Tag: Kate Hudson

SONG SUNG BLUE – Review

(L to R) Hugh Jackman as Mike Sardina and Kate Hudson as Claire Stengl in director Craig Brewer’s SONG SUNG BLUE, a Focus Features release. Credit: Courtesy of Focus Features. © 2025 All Rights Reserved.

So who’s up for some great tunes on this big holiday…, at the multiplex? No, we’re not talking about any Christmas carols (you’re probably hearing those jingle bells in your sleep by now). We’re talking a full-fledged musical movie, though it’s not another bold brassy big-screen version of a stage musical in the wake of WICKED: FOR GOOD (though it’s really an expanding of its second act). This new release may be more in that subgenre of the “jukebox musical” as it focuses on the pop songs of an iconic star, although it’s not a biopic of him (much like ELVIS or ROCKETMAN). You see, this is a true life dramatic love story about a “tribute band” of that singing superstar. Sounds confusing? It’ll all be clear with the first few notes (and scenes) of SONG SUNG BLUE.

That title tune is heard in the opening scene, in which Mike Sardina (Hugh Jackman) serenades his AA support group after he has hit a big sobriety milestone in late 1980s Milwaukee. From there he’s off to his sweet “side gig” as part of a “tributes” show at the state fair. Mike walks out after the organizer insists that he take on the songs of Don Ho (“Tiny Bubbles”). No, Mike wants to perform the works of his idol, Neil Diamond. As he exits, Mike stops to catch the fetching Patsy Cline (“Walkin’ After Midnight”) songstress Claire Stingl (Kate Hudson). He strikes up a conversation with her later that night, leading to a date for the two divorced parents (Mike’s teenage daughter visits once a month or so). He tries to bond with Claire’s energetic pre-teen son Dayna (Hudson Hensley) and her somewhat surly teenage daughter Rachel (Ella Anderson). After a quick “jam session” Mike asks Claire if she would consider partnering with him for his “dream Diamond tribute review” that he dubs “Thunder and Lightning” (the latter being his stage persona while she’d be the former). Claire is thrilled and seals their partnership with a kiss. They assemble a back-up band and begin performing in bars, wedding halls, and eateries in the Wisconsin/Illinois area. Through it all, the two become much more than a singing duo, eventually tying the knot. Their reputation is on the rise, leading to an “opening act” slot at a Pearl Jam concert. The sky seems to be the limit, but the joyful music is almost silenced as fate hits several “sour notes” to challenge their sweet harmonies.

I’ll just get this out of the way: Jackman and Hudson are superb singers. Yeah, that’s not a big revelation, since Hugh has a couple of Tonys on his mantle and Kate cut an album (they still call them that) last year. But that skill is certainly essential in these roles in order to “sell” them as a vocal duet. As for the other aspects of their performances, Jackman may have a bit more to do, as Mike is the “entry point” to this true tale. The “movie mutant” has swagger to spare, as he pushes past the goofy hairstyle and the flashy fashions to give us a man who overtakes the inner demons from his past by reinventing himself. His furrowed brow hints at Mike’s PTSD from serving in Nam, while he still has a vulnerability with the knowledge that his body is failing him and his “time clock” may halt at any time. The bubbly Hudson brings out the best in him. Beneath that beaming smile, Claire has had lots of heartbreak in his own past, and decides to bask in the high she gets from singing. In the story’s second act, we see that life tries to snuff out that spark, until family and friends re-ignite it. It’s no wonder Hudson was the “queen of rom-coms” as she conveys Claire’s joy in getting another chance at love. The film’s other great standout is Anderson as Claire’s teen daughter, Rachel. Sure, she starts as a clichéd snarky “eye-roller”, but she shows how the love of Mike for her mom warms that cynical heart, even making her an ally of his when things get tough, and as she faces her own big life-changing decision. Oh, and there are a couple of 1980s movie stalwarts on hand for support. Fisher Stevens is solid as Mike’s dentist-backer, and Jim Belushi goes all “cheese-head” (right outta’ FARGO) as the tour bus-drivin’ manager. The 90s are repped by Michael Imperioli from “The Sopranos” as the tributes show boss (and resident Buddy Holly) who plays back-up guitar for the revue.


Though no stranger to movies with music, this film is an interesting detour for director/ screenwriter (adapting the same-titled documentary by Greg Kohs) Craig Brewer, after making his 2005 breakout hit, the hip-hop-flavored HUSTLE AND FLOW followed by the 2011 remake of FOOTLOOSE. He takes us past the high camp (exploited in 2001’s SAVING SILVERMAN) of Diamond’s 70s heyday, though we get some Elvis-style kitsch, to get us into the minds and hearts of Mike and Claire. This lulls us into thinking that their love story will always prevail. The huge chaotic challenges make for an abrupt shift (though it seems too extreme, it’s all true), one that may be too much for some viewers, Brewer never veers too much into the melodramatic while keeping the story firmly planted in its frigid northern US roots. Brewer also keeps the pacing smooth, breaking up the dialogue with a burst of song, and not overdoing the big rehearsing and performing montages. Aside from those great hairstyles and fashions, the music selection is pretty terrific, touching on all the big Diamond hits while introducing some often neglected tunes (I now know a whole lot about “Soolaimon”). Hey, there’s even a couple of Patsy Cline and Buddy Holly classics. And the set decorators really capture the tone of the early 1990s. Some of the more jaded filmgoers may think that this is merely a sweet little flick to see with your older relatives, but they may be surprised by the endearing look at the performers that don’t fill arenas, the bus-travelin’ workin’ stiff weekend warriors. That and the chemistry of Hudson and Jackman really blend for a nearly pitch-perfect romance in SONG SUNG BLUE.

3 Out of 4

SONG SUNG BLUE opens in theatres everywhere on Christmas Day, 2025

Win Passes To The St. Louis Advance Screening Of SONG SUNG BLUE

Based on a true story, two down-on-their-luck musicians (Hugh Jackman and Kate Hudson) form a joyous Neil Diamond tribute band, proving it’s never too late to find love and follow your dreams. SONG SUNG BLUE will open in theatres nationwide on December 25th.

https://www.focusfeatures.com/song-sung-blue

The St. Louis screening is at Wednesday, December 17, at 7pm at the B&B Creve Coeur West Olive 10

ENTER HERE FOR PASSES: https://focusfeaturesscreenings.com/dzGot38290

Please arrive EARLY as seating is not guaranteed.

Rated PG-13 for thematic material, some strong language, some sexual material and brief drug use. 

(L to R) Hugh Jackman as Mike Sardina and Kate Hudson as Claire Stengl in director Craig Brewer’s SONG SUNG BLUE, a Focus Features release. Credit: Courtesy of Focus Features. © 2025 All Rights Reserved.

GLASS ONION: A KNIVES OUT MYSTERY – Review

As the temperatures continue to dip, and some parts of the country are neck-deep in snow, a great way to spend the day is to curl up next to the fireplace, or space heater, with a mystery. Perhaps it’s one featuring a familiar investigating sleuth. Well, if you can make it out to the multiplex, then there’s a cinematic equivalent around for just a week, Oh, and the sleuth’s only been around since 2019. That’s when a filmmaker who just survived an entry in the biggest movie franchise ever, decided to create his own modern version of those Agatha Christie “all-star whodunits” (mind you that Kenneth Branagh had just donned the “stashe” for a new series). Well, it was a hit, so he and his hero star have returned with GLASS ONION: A KNIVES OUT MYSTERY. Let’s find the clues and keep track of the suspects…and victims.

Talk about being modern! It all begins right in the middle of the height of the Covid pandemic. Political candidate Claire Debella (Kathryn Hahn) gets a delivery that’s definitely not what she ordered from Amazon. It’s a large, apparently solid (no lids or hinges) wooden box sent from an old friend. Immediately she gets into an online conversation with the other old friends who were in the sender’s group. There’s Birdie Jay (Kate Hudson), a former fashion model turned high-fashioned designer along with her aide Peg (Jessica Henwick), scientist Lionel Toussant (Leslie Odom, Jr), and Duke Cody (Dave Bautista), social media agitator/ men’s rights activist, who lives with his girlfriend media/co-creator Whiskey (Madelyn Cline) at his mom’s house. They soon figure out how to open the box which contains several puzzles that reveal an invitation to the island home of their old buddy, tech mastermind billionaire Simon Bron (Edward Norton). Oh, someone else, a stranger to them also gets the box: famous detective genius Benoit Blanc (Daniel Craig). It’s not long before they’re all on a dock in Greece awaiting the transport boat to Bron’s island when all of them are stunned by the arrival of another invited guest, Cassandra ‘Andi’ Brand (Janelle Monae). Why stunned? Andi had sued Simon claiming that he stole her idea for the software that made Simon so rich. The group is greeted by their host at his lush resort-like island who tells them that they will be part of a fun “murder mystery” game. Still, Simon wonders why the “pro”, Blanc, is there. Of course, he easily wins the game, but things take a dark turn when a real murder occurs. Over the course of a long night (no boats can handle the tides till morning), Blanc puts his skills to the test to find a real killer before he, or she, strikes again.

Although it is a new, very different, case most film fans will focus on the return of that Southern-fried Sherlock Blanc played with a long drawl just a bit west of Foghorn Leghorn by Craig. And he appears to be having a blast not dodging bullets as that gentleman secret agent (his biggest risk here is trying to find a place to fire up a massive cigar). It’s a treat to see Craig indulge his comic talents as he goes from genteel to annoyed and outraged. Matching his intensity is Monae, who views everyone with apprehension and refuses to be the victim, not only of murder but intellectual thievery. As that thief Norton also seems to be having fun with his usual intellectual characters, making Bron a pompous “showboat” who’s not nearly as clever as he believes. His glee is close to that of Hudson as the high-fashion dimwit who is oblivious to the world’s sensitivities. Plus she makes a good duo with Henwick’s Peg, who wants to take a more aggressive and violent response to the situation. Now Birdie’s a beacon of tolerance compared to the near-neanderthal Duke played with lunk-headed confidence by the very funny Bautista. His blustering keeps us from wondering if pools and pistols are a great mix. Yet somehow he captures the affections of Cline whose sultry Whiskey may be a more deadly weapon than his sidearms (and she’s more than “side candy”). And it’s always great to see solid supporting players like Hahn and Odom, although the politico and the grim scientist aren’t as enjoyably wacky as their cohorts.No spoilers from me, but keep your eye, and ear, peeled for lotsa’ fun cameos.

This extraordinary cast is led and perhaps inspired, by director Rian Johnson, who also penned the very witty script. Sure, it’s a pretty great whodunit, but it’s also a wonderfully satiric comedy skewing social mores and media, from the pandemic to toxic tweets, while taking well-deserved aim at the “one-percenters”. Hmmm and just days after the also clever dark comedy THE MENU, which also involves an island and foul play amongst the “well-off”. Smart minds think, not alike but on “shared wavelengths”. The “icing on the cake” for this romp are the wild costumes (Birdie’s just a burst of flesh and pastels) and the gorgeous Greek locations (now there’s a beach backdrop for Bron’s excessive tribute to his genius). If you enjoyed the first outing, then you’ll relish this bigger, bawdier new caper. My only problem was the somewhat downbeat ending. Mind you the culprit’s revealed, but the world pays a hefty price for their indulgences (can’t say more). Everybody’s having a splendid time which is quite contagious as fans will be watching with engaging grins. This is another Blanc tale in the works, but it will be tough to top the marvelous mirth of GLASS ONION: A KNIVES OUT MYSTERY.

3.5 out of 4

GLASS ONION: A KNIVES OUT MYSTERY opens in select theatres for one week only beginning on November 23, 2022

Daniel Craig Is Benoit Blanc In Teaser For GLASS ONION: A KNIVES OUT MYSTERY

Glass Onion: A Knives Out Mystery (2022). Daniel Craig as Detective Benoit Blanc. Cr. Courtesy of Netflix © 2022.

On December 23rd, Netflix will premiere GLASS ONION: A KNIVES OUT MYSTERY.

In the follow up to Rian Johnson’s KNIVES OUT, Detective Benoit Blanc travels to Greece to peel back the layers of a mystery involving a new cast of colorful suspects.

Starring Daniel Craig, Edward Norton, Janelle Monáe, Kathryn Hahn, Leslie Odom Jr., Jessica Henwick, Madelyn Cline with Kate Hudson and Dave Bautista, check out the brand new teaser.

According to Johnson, Blanc’s penchant for bombast is partly to thank for the film’s title, which pays homage to the 1968 Beatles song of the same name. “I’m always fishing for something fun that Blanc can grab onto as an overwrought metaphor that he can beat to death,” he says.  “This is all in plain sight from the very start. So, the idea of glass came to me, something that’s clear. I’ll be very honest. I literally got out my iPhone and searched my music library with the word glass.“There’s got to be some good glass songs.”I was like, “Oh, is it a glass fortress? Is it a glass castle? Is it a glass man?” The first thing that came up, because I’m a huge Beatles fan, is ‘Glass Onion.’” Read more on the new mystery here: https://www.netflix.com/tudum/articles/glass-onion-knives-out-2-release-date-photos

Glass Onion: A Knives Out Mystery (2022). (L-R) Kathryn Hahn as Claire, Madelyn Cline as Whiskey, Edward Norton as Myles, Leslie Odom Jr. as Lionel, and Kate Hudson as Birdie. Cr. John Wilson/Netflix © 2022.
Glass Onion: A Knives Out Mystery (2022). (L-R) Dave Bautista as Duke and Madelyn Cline as Whiskey. Cr. Courtesy of Netflix © 2022.
Glass Onion: A Knives Out Mystery (L-R) Edward Norton, Madelyn Cline, Kathryn Hahn, Dave Bautista, Leslie Odom Jr., Jessica Henwick, Kate Hudson, Janelle Monae, and Daniel Craig. Cr. John Wilson/Netflix © 2022.

Rian Johnson Announces GLASS ONION: A KNIVES OUT MYSTERY Sequel Title – Stars Daniel Craig, Edward Norton, Janelle Monáe, Kathryn Hahn And Dave Bautista

Netflix announced today the title of the sequel to KNIVES OUT – GLASS ONION: A KNIVES OUT MYSTERY.

In the follow up to Rian Johnson’s KNIVES OUT, Detective Benoit Blanc travels to Greece to peel back the layers of a mystery involving a new cast of colorful suspects. The cast includes Daniel Craig, Edward Norton, Janelle Monáe, Kathryn Hahn, Leslie Odom Jr., Jessica Henwick, Madelyn Cline with Kate Hudson and Dave Bautista. Look for the movie this holiday season 2022.

The original movie grossed $165.4 million in the United States and Canada, and $146 million in other territories, for a worldwide total of $311.4 million. Johnson received an Oscar nomination for Best Original Screenplay at the 92nd Academy Awards and it still sits at 97% on Rotten Tomatoes.

Read our review of KNIVES OUT: https://www.wearemoviegeeks.com/2019/11/knives-out-review/

Johnson tweeted this out earlier on Monday

MARSHALL – Review

 

With the movie awards season in full gallop, this week sees the release of a perennial favorite of Academy members: the big screen biography. Now this is a special type of “biopic” in that it doesn’t focus on the entire life (or many years of the life) of the subject, as with films like RAY or THE AVIATOR. Really this new work zeroes in on a year or so of this great person’s career, much as Steven Spielberg’s LINCOLN concerned the last few months of the ole’ rail-splitter. Actually this may be closer to John Ford’s terrific YOUNG MR. LINCOLN as it concentrates on a very early case, long before his great fame. And, in a way, this could be considered an “origin” story, much like the initial entries of movie hero franchises (or the first issues of comic book heroes). Yes, this man’s a hero alright (and he’s portrayed by one of the newer additions to the Marvel movie roster). Decades before he donned the judicial robes, movie goers can now see a trial from the early career of Thurgood MARSHALL.

 

In the early 1940’s, with minorities in need of competent law council, the NAACP (the National Association for the Advancement of Colored People) only had one attorney they could send out to provide free legal defense, thirty-something Thurgood Marshall (Chadwick Boseman).  As we meet him, he boards a train just before some local thugs “congratulate” him on another victory. His NYC reunion with pregnant wife Buster (Keesha Sharp) is cut short when his boss, Walter White (Roger Guenveur Smith) assigns him another case, this time in Connecticut. An itinerant black chauffeur named Joseph Spell (Sterling K. Brown) has been arrested for the rape and attempted murder of his employer, society matron Eleanor Strubing (Kate Hudson). With Spell’s life on the line and the town out for blood (the local paper runs a front page editorial cartoon with him as a snarling gorilla), Marshall rushes in. But he will have to work with a local attorney. Sam Friedman (Josh Gad), who has spent nearly all of his time defending businesses, is assigned the case by his firm. But Sam’s not confident working a criminal case, or about teaming up with Marshall. But after speaking with Spell, Marshall is sure of his innocence (the NAACP will only offer free council to the innocent), and the long process begins. Their defense hits a snag when Judge Foster (James Cromwell), angered by an out of state attorney, bans Marshall from speaking in court. Friedman will have to do all the talking. As the men work together they form a bond of mutual respect, but their research reveals many more deceptions and secrets. As the town’s atmosphere becomes more hostile, can they make certain that Spell receives a fair trial?

 

 

With his fedora always cocked at a jaunty angle Boseman is pure “swagger” in the title role, earning him an acting “hat trick’ as his third icon (after Jackie Robinson in 42 and James Brown in GET ON UP). Even without speaking in the courtroom, he’s still a commanding charismatic presence. Eloquent, but also a man of action when the bigots start circling. Though confident in his physical abilities, we can see his eyes dart about, looking for an escape route when the odds are overwhelming, calling more on his brain than brawn. Plus he’s a terrific partner/ coach to Gad’s Sam. When last we saw him, Gad was camping it up as a fun but fussy (more cartoony than the 91′ original) LeFou in BEAUTY AND THE BEAST. Here he’s subtle, drawing us in to the conflicted lawyer. We see his disgust at defending, and winning for, the big companies over the abused poor locals. When this big criminal case falls into his lap, Gad alternates between sweaty panic (Spell’s life is literally in his hands) and annoyance at Marshall. He shows us how a “bromance” blooms as the two become true co-workers through the trial. Also going the subtle route is Hudson, who finally escapes the bounds of “rom-com” purgatory to make Strubing a sympathetic character despite of her accusations. She’s trapped by 40’s society’s conventions, though not nearly as much as the man she testifies against. Brown conveys all the moral complexities and contradictions as the proud, but fearful Spell. Marshall and Friedman must make him hope once more. Cromwell’s masterful as the iron-willed judge, And kudos to Gad’s recent co-star Dan Stevens (the Beast himself) as a most sneaky and smart, very formidable prosecutor.

 

In his first feature film in nearly 15 years (lotsa’ TV) Reginald Hudlin (HOUSE PARTY, BOOMERANG) guides the story from historical drama to courtroom thriller (a dash of TO KILL A MOCKINGBIRD mixed with a bit of Perry Mason) to, well, unlikely buddy comedy. Save for an odd sidetrip to a  NYC jazz club filled with some other icon celebs, the film races along at a steady clip, hitting just the right dramatic beats before its compelling conclusion. The period costumes and vintages autos look very convincing as does the East Coast location work. And, sure it’s a bit of a fan letter to the great man, but the superb cast never lets the zippy script from Jacob and Michael Koskoff seem mawkish or fawning. This is a great movie for school groups, both informational and highly entertaining. As far as “origin’ stories go, MARSHALL makes you wish for another “issue”. After all, he’s got to don his super suit…uh…judicial robes (well, it’s nearly a cape).

 

4 Out of 5

 

Win Passes To The Advance Screening Of MARSHALL In St. Louis

Long before he sat on the United States Supreme Court or claimed victory in Brown v. Board of Education, Thurgood Marshall (Chadwick Boseman) was a young rabble-rousing attorney for the NAACP.

The new motion picture, MARSHALL, is the true story of his greatest challenge in those early days – a fight he fought alongside attorney Sam Friedman (Josh Gad), a young lawyer with no experience in criminal law:  the case of black chauffeur Joseph Spell (Sterling K. Brown), accused by his white employer, Eleanor Strubing (Kate Hudson), of sexual assault and attempted murder.

Directed by Reginald Hudlin, MARSHALL Opens In Theaters October 13.

WAMG invites you to enter for the chance to win TWO (2) seats to the advance screening of MARSHALL on October 4 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.

WEBSITE: http://marshallmovie.com/

RATING: PG-13 for “mature thematic content, sexuality, violence and some strong language.”

See the Official Poster for MARSHALL Starring Chadwick Boseman

Before MLK and Malcom X, there was Thurgood Marshall. Witness the rise of the man who changed America.

Check out the brand new poster for director Reginald Hudlin’s MARSHALL, starring Chadwick Boseman, Josh Gad, Kate Hudson, Dan Stevens, Sterling K. Brown, and James Cromwell.

Long before he sat on the United States Supreme Court or claimed victory in Brown v. Board of Education, the landmark case that desegregated schools, Thurgood Marshall (Chadwick Boseman) was a young rabble-rousing attorney for the NAACP. The new motion picture, MARSHALL, is the true story of his greatest challenge in those early days – a fight he fought alongside attorney Sam Friedman (Josh Gad), a young lawyer with no experience in criminal law: the case of black chauffeur Joseph Spell (Sterling K. Brown), accused by his white employer, Eleanor Strubing (Kate Hudson), of sexual assault and attempted murder.

MARSHALL hits theaters October 13th.

Watch The Thrilling Trailer For MARSHALL Starring Chadwick Boseman, Josh Gad And Kate Hudson

Witness the rise of the man who changed America. Chadwick Boseman (Black Panther) is Thurgood Marshall.

Also starring Josh Gad, Kate Hudson, Dan Stevens, Sterling K. Brown and James Cromwell, watch the exciting trailer now.

Such an dynamic trailer – with a fall season release date, expect to see awards buzz for such a powerful film. Acting, directing, writing, producing categories, including the technical categories for cinematography, costumes, hair and makeup, and production design, with score and song to round out the possible nominations.

Long before he sat on the United States Supreme Court or claimed victory in Brown v. Board of Education, Thurgood Marshall (Chadwick Boseman) was a young rabble-rousing attorney for the NAACP. The new motion picture, MARSHALL, is the true story of his greatest challenge in those early days – a fight he fought alongside attorney Sam Friedman (Josh Gad), a young lawyer with no experience in criminal law: the case of black chauffeur Joseph Spell (Sterling K. Brown), accused by his white employer, Eleanor Strubing (Kate Hudson), of sexual assault and attempted murder.

The film has a top notch production team.

Directed by Reginald Hudlin, MARSHALL is produced by Paula Wagner, Jonathan Sanger ( The Elephant Man, Vanilla Sky, Flight Of The Navigator), and Reginald Hudlin. It is written by Jake Koskoff and Michael Koskoff.

Hudlin co-produced the 88th Academy Awards ceremony in 2016 and was one of the producers of Quentin Tarantino’s DJANGO UNCHAINED, for which he received an Oscar nomination for Best Picture for the film.

Paula Wagner launched Cruise/Wagner Productions (C/W) with her former CAA client Tom Cruise. C/W went on to produce such critically acclaimed films as The Others, The Last Samurai, Vanilla Sky, Without Limits, Shattered Glass, Narc, Elizabethtown, and Ask the Dust, as well as Steven Spielberg’s War of the Worlds (which Wagner executive produced). C/W was responsible for the original Mission: Impossible film trilogy (Mission: Impossible 2 and Mission: Impossible III).

Open Road Films will release MARSHALL on October 13, 2017. Mark it on your calendar now.

Check out the film at it’s official site: http://www.marshallmovie.com/

DEEPWATER HORIZON – Review

deepwaterhorizon

It’s still early in “end of the year awards season”, but Hollywood is rolling out another “ripped from the headlines” blockbuster. This month we’ve viewed actors portraying Edward Snowden and Captain Chesley Sullenberg and now another cast is taking on roles based on real folks. Yes, plural, since, while those earlier films really had a single focus, spelled out in the title, this one has a disaster associated with its title locale. I know SULLY had disaster dream sequences, but the story really concerned a near-catastrophe, a tragedy averted. Not so this time out. This tale concerns the loss of eleven souls, only six years ago, on DEEPWATER HORIZON.

The film begins with the audio of actual courtroom testimony embellishing a black screen. The visuals start on a cool morning in April of 2010. Mike Williams (Mark Wahlberg) is having a final breakfast with his wife Felicia (Kate Hudson) and ten year-old daughter Sydney (Stella Allen) before he begins a three-week stint on the Deepwater Horizon mobile offshore drilling rig 41 miles off the Louisiana Coast. Sydney gives her pop a preview of the presentation she’ll deliver to her class later that day, a “show and tell” about his job. We then meet DH navigator Andrea Fleytas (Gina Rodriguez) as she grabs a ride to the airport. There she and Mike meet safety supervisor Jimmy Harrell (Kurt Russell) as they board a multi-passenger helicopter transport bound for the rig. After landing, Harrell is surprised to see another crew heading out without completing an inspection of the stability of the “mud”(concrete shot down the hole drilled into the sea flow, which caps the oil before the pumps arrive). He gives a list of concerns to his bosses, but BP liaison Vidrine (John Malkovich) is more worried about going over budget and making a fast-approaching deadline. Harrell convinces them to do a pressure test on the “drill” line and the “kill” line. When said test is conducted, the pressure gauges hit triple digits until Harrell’s fears prove true. A geyser of seawater erupts through the rig followed by a stream of concrete mud, methane gas, and water. Fiery explosions engulf the rig as the workers try to make their way to the life boats and meet up with Coast Guard rescue teams, along with the tanker, before the massive structure collapse into the sea.

Wahlberg, much as in his recent Transformers gig, is in affable “average Joe” mode. He’s the devoted hubby and nurturing papa is those opening scenes, then convincingly flips the switch to “working stiff”, a guy who does his job, exchanges zinger with his crew, and tolerates those clueless “pencil-pushers”. Plus he gives us some “action hero” stuff in the film’s final half, combining grit and determination while letting us see the fear bubbling up in his eyes, a panic that must be clamped down. Russell is his macho “man-in-arms”, taking no “guff”, and never backing down to those “shirt and tie” guys (even making one of them remove his purple tie, an unlucky color). Harrell is a gruff, lovable father-figure to all the crew and Russell conveys a real warmth as he interacts with them all. He seems to be making a seamless transition from leading man to colorful character actor with this role cementing this status and making us look forward to a rumored similar part in the Guardians of the Galaxy sequel. Russell has a great adversary in the always entertaining Malkovich as the villainous Vidrine whose passive/aggressive demeanor suggests John M’s James Carvelle’s SNL impression mixed with OFFICE SPACE’s dreaded Lumbergh with a dash of Cajun spice. Hudson has an easy flirty rapport with Wahlberg in the opening scenes which continues with their Skype conversation until she must assume an all too familiar role as “worried woman back home, on the phone” , much like Laura Linney in SULLY and Sienna Miller in AMERICAN SNIPER. Rodriguez begins her character Andrea as a tough-talking pro, but is unfortunately regulated to panicked “damsel-in-distress” by the final act.

In his second collaboration with Wahlberg (the first was 2013’s LONE SURVIVOR), director Peter Berg presents an interesting unglorified look at guys “just doing their jobs”, even giving us a grade-school lesson to explain its complexities, but he begins to show his hand early and often (yes, we know it really happened). Impending doom is telegraphed by the shots tracking the drill lines and ominous bubbling emitting from the ocean floor. The oil company exec often seem to be echoing the mayor of Amity Island, dismissing Harrell’s worries while eating warm chocolate chip cookies at their desk (the guys below toil in grime and sweat). Them dang one percenters! When the, ahem, “stuff’ goes down, the film becomes a demo for theatre state of the art sound systems, full of extreme sound and fury. These characters we’ve cared about, become rag dolls to be tossed about, buffeted by collapsing steel, pelted by mud, and dodging fireballs in an overwrought uneven blend of THE TOWERING INFERNO and THE POSEIDON ADVENTURE (with a bit of THE FINEST HOURS and THE PERFECT STORM). By invoking those popcorn flicks, the true tragedy is almost trivialized in the need for “destruction porn”. Shrapnel whizzes past figures we can barely see in the dark hallways, battering our senses almost to submission. Berg wants this be a big action adventure, short-changing and simplifying the real issues of corporate neglect and ecological consequence. The real life men and woman are worthy of honor, but this dramatization values pyrotechnics over real emotions. Those few days in April 2010 are a gripping tale of survival, a compelling one that DEEPWATER HORIZON just doesn’t deliver.

2 Out of 5

deepwaterhorizon-poster