Jeremy Strong

Here’s your first look at the trailer for ARMAGEDDON TIME.

From acclaimed filmmaker James Gray, ARMAGEDDON TIME is a deeply personal story on the strength of family, the complexity of friendship and the generational pursuit of the American Dream. The film features an all-star cast including Anne Hathaway, Jeremy Strong, Banks Repeta, Jaylin Webb, Tovah Feldshuh, Ryan Sell, and Anthony Hopkins.

Focus Features will release ARMAGEDDON TIME in select theaters on Friday, October 28th nationwide on Friday, November 11th.

https://www.focusfeatures.com/armageddon-time

The film premiered at the Cannes Film Festival in May. Read the review HERE.

ARMAGEDDON TIME received its North American gala at the Telluride Film Festival on September 2nd. Deadline has the exclusive interview with the Gray who revealed the real-life tragic circumstances of a key character in his autobiographical film. “The filmmaker stated that the fate of his friend is connected to a system that had no overriding interest in understanding a student with some learning difference, or a grandmother who he lived with, who had Alzheimer’s. The kid needed help.”

(L to R) Jaylin Webb stars as Johnny Crocker and Michael Banks Repeta stars as Paul Graff in director James Gray’s ARMAGEDDON TIME, a Focus Features release. Courtesy of Focus Features

THE GENTLEMEN – Review

As THE IRISHMAN begins the home stretch to the Oscars are you in need of another mob movie fix? Like Scorsese, this director has a history of flicks about the “thug life” featuring guys and goons that can “lean” on anybody that gets in the way. Well, this is one quite a bit different as it’s not set on the mean streets of East Coast USA, but rather in swinging (like a pendulum do’) London, so it’s got an international flavor. Plus this flick expands past Picadilly into the country estates and castles (hitmen at Downton Abbey. oh dear). So it involves the elite, but people who don’t fret about getting blood spilled on those custom-tailored suits and gowns. Yet, somehow most of the world believes that these “goodfellas'” can still be called THE GENTLEMEN.

After a brief flashforward involving one of the plot principals, the story really begins on a dark night as Ray (Charlie Hunnan) discovers a most unwelcome visitor lurking in the shadows of his plush home. It’s a sleazy P.I. named Fletcher (Hugh Grant) and he’s got a business offer. He’s just finished a job for “Big” Dave (Eddie Marsan), editor of the popular tabloid the Daily Print, digging up lots of “dirt’ on Ray’s boss, “cannabis king” Mickey Pearson (Matthew McConaughey). But Ray can buy it all from Fletcher before it sees print. Of course, Ray needs a hint at what he’d be buying. We get the backstory on Mick: born to poor parents in Florida, USA he wins a Rhodes Scholarship at Oxford, where he balances his studies with a lucrative pot-selling “side hustle”. He amasses a “weed” empire, deciding to put down roots in the UK by marrying the gorgeous Rosalind (Michelle Dockery). They rub elbows with the highest of high society, which answers one of the mysteries about him. Namely, where does he grow and produce his “primo” product”? He attracts the attention of another rich Yank, Matthew Berger (Jeremy Strong), who intends to buy the operation. Luckily Mickey wants to start a family, so after naming a hefty price tag he lets Berger in on the big secret. Mickey has made deals with the cash-strapped “upper-elites” (the Earls, Lords, etc.) to set up underground greenhouses on their secured properties. Mickey even takes Matthew to visit one. Then word leaks out about Mickey’s retirement. An ambitious young mobster from the East, Dry Eye (Henry Golding) makes an offer that’s is quickly rejected by Mickey. Then that secret “bush” locale is hit by a bunch of young thugs. Throw in a tough boxing coach named, well, Coach (Colin Farrell), and the drug-addled daughter of royalty, and it’s starting to look as though Mickey will never “get out”. But just how much evidence does Fletcher have? And will Ray convince his boss to buy it?

A stellar cast has been assembled for this crime caper with Oscar-winner McConaughey front and center as the American who’s just as sophisticated and cultured as any of the native brits (well, really more so than most in this tale). He seems to be channeling more of this TV ad persona (you’ve seen those baffling car ad in which he’s featured) than most of his screen work (Mickey is almost the inverse of the yahoos in GOLD, MAGIC MIKE, and even DALLAS BUYERS CLUB). He’s smooth as silk, only creasing his GQ ensembles when someone disrespects him. Or when he’s around his wife. Much like Gomez in THE ADDAMS FAMILY his Mickey is hopelessly enamored of the ravishing Rosalyn played with a smoldering tough sensibility by Dockery, who seems ecstatic to be out of the Downton finery. Another “happy camper” is Grant who can barely contain his joy in being cast as the skeevy, pervy (his threats to Ray are mixed with aggressive flirtations) private eye. He flits about the screen like a mischievous imp as he spins a tale of double-crossing and deceit. Farrell is quite entertaining as the gruff, no-nonsense Coach who only gets his hands dirty in order to protect his beloved “lads”. Speaking of dirtying your hands, Goulding appears to relish his turn as the scowling, always plotting Dry Eye, who seethes as he’s denied a seat at the “adults’ table”. Strong scores as the somewhat foppish (not quite the fashion plate as Mickey), but dangerously brilliant (at least two steps ahead) Berger. And as Mickey’s #1, Hunnam is everything you’d want in a right-hand man, though he’s got a real cleanliness mania, whether it’s Fletcher removing his shoes or having to go into a high-rise drug “nest”. Filth is this tough guy’s Kryptonite.

This flick marks sort of a homecoming, or at least a return to his roots, of director Guy Ritchie, who also wrote the screenplay with a story assist from Ivan Atkinson and Marn Davies. In the dozen years since ROCKNROLLA Ritchie has bounced about from the RDJ Sherlock HOLMES franchise, to franchise wannabe THE MAN FROM U.N.C.L.E., to the darned near-unwatchable KING ARTHUR: LEGEND OF THE SWORD, to last Summer’s fairly sanitized ALADDIN (though not the worst of the live-action reboots). He’s back in his “comfort zone” and his “home turf” as he keeps the action zipping briskly along while throwing us many unexpected curves and bits of inspired hilarity (Old MacDonald will never sound the same). Ritchie even throws in some satiric jabs at his own profession as Fletcher indulges his own cinematic aspirations (he includes a screenplay in his blackmail package). And he still has a taste for film making flourishes, slowing down the actions, speeding scenes in reverse, along with creating a rap music YouTube street-fighting video. Sure he still peppers the script with “F-bombs” (and being in the UK there are “C-bombs”) and blood, though he saves the gore to make the most impact. And there’s even a nice tribute to the recently departed, much-missed “Mr. Creosote”. Needless to say, the fancy mansion and wardrobes are quite dazzling. To sum things up, THE GENTLEMEN is an unpredictable, most welcome return to the lowlife and high-class law-breakers in Guy Ritchie’s London underworld.

3 Out of 4

MOLLY’S GAME – Review

An Aaron Sorkin character is always the smartest man or woman in the room. He or she can spit out 150 words in 30 seconds or less and talk their way out of any corner. At this point in his writing career (now turned directing career) you’re either on board with his style or not. But even MOLLY’S GAME seems to double down on the Sorkin-style. Leave it to him to create a world of poker – a game where players are often rather private and rarely talk during games – that is filled with incessant chatter.

MOLLY’S GAME is based on the true story of Molly Bloom (Jessica Chastain), a former Olympic-class skier who is arrested in the middle of the night by the FBI. She turns to a reluctant criminal defense lawyer, Charlie Jaffey (Idris Elba), to oversee her case. In the process, we learn how she ran the world’s most exclusive high-stakes poker game in LA and then New York which included Hollywood actors, sports stars, billionaire businessmen, and the Russian mob.

In a story about addiction, Sorkin shows his hand and reveals he’s addicted to listening to himself talk (as if we didn’t already have this inkling). Every minute of the film is packed with statistics, literary references, and moral and political talking points. So much so, that even during the quiet moments, we have Chastain delivering narration. MOLLY’S GAME marks the feature directorial debut for Sorkin. While much of the film feels like a standard take on the material, Sorkin does show some finesse when it gets down to the actual games. There are a few hands where Sorkin successfully elevates the tension, even if the high-stakes game is centered around reckless husbands betting away life savings. When the chips start piling up, Sorkin does a good job placing the viewer in the heat of the situation.

Even if you aren’t a poker fan, the film still offers two of the most beautiful people in the world facing off against the FBI. While the film has a rotating door of money-hungry characters, it’s really Jessica Chastain and Idris Elba’s show. So much of the film rests heavily on Jessica Chastain’s shoulder and yet she seems completely unphased by the challenge. She’s a natural with Sorkin’s silver tongue dialogue, but Chastain gives Bloom just the right amount of sympathy as well. Sure, she’s a tough no-nonsense businesswoman, but Chastain also makes her a caring coach. She’s the one the players turn to when they are down on their luck, in turn, she becomes not just their banker, but also the voice of reason or the shoulder they can cry on – something that wasn’t given to her in her younger days of skiing with her dad.

The scenes with Kevin Costner as her dad feel a little gratuitous. We’re supposed to understand why Molly has the strength to keep fighting and going on, but these training scenes or dinner table scenes just relay that her strength stems from outsmarting or proving her dad wrong, which seems counterproductive to the overall message of the film. Mostly though, these scenes pad out an overlong game that already spends more than enough time showing Molly’s rise to power.

For a film with not a very complex plot, we have a 140 min runtime. Sorkin’s biggest strength becomes the film’s ultimate downfall. There’s simply too much of a good thing, and I can’t help but think a more experienced director might have tightened this up quite a bit. With a plot centered around high-stakes poker, Russian mobsters, hedge funds, and an FBI investigation, we should be on the edge of our seats. While Chastain is mesmerizing, she can only do so much to make this the searing drama that Sorkin thought he had in his hand.

Overall Score: 3 out of 5

MOLLY’S GAME is now playing in theaters everywhere

Starring Jessica Chastain, Win Passes To The Advance Screening Of MOLLY’S GAME In St. Louis

MOLLY’S GAME is based on the true story of Molly Bloom, an Olympic-class skier who ran the world’s most exclusive high-stakes poker game for a decade before being arrested in the middle of the night by 17 FBI agents wielding automatic weapons. Her players included Hollywood royalty, sports stars, business titans and finally, unbeknownst to her, the Russian mob. Her only ally was her criminal defense lawyer Charlie Jaffey, who learned that there was much more to Molly than the tabloids led us to believe.

Stars Jessica Chastain, Idris Elba, Kevin Costner, Chris O’Dowd, Michael Cera, Joe Keery, Rachel Skarsten, Graham Greene and Brian d’Arcy James. Directed by Aaron Sorkin with a screenplay by Aaron Sorkin. Based on the memoir by Molly Bloom.

In Select Theaters December 25, 2017 everywhere January 5th, 2018.

WAMG invites you to enter for the chance to win TWO (2) seats to the advance screening of MOLLY’S GAME on December 18 at 7:00 pm in the St. Louis area.

TO ENTER, ADD YOUR NAME AND EMAIL IN OUR COMMENTS SECTION BELOW.

OFFICIAL RULES:

1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.

2. No purchase necessary. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house.

R for language, drug content and some violence

Connect with Molly’s Game Online:

http://mollysgame.movie/

FACEBOOK: www.facebook.com/mollysgamemovie
TWITTER: www.twitter.com/mollys_game
INSTAGRAM: www.instagram.com/mollysgamemovie
#MollysGame

DETROIT Poster Features John Boyega, Anthony Mackie, Will Poulter And Algee Smith

Annapurna Pictures has just released a new poster for director Kathryn Bigelow’s DETROIT.

Check out the poster which features John Boyega, Anthony Mackie, Will Poulter, and Algee Smith.

You can see even more of the incredible ensemble cast in “Detroit | The Cast of Detroit”

From the Academy Award winning director of THE HURT LOCKER and ZERO DARK THIRTY, DETROIT tells the gripping story of one of the most terrifying moments during the civil unrest that rocked Detroit in the summer of ’67.

John Boyega, Will Poulter, Algee Smith, Jacob Latimore, Jason Mitchell, Hannah Murray, Kaitlyn Dever, Jack Reynor, Ben O’Toole, Joseph David Jones, Ephraim Sykes, Leon Thomas III, Nathan Davis Jr., Peyton Alex Smith, Malcolm David Kelley, Gbenga Akinnabve, Chris Chalk, Jeremy Strong, Laz Alonzo, Austin Hebert, Miguel Pimentel, Kris Davis, with John Krasinski and Anthony Mackie star.

DETROIT hits theaters everywhere August 4, 2017.

Visit the site: http://www.detroit.movie/

Get A First Look At Kathryn Bigelow’s DETROIT Poster And Trailer

Annapurna Pictures has released the first trailer for the upcoming film DETROIT.

From the Academy Award winning director of THE HURT LOCKER and ZERO DARK THIRTY, DETROIT tells the gripping story of one of the darkest moments during the civil unrest that rocked Detroit in the summer of ’67.

The huge cast features John Boyega, Will Poulter, Algee Smith, Jacob Latimore, Jason Mitchell, Hannah Murray, Kaitlyn Dever, Jack Reynor, Ben O’Toole, Joseph David Jones, Ephraim Sykes, Leon Thomas III, Nathan Davis Jr., Peyton Alex Smith, Malcolm David Kelley, Gbenga Akinnabve, Chris Chalk, Jeremy Strong, Laz Alonzo, Austin Hebert, Miguel Pimentel, Kris Davis, with John Krasinski and Anthony Mackie.

Annapurna Pictures, founded by Megan Ellison, has garnered a total of 32 Academy Award nominations for their projects, including ZERO DARK THIRTY, JOY, THE MASTER, FOXCATCHER, and THE GRANDMASTER. Ellison is also one of only four honorees ever to receive two Best Picture nominations in the same year, with HER and AMERICAN HUSTLE both earning nods in 2014.

The company is also in production on Paul Thomas Anderson’s untitled new period film starring Daniel Day-Lewis and is developing the film adaptation of Maria Semple’s WHERE’D YOU GO, BERNADETTE, to be directed by Richard Linklater.

Annapurna’s most recent projects include Mike Mills’ 20TH CENTURY WOMEN, which was nominated for two Golden Globes and earned Mills a Best Original Screenplay Academy Award nomination, as well as SAUSAGE PARTY, WIENER-DOG, and EVERYBODY WANTS SOME, with THE BAD BATCH set for release by Neon in 2017.

DETROIT hits theaters everywhere August 4, 2017.

Visit the site: http://www.detroit.movie/

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: