THE TENDER BAR

 Ben Affleck     Tye Sheridan     Christopher Lloyd     Lili Rabe     Daniel Ranieri     Brianna Middleton

            The bar featured in the story is called Dickens; presumably, the one in this film called The Tender Barrefers to the tender care a fatherless boy had as he hung out there with his Uncle Charlie (Affleck), the bartender and his pals, an assortment of father figures who turned out to be immensely helpful to him.  The film is based on a memoir by J. R. Moehringer about his own growing up years.  

            J.R. (Ranieri as the younger, Sheridan as the older) is an appealing kid, open and eager to learn everything he can about life from the real world as well as from books.  His father only appears occasionally as an obnoxious man, but his mother has high aspirations for him, planning on his eventually attending Harvard or Yale.  Her father (Lloyd) is irascible in his old age but has an intellectual background and his Uncle Charlie (Affleck) is clearly very bright, even though he works as a bartender.  Both men are an interesting mix of reverence and irreverence toward humanity, education, and achievement.  

            J.R. soaks all this up, receiving constant axioms from Uncle Charlie on how to be a man.  But he always treats J.R. with respect and generosity.  You get the impression he is as glad to have a son-figure as to be a father-figure to J.R.  He and his bar buddies couldn’t be more pleased when J.R. is indeed accepted to be a student at Yale University.

            A love interest for J.R. is someone he falls deeply for at Yale, Sidney (Middleton), an attractive, rather mysterious, and evanescent young woman, who seems to regard him with some degree of bemusement, but their relationship lasts during the college years.

            After graduation, J.R. comes to a crossroads in his life when he has to commit to his lifelong dream of being a writer.  It’s at this time he realizes it’s a calling.

            The Tender Bar is a low-key account of a middle-class child coming of age at a time when any number of paths are open to him.  It’s interesting to see the influences around him, the formative events in his life, and how personal relationships have shaped him.

            Ben Affleck seems to me to be the main star here, with his quirky, friendly style that captures the bartender role.  Although Tye Sheridan, as good an actor as he is, is miscast for this particular role.  Ranieri as the engaging younger character seems to fit perfectly.  George Clooney’s directing history is far less illustrious than his acting career.  He had a good run with Good Night, and Good Luck (2005), but his attempts since then, except for The Ides of March have not been stellar.  

            Part of the misjudgment here may lie in the script and/or the choice of story.  It wouldn’t have to be high drama, but I found myself wanting more than the prosaic.  No character is especially complex, and most of the story is expected.  Even the title could have been improved by calling it The Dickens.

 

Despite The Tender Bar’s fine cast, this story ends up being rather prosaic.

 

Grade:  C                              By Donna R. Copeland

THE LAST DUEL

 Matt Damon     Adam Driver     Jodie Comer     Ben Affleck     Marton Csokas     Harriet Walter

 

           I can’t think of any movie I would want to see three times back-to-back.  But that is a little like viewing The Last Duel.  It is supposed to be a story told from different points of view, but since the versions are not all that different from one another, the effect is repetitiousness.  Why am I seeing the same scenes over and over?

            The setting is in Normandy, France, during the 14^th Century, with all its primitive beliefs about women and religion at that time.  The main characters are drawn up in detail.  Jean de Carrouges (Damon) is a by-the-book kind of man with a strict moral code.  He is loyal to the king and a noteworthy fighter, but he is not personable in any way and turns people off with his bluntness.  Although they start out as friends, he and Jacques de Gris (Driver) end up being rivals to the death.  Jacques is just the opposite of Jean; good-looking, charming, persuasive, and quite willing to cut corners to please Count d’Alencon (Affleck), and the Count rewards him generously.  

            The part of the story that’s the most interesting is the transformation in the relationship between these two men—and all the players who contributed to that transition, along with the basic nature of each man.  The movie is good at showing how Jacques elicits Jean’s suspiciousness, and Jean’s lack of awareness of Jacques speaking up for him.  It shows how common gossip can work both for and against those who perpetrate and foster it.  It shows how an autocratic regime is ultimately bad for most people and how it stymies efforts directed toward the good.  It also makes the point loud and clear about women in that era being the property of their husbands, and a crime against a woman is really a crime against her husband.

            The acting is another strength of The Last Duel.  Damon, Driver, and Affleck live up to their reputations for playing various kinds of characters successfully.  Driver is especially skilled in facial expressiveness and demonstrating the nuances of a role, particularly one like this where he has to appear both genuine and duplicitous.  Damon can do the same thing, but this role is typical for him in its earnestness and honesty.  I almost didn’t recognize Affleck as the oily Count d’Alencon with a blond wig! But he aced it.  A shining new star is Jodie Comer (TV’s “Killing Eve”, Free Guy and Star Wars Episode IX) who appears authentic as a woman of the 14^th Century in a role completely unlike those she’s had before.

            The movie shows the brutality (to us in the 21^st Century) of the 14^th Century ethos and possibly make us grateful for the time we live in.  It depicts the last legally sanctioned duel in France’s history

            The Last Duel could be a lesson well told; but it’s just too bad the filmmakers didn’t spot some contradictions.  Number one is that Jean’s superior fighting/dueling skills would lead us to think that he could make quick work of the partying, bureaucratic Jacques.  That duel went on far too long.  The battles shown were also unnecessary, particularly since it was almost impossible to distinguish the fighters from one another and determine what was going on—a huge task for the cinematographer.  This film needed an editor with a skilled pen.

 

Given the talent involved in The Last Duel, it’s quite surprising that it didn’t soar.

 

Grade:  C-                             By Donna R. Copeland

TRIPLE FRONTIER

Oscar Isaac     Charlie Hunnam     Ben Affleck     Pedro Pascal     Garrett Hedlund     Adria Arjona

     It’s curious how this movie directed by J. D. Chandor (Most Violent Year, Margin Call, All is Lost) and written by Mark Boal (Hurt Locker, Zero Dark 30, Detroit) with Chandor as co-writer could have such a flawed plot.  The story is about retired special-forces operatives who are brought together around a scheme to get their hands on millions of dollars. The actors are top-notch, but the script has the characters making one mistake after another.  They are retired, but that doesn’t cause a person to lose professional judgment and common sense.  

     The set-up has potential.  “Santiago” (Isaac) has been living in a tri-border area in South America and learns of a drug lord whose house serves as a virtual safe to guard his money. Santiago has a strong code of ethics, which is the reason he is where he is, helping the police.  But he is discouraged when he realizes he has had little effect on the local community.  (BTW, The Triple Frontier refers to a tri-border area along the junction of Paraguay, Argentina and Brazil, where the Iguazú and Paraná rivers converge. Wikipedia)

     He comes up with an idea that would require the help of three of his old colleagues and the brother of one, who is a professional fighter.  He goes to visit each one with his proposal. The previous captain of their team, “Redfly” (Affleck), has split up with his wife and has two daughters who need to go to college, but he is an unsuccessful real estate agent, and wonders how he can swing it.  “Ironhead (Hunnam) and “Catfish” (Pascal) are in similar circumstances—none seem to have managed to make their pensions sufficient for their needs. Ironhead seems satisfied with his job as a military instructor, and he shows fondness for his brother (Ben, played by Hedlund), the fighter, who is asked to come along on the venture as well.

     Santiago has learned from his close friend Yovanna (Arjona) about the drug lord’s habits, because she is his trusted employee.  The retired operatives carefully plan a heist in which no one but the criminal will be killed.  They think they have thought of everything; but they haven’t, of course, taken into account some of their own personality characteristics and unexpected events that could occur.

     Every man except Santiago is reluctant and ambivalent about going, but in every case rationales can be thought of to justify their going ahead with the plan: Pensions aren’t high enough, they served their country selflessly in danger to their lives, and families are depending on them.

     Transportation is arranged, concluding with a boat that will take them out of the country and back toward home.  What could go wrong?

     Much can go wrong and does, with the result that what could have been a dashing, exciting adventure becomes frustrating when the esprit de corps that special forces are known for fades very quickly, especially under the leadership of a weak captain.  His major misjudgment in the house results in a chain of disastrous problems.  

     I always admire Oscar Isaac in a film; when he is on the screen, not only does he have charisma and a certain degree of mystique, but he knows how to convey trust in his moral decisions (e.g., A Most Violent Year), except, of course, when he is a villain (X-Men:  Apocalypse), and he does that well too.  Charlie Hunnam also comes across strong in this film as a numbers guy, but one with a keen sense of ethics and who maintains a close relationship with his brother.  Cinematography by Roman Vasyanov is an artistic aspect of the film to admire; the scenes of the Colombian landscapes and the indigenous families transport you to a faraway land.

     All things considered, I’m not sure who will see Triple Frontier in a positive light.  Neither the character Santiago nor the actor Isaac are enough to compensate for flaws in the plot and inconsistencies in the other characters. 

Triple Frontier is just too implausible to regard as a well crafted film, although the acting and cinematography are noteworthy.

Grade:  C-                                    By Donna R. Copeland

JUSTICE LEAGUE

Gal Gadot   Robin Wright   Jason Momoa   Amy Adams   Ben Affleck   Ezra Miller   Henry Cavill

Joe Morton   Diane Lane   Billy Crudup   J. K. Simmons   Ciaran Hinds   Jeremy Irons   Jesse Eisenberg   Ray Fisher

     Oh, my, my!  Superman is dead, and the planet is threatened by a terrible force, Steppenwolf (Hinds), who only needs to get three “Mother Boxes” to communicate with one another and the world is his.  (There are more references to ‘mother’ in this action film than all the rest put together.  Hmmm…).  Steppenwolf has started by sidelining the Amazons and Atlantis, and now he is after Planet Earth.

     There is the possibility of bringing Superman back from the dead with scientific and super-hero means, and Batman (Affleck) and Wonder Woman (Gadot) have a little argument about the merits of attempting such a feat.  She sees it as risky, but he convinces her that it may be the only option.  He also knows that it will take teamwork, so has been recruiting a team to counteract the threat.  Along with Wonder Woman, he manages to get The Flash (Ezra Miller), Aquaman (Momoa), and a Cyborg (Fisher) created by Dr. Silas Stone (Morton), with Alfred Pennyworth (Irons) at central control.  All finally agree to attempt the resurrection of Superman, who is clearly essential for success.

     What follows is the usual formula of an action hero film:  Fight, fight, dialog, fight, fight—always ending up with a fist fight, of course, despite all the fancy gadgets and powers of the players.  The special effects are impressive, as is often the case in these films (production design is by Patrick Tatopoulos (Godzilla, Stargate, Dark City), but the dialog is not of the same caliber.  There are few/no surprising twists and turns, so its primary value is in entertainment, and that’s if you like action hero films.

     A star-studded cast makes this film more interesting, particularly with a larger role given to Gal Gadot as Wonder Woman, who is grooming herself to be a leader.  Bruce Wayne (Batman) appears to be flagging a bit and is feeling a bit guilty about his role in Superman’s demise, so maybe the new pairing could be Superman and Wonder Woman.  Along with Henry Cavill and Gal Gadot, Ben Affleck, Ezra Miller, Ciaran Hinds, and Ray Fisher give their characters depth and watchability.

     Director Zach Snyder and his writers (including Chris Terrio and Joss Whedon) have delivered a mildly entertaining, watchable film, but one that is indistinguishable from most of the genre.

Wonder Woman proves her worth among her fellow heroes.

Grade:  C                                    By Donna R. Copeland

LIVE BY NIGHT

Ben Affleck     Elle Fanning     Brenda Gleeson     Sienna Miller     Zoe Saldana     Chris Cooper

Remo Girone     Robert Glenister     Chris Messina     Miguel Pimentel

         Does crime pay?  Live by Night seems to be addressing this issue, but the reasoning and events used to talk about it are complicated.  Joe (Affleck) is rebellious toward his father (Gleeson), a Boston police captain, and a bit jaded after a stint in the Marines during WWI, saying that he is no longer going to take orders from anyone.  As a reaction to these situations, he chooses a life of crime to support himself, much against his father’s advice, of course.  But the irony is in what he finds when he is caught between two warring crime bosses; father figures ordering him around—in spades.  And he also finds that now the stakes are much higher, and his vow not to kill anyone else becomes increasingly impossible.

      Joe is extremely naïve in the beginning of the story, and easily becomes fatefully involved with the girlfriend of the first big boss, Albert White (Glenister).   Emma (Miller) is coquettish and he is easily entangled in her web.  He just about loses his life as a result, but is rescued at the last minute, although he does have to do some time in prison.

        Just why he again makes a bad choice when he gets out is not explained—a fault of the writing.  That is, a boy who seemed to come from a “good” family with basic values is somehow attracted to a life of crime?  There is nothing in the script about the character that accounts for this.  But say it’s simply money; he doesn’t know how to make lots of money without participating in the alcohol trade during Prohibition.  Let’s just go with that.

         Competing drug lords Albert White (Glenister) and Maso Pescatore (Girone) recognize his skills, and recruit him; first, White, then Pescatore.  He is able to keep from killing when he is with White, but with Pescatore, that option is not open.  Not only must he deal with competition in business, but he eventually has to deal with the Ku Klux Klan in Florida.  The ante keeps increasing for this unfortunate character until he thinks he has finally reached a solution.

           Another complication Joe encounters in Florida comes in the form of a sexy Cuban, Graciela (Soldana), who supports pro-Cuba revolutionary causes.  She will be his redemption both emotionally and legally.  At last, he finds through her a path that will free him from his baser instincts.  But there are major twists in the story on up to the end.

         Affleck co-wrote, produced, and directed Live by Night, and after his success with Argo and winning numerous awards, this film is something of a disappointment, which has to do with a host of problems.  The main characters are not well fleshed out; the sound quality makes it difficult to understand the dialog sometimes, and the logic of going from Point A to Point B in events as well as the characters is weak or absent.  Affleck’s own performance is thin, not nearly as powerful as much of his earlier work in Gone Girl, Argo, and The Town, for instance.  Perhaps it’s just a matter of time and attention; he has numerous projects in development and in production.

          Turning in good performances are Elle Fanning, Brendan Gleeson, Zoe Saldana, Chris Cooper, Ramo Girone, Robert Glenister, and Chris Messina.  Robert Richardson (Hateful Eight World War Z, Django Unchained, Hugo) is a wizard with the camera, and the music of Harry Gregson captures the period.

A gangsta movie for gangsta fans.

Grade:  C                                    By Donna R. Copeland

THE ACCOUNTANT

Ben Affleck   Anna Kendrick   J. K. Simmons   Jeffrey Tambor   John Lithgow   Cynthia Addai-Robinson   Jon Bernthal

          Don’t let the title mislead you; this is a crafty, entertaining thriller with rapid plot twists and shifting identities.  Not what you ever imagined an accountant’s life to be like.  But Christian Wolff (Affleck), the accountant in this story, grew up “different” (Asperger’s Syndrome, a form of autism) with a military father who pushed him to overcome weakness and deal with taunts and bullying he was encountering.  Training included fostering his innate talent for numbers, family loyalty, martial arts and target practice.  So Christian (take note of the name’s associations) then becomes a fairly unique individual with Robinhood values, which makes this film a character study as well as an action thriller, showing the influence of early family relationships and events on adulthood in this and other characters.

          Director Gavin O’Connor enhances the mystery quotient by jumping back and forth in time [which I normally detest, but it works here], showing events in Christian’s life and an FBI investigation.  Mystery is inserted by withholding reasons why, for instance, FBI Director Raymond King (Simmons) is pursuing a perp he calls “The Accountant”, and charges one of his supervisees, Marybeth Medina (Addai-Robinson), to smoke this guy out.  (We’re given satisfaction later as to its importance to him.)

          It’s an amazing—although still plausible—story involving a savant mathematician, big corporations, underworld crime, FBI investigations, and a young well-meaning accountant (Kendrick) who unwittingly blows the whistle at a prominent company, thereby setting off a chain of events no one expects.

          O’Connor has done extremely well in putting Bill Dubuque’s screenplay on film, using their combined knowledge of cinema, human psychology and families to create a compelling tale that is more than a simple thriller.  This film would not have worked nearly as well without the personal histories of Christian, Ray, and Marybeth; they fit together exquisitely with—something I loved—a kind of tenderness running through.  On top of all this, there is a “coming together” at the end, which is priceless. 

         The actors are well cast, with the ever-talented Ben Affleck taking the lead, but with strong support from Anna Kendrick, J. K. Simmons, Cynthia Addai-Robinson, Jeffrey Tambor, and John Lithgow.  Each one of these actors has stellar performances in showing their vulnerabilities:  Affleck as an autistic, Kendrick as a bright but repressed artist-mathematician, Simmons as an FBI agent with insight and heart, Addai-Robinson as one whose secret is outed but hopes diligence will save her, Tambor as an inmate who’s reformed and has acquired character, and Lithgow who is gobsmacked by just about everything going on around him.

       Mark Isham’s music and Seamus McGarvey’s cinematography are the behind-the-scenes enhancements that help make this film significant. 

This film has all the elements that many of us go to the movies for.

Grade:  A                                    By Donna R. Copeland

BATMAN V SUPERMAN: DAWN OF JUSTICE

Ben Affleck   Henry Cavill   Amy Adams   Jesse Eisenberg   Diane Lane  

Laurence Fishburne   Jeremy Irons   Holly Hunter   Gal Gadot

          It’s a common human failing to mistake proximity for causality, and that is how the action in Batman v Superman begins.  Superman (Cavill) has been present in or associated with tragic events in Metropolis, so he is being regarded by some as a pariah, taking the law too much into his own hands and needing some oversight.  Senator Finch (Hunter) feels so strongly about it, she heads up a committee to investigate Superman.

          Bruce Wayne (Affleck) is also convinced Superman is a danger to society and feels honor bound to set things right.  Thus develops a fierce rivalry between the two. Wayne’s trusted technician/adviser Alfred (Irons) tries to dissuade him from taking on such a battle, but Wayne seems to be a tormented soul who frequently feels he hasn’t done enough to protect humankind. 

           Another figure on this complicated chessboard is Lex Luthor, a megalomaniac, who is seeking to extend his power in the world by absconding with precious metals and engaging in other nefarious activities.  Wayne senses he is up to no good and does some investigating at his company. 

       Shadowing in the background for much of the story until the very end when she suddenly appears as a fighter for the good is Wonder Woman (Gadot).  What brings her out is a Kryptonite monster seemingly capable of destroying anything, including Superman. 

         One should go to this film expecting that it is mostly about the CGI accompanied by deafening sound effects with repeated urban devastation, fierce battles that seem to go on forever (Batman v Superman, and both of them with Wonder Woman v the monster), and near death experiences for Lois Lane (Adams) and Martha Kent (Lane).   It is filled with a jumbling hodge-podge of scenes that make it hard to follow the storyline. 

       Remarkable to me in this rendition is the number of self doubts voiced by its two heroes, Batman and Superman, which made me wonder if perhaps their differences with one another would have been lessened if each were more confident.  But that is me in fantasy; I think Director Zack Snyder and the other filmmakers purposefully set up this struggle because they thought it would make a better story for those who favor action movies.

A CGI spectacle with hand-to-hand combat scenes going on for 40 minutes or so nonstop.

Grade:  C-                        By Donna R. Copeland