And Some Movies You May Want to Avoid
By: Howard Barbanel
Although many movie theaters reopened and while there is a palpable yearning for that greasy popcorn, nachos and supersized diet coke experience, most of us are still catching our first run flicks at home. Streaming services dominate and even when fully vaccinated, many of us are not entirely comfortable venturing forth to the multiplex just yet.
There are some great movies that have been released online in the past few months with mega stars like Tom Hanks, Glenn Close, Gary Oldman and Eddie Murphy to name a few. Here is a quick guide to some of the new offerings and whether they’re worth your time, and in some cases, the extra money.
News of The World (★★★★★)
In “News of The World” Tom Hanks delivers the kind of star performance you’d expect from one of America’s most versatile and beloved actors. Have you ever seen a bad Tom Hanks movie?
Westerns are not the most popular genre of film these days. Making them so they’re not cartoonish, patronizing or condescending is no small feat. Director Paul Greengrass delivers a period piece that is true to its time and place while also packed with pathos, action and wit. “News” is probably one of the five best Westerns of all time. It’s in the same league as Clint Eastwood’s The Unforgiven (★★★★★, 1992) and the power couple of John Ford directing John Wayne in The Searchers (★★★★½, 1956). “News” shares some themes with “The Searchers,” most notably the kidnapping of a white girl by Native Americans along with the deep darkness imbuing the souls of both Wayne and Hanks’ characters as a consequence of the Civil War.
“News” is set in 1870s Texas where Hanks ekes out a living as an itinerant news reader – he buys newspapers along his travels – expensive and scarce items in the Old West – and he curates and delivers the news in public readings to paying audiences in towns small and large across the prairie. Hanks is running away from heartache, his past and battle-related PTSD. Redemption comes in the character of Johanna Leonberger who was kidnapped by Kiowa Indians as a young child and needs to be returned to her next of kin clear across Texas. Hanks’ character, Captain Jefferson Kyle Kidd, is reluctantly impressed into the service of escorting Johanna to her family and therein lies the drama and adventure of the film as they traverse the Wild West. Johanna is played by 12-year-old Helena Zengel in a tour de force performance where she holds her weight alongside Hanks in most of the movie.
If you can see this in a theater by all means do – but – it’s equally worth watching on your home 42, 55 or 60-inch TV as well. Streaming on Prime.
Hillbilly Elegy (★★★★)
Many Americans comfortably ensconced in their affluent bubbles have no idea of the struggles, poverty, desperation and addiction which besets many to this day in “Flyover Country” and most particularly in Appalachia. This region stretching from Pennsylvania to Georgia has borne the brunt of the Opioid Crisis but even before that alcoholism and other substance abuse was rife.
“Elegy” is the autobiographical drama about a young J.D. Vance, growing up with a seriously defective mother in a death spiral of privation and addiction. Our hero manages to overcome extreme poverty and a plethora of disadvantages to become a Yale-trained lawyer who wrote a bestselling book from which this movie is based. Vance’s salvation was made possible through the intervention of his maternal grandmother, played powerfully by Glenn Close in the role of “Mamaw,” who rescues him from the depredations of his addict mother (played very unglamorously and convincingly by Amy Adams).
Most of the action takes place in Rust Belt Ohio and Kentucky with lots of flashbacks to our hero’s childhood and adolescence. To say that Glenn Close embodies the role of a grizzled character is an understatement. This is not the beautiful Glenn Close we saw in Fatal Attraction (★★★★, 1987) or The Natural (★★★★★, 1984). You totally believe in her as a struggling grandmother. No end of common-sense grit and self-sacrifice. This is no light movie but it is highly inspiring and there is also a happy ending. This film may also remind you of the Tobias Wolff biopic This Boy’s Life (★★★★, 1993) starring Robert DeNiro, Ellen Barkin and a young Leonardo DiCaprio. Streaming on Netflix.
Coming 2 America (★★)
They say some wines get better with age and some after too many years become vinegar and undrinkable. So is the case with the 33-year delay from Eddie Murphy’s hysterical Coming to America (★★★★, 1988) and this cringe-worthy sequel. No matter the return of the original cast plus great additional cameos. No matter Murphy and his sidekick Arsenio Hall playing a dozen different characters. No matter the lavish sets and costumes. The story is flimsy and completely non-credible even for a comedy farce. The writing is dismal, so much so that you’d be hard pressed to find more than two really good jokes in the whole film. A comedy that’s not very funny. Really? Really. How a comedic talent like Murphy didn’t see the lack of humor in this film is astonishing.
The only saving grace and bright spot here is Wesley Snipes as General Izzi, warlord of neighboring African nation Nexdoria (as in “next door”). As Izzi, Snipes dominates the screen and brings 90 percent of the charisma. Izzi is an exaggerated hip-hopped-up Idi Amin-like tinhorn dictator full of outrageous bellicosity accompanied by a praetorian guard of exceptional street dancers who intimidate merely by virtue of their excellent choreography. The movie gets two stars thanks in great measure to Snipes.
The black stereotypes in “Coming 2 America” if they’d been produced by and starring whites would be viewed as highly offensive. In fact, if I were black, I would be very put-off by some of the visuals which in many cases cross a line to tastelessness. Streaming on Prime.
Mank ★★★★
Herman J. Mankiewicz (or as his friends called him, “Mank”) was a brilliant Hollywood screenwriter during the studio heyday of the 1930s. He was also intemperate, constantly inebriated and often impertinent. A real character. So why a movie about him? Because he was the unsung and real literary genius behind one of the best movies ever made, Citizen Kane (★★★★★, 1941) directed by and starring the then 24-year-old wunderkind Orson Welles.
Welles hired the fading Mankiewicz (portrayed masterfully by Gary Oldman, who is 62 and playing someone three decades younger) to ghost-write the screenplay for his first big Hollywood outing. The drama here is the torturous road from concept to actual script; the efforts made by William Randolph Hearst and his media empire to have the film shelved or not made at all and the tension between Mank and Welles when Mankiewicz realizes it’s the best thing he’s ever written and wants screen credit for it. In between are flashbacks to Mank’s life in New York and California and his relationships with Hearst, his then wife Marion Davies (played by an increasingly impressive Amanda Seyfried), studio honcho L.B. Mayer (MGM) and other Hollywood swells. In the middle of the bio sandwich is the relationship with his own long-suffering wife.
Laid-up in bed due to a car accident, an ailing Mank is shuttled to the California desert with a nurse, secretary and prodding producer and told to write the script via dictation which we saw Oldman do frequently while playing Winston Churchill in Darkest Hour (★★★★½, 2017). With the help of this entourage and an unhealthy supply of smuggled booze, Mank turns out one of the best screenplays of all time. In the process he makes enemies of and alienates almost everyone in his life. This is a very grown-up movie that will leave you contemplating the nature and scope of power, ambition, talent and waste (as in much of Mank’s life). Streaming on Netflix.
Wonder Woman 1984 ★★★
In 2017 director Patty Jenkins surprised us all with a superhero movie that was original, fantastic yet believable, well-acted, well-cast, well-written and that had heart and humor. That movie is Wonder Woman (★★★★, 2017). Gal Gadot was a delight as the fierce but incredibly naïve Amazon warrior and Chris Pine was adorable as Steve Trevor. The supporting cast was endlessly interesting and funny and the setting, World War I, was rendered with verisimilitude so that you bought into that reality.
For a second act, instead of perhaps setting the film during World War II, Jenkins opted to make a giant leap forward in years to 1984 (a big jump from 1918) where we’re supposed to believe that Diana a/k/a Wonder Woman has for decades been living a life of quiet desperation and solitude pining away for the late Steve Trevor while occasionally doing some rote super hero stuff like rounding up criminals. In “WW84,” the fate of the world hinges on defeating a deranged megalomanic businessman who steals an ancient artifact with magic powers to grant wishes (I’m over simplifying) which ultimately creates world wide chaos. Somehow Steve Trevor is brought back from the dead because Diana wished for him (as did the producers so the two can recreate their prior on-screen chemistry).
The world of 1984 is not reproduced as convincingly as was 1918 or as well as the 1950s were in Back to The Future (★★★★½, 1985) and the premise or nemeses of loneliness, unrequited love and success don’t carry as much weight as defeating the Germans and the god Aries on the Western Front. “WW84” is so much of a sequel that one really must watch the 2017 original in order to know much of the back story which limits the audience. Another drawback is the length of the film which at two hours and 30 minutes really is a half hour to 40 minutes too long. Many of the scenes of Diana as a child on Paradise Island could have been edited out to make the movie tauter. The film is worth seeing and you will be entertained, but better to see it with your own pause button at home than to invest 150 minutes in a theater. Streaming on Prime and other services.
