Showing posts with label Douglas Hodge. Show all posts
Showing posts with label Douglas Hodge. Show all posts

Thursday, November 14, 2019

THE REPORT

Adam Driver     Annette Bening     Corey Stoll     Jon Hamm     Linda Powell     Maura Tierney
Douglas Hodge     T. Ryder Smith     Joanne Tucker     Michael C. Hall     Matthew Rhys


     The dramatization of the U.S. Government’s reaction to 9-1-1 is outlined in Scott Burns’ movie, The Report, which focuses on the report prepared by Senator Dianne Feinstein’s Intelligence Committee, delegated to David Jones, one of her aides.  It shows the dogged five-year efforts of Jones to wrest documents from the CIA related to its practice of detention and enhanced interrogation techniques (EITs) to get information about when/where the next attack would be.
     Gathering data for the report was impeded from the very beginning by CIA officials who refused to share most of their files. Adam Driver embodies the Jones character, eloquently expressing his patience, his diligence, and his intelligence in reading and interpreting reams of material amidst all kinds of setbacks.  Setbacks that never came from his boss, California Senator Dianne Feinstein (Annette Bening), however; as deliberate and politically aware as she was she was also clearly aware of Jones’ honesty and capabilities, so protects him and guides him in negotiating shark-infested waters.
     The film charts Jones’ journey, highlighting his findings despite obstructions, the strategic use of subterfuge to make sure the report was seen and circulated, and the horrifying examples (some presented graphically) of what he found, including clear-cut examples of torture. The two psychologists hired as consultants—James Mitchell (Hodge) and Bruce Jessen (Smith)—had no experience in interrogation, at a time when the country had teams of FBI agents who were experts and should have been in charge of the program.  But, instead, Mitchell and Jessen were put in charge, implementing their unproven methods with virtually no checks or oversight.
     It’s sadly ironic to learn that as early as 1978, the CIA had concluded that brutal tactics are not effective in getting detainees to talk; moreover, they typically result in false answers. The report showed that in their desperation following the 9-1-1 attacks, leaders in the CIA willfully ignored its own earlier findings. 
     I think this documentary is valuable in illuminating a part of our government’s history in which major miscalculations were made, hundreds were made to suffer—some to die—and there were proven injustices committed.  It’s pertinent to present-day situations, and one hopes we will be mindful of and remember what we learned previously.
     My difficulty with the film’s presentation is the rapidity with which major players in the drama are introduced (without clearly identifying who they are).  Moreover, some subtitles meant to give the viewer context fly by so quickly, its difficult to see them and simultaneously follow conversations that are ongoing.  Although I think the film is basically a good one, director Scott Burns and editor Greg O’Bryant should have picked up on this during postproduction.  
     Adam Driver is consistently admired for his acting skills in many different kinds of roles including this one.  He conveys the carefulness shown by Jones, as well as his agony when he is being blocked and questioned.  Annette Bening is likewise highly skilled, but not as often recognized for it as she deserves.  Here, as Senator Dianne Feinstein, she captures the politically astute Congresswoman’s quiet, confident demeanor and decisiveness in tense situations, despite trying to navigate successfully through the sensitive politics of the situation.  These two leads are backed up by a strong cast including Jon Hamm, Maura Tierney, Linda Powell, Corey Stoll, Ted Levine, and others.

A real-life drama depicting the reactions of Washington’s politicos to the 9-1-1 disaster. 

Grade: B                                                By Donna R. Copeland

Thursday, October 10, 2019

GEMINI MAN

Will Smith     Mary Elizabeth Winstead     Clive Owen     Benedict Wong     Ralph Brown     Douglas Hodge


     This is not your typical father-son drama, but that is one of the themes applicable to three characters in the film.  Clay Verris (Owen) dedicates himself to serving as a father figure for young men in training, seeing himself as a “loving, dedicated, present” father—words that will be thrown back at him at a later time.  Henry Brogan (Smith) is one he took under his wing, making him the top, universally acclaimed assassin in the world.  After Brogan became employed by the U.S. Government, Verris started his own company, Gemini, which specialized in DNA research and cloning. From the trailer, you know that he has made a clone of Brogan’s DNA, which Verris raises as his own son, calling him Junior (also Smith).
     At a certain point, Brogan has had enough and is ready to retire; after 72 killings, he’s feeling a “hurt” deep in his soul.  Just as he starts launching his boat to go fishing, though, strange things start happening, and he will gradually learn that he is being played by more than one party.  First of all, he spots a government agent working at the boat dock disguised as a kind of clerk, but he blows Danny’s (Winstead) cover in nothing flat, and because he appeals to her, they become partners in solving the mystery of what is going on behind the scenes and who it is who suddenly turns up, trying to kill him.
     The story has intrigue in being set and filmed in exotic places like Cartagena in Colombia, Budapest in Hungary, and even the southern state of Georgia, and it has thrills (a daredevil motorcycle chase in one of the cities, as well as extended physical fights with impossible maneuvers where the fighters get up repeatedly after looking like they’ve been killed), all of which resembles most action films.  It is appealing to see the warm and genuine Danny fight with the same ferocity as the men.
     Most of the drama consists of Brogan and his clone struggling with one another, one to kill, one to survive, and this is mostly entertaining (except for each encounter being extended for too long a time), but the real “meat” of the story is whether and how they will work through the curious position each is in, one being a clone of the other.  
     Complex relationships between characters has been Director Ang Lee’s forte (Brokeback MountainLife of PiCrouching Tiger, Hidden DragonThe Ice Storm), and I presume it was meant to be similar in Brogan and Junior’s relationship here.  It certainly seems like fodder for a rich characterization of the most complex relationship of all.  But with the director’s and writers’ focus on action rather than psychology, Gemini Man looks and feels a lot more like the generic action film than a psychological exploration of a futuristic relationship, which was not neglected, but was only minimally explored.

Gemini Man has an intriguing aspect, but this takes second place to the typical action movie thrills.

Grade:  C-                                    by Donna R. Copeland