KING RICHARD

 Will Smith     Jon Bernthal     Dylan McDermott     Aunjanue Ellis

Saniyya Sidney     Demi Singleton     Tony Goldwyn

            This is a fascinating account about how to make a champion.  Richard Williams, the father of the famous tennis stars Venus and Serena Williams, knew the value of positive reinforcement, despite his tendency to be overbearing, and temperamental.  And let’s not forget the decisive role of his wife Brandi.  She knew him like a book and could read him in such a way she helped him understand himself when he otherwise couldn’t.  And she was a real force in their girls’ training.

            The gist of the story is known by most people, that the black family from Compton, California, took the tennis world by storm in the early 2,000’s when Venus began winning tournaments at an early age.  The proud father always responded to reporters and coaches when they praised him for one daughter by reminding them he had two girls who would be stars.

            As oppositional and pompous as he often was, Richard had rules he lived by and taught his children, such as “Fail to plan, plan to fail.”  Humility is another principal he at least wanted his children to retain, always remembering where they came from no matter how many prizes they won.  No matter the win, he forbade them to “brag.”  Clear from the film is that much of the success of the girls depended on his salesmanship.  He seemed not to be intimated by anyone; he successfully convinced almost (not all) all of them to at least look at his daughters’ prowess on the court.

            I am not a tennis player or big fan, but the film comes across as an authentic representation of what it takes to become a tennis star, the role a parent so inclined could play in a child’s success, and in this case the tremendous support provided by a family that not only stood together but talked through and hashed out problems that arose.   I appreciated the background information about the father that led to the fierceness and perseverance he shows in situations where he is challenged.  Valuable as well is the occasional focus on the marriage and the way the couple solves their issues.  

            Will Smith seems tailor made for the role of Richard Williams.  He embodies it so well one can imagine that aspects of Williams’ personality are ones Smith knows very well.  As Mrs. Williams, Aunjanue Ellis is an inspiration for all women who need to stand up for themselves.  Ellis shows the full dimensionality of a bright, creative, and loving woman who knows how to be a partner to a strong man, and I hope both actors will be recognized come awards season.

            The movie is entitled “King Richard” apparently because of the way Williams conducted himself in coaching and advocating for his daughters.  It seems an apt title to me.  The film does not go into the marriages and divorces of the parents or other types of conflicts in the women’s careers—which is a bit of sugar-coating perhaps—but wisely concentrates primarily on the family during the time Venus is just getting established as a pro tennis player.

 

This account of the background of two record-breaking female tennis players will keep you entertained and cognizant of the importance of family support.

 

Grade:  A                              By Donna R. Copeland

CREED II

Michael B. Jordan     Sylvester Stallone     Tessa Thompson     Florian Munteanu     

Dolph Lundgren     Wood Harris     Phylicia Rashad

     Pride goeth before a fall, but that doesn’t mean you can’t pick yourself up and fight even harder, which is just what Adonis/Creed (Jordan) does in taking up the gauntlet to avenge his father’s death at the hands of Ivan Drago a Russian heavyweight.  Creed feels pressure within himself to take on the son of Drago, Viktor (Lundgren) and defend his world championship title.  His longtime trainer and the one who had defeated Ivan Drago 30+ years before, Rocky Balboa (Stallone), sees Ivan’s physical advantage, and presses Creed to search within himself for the reason he wants to take on the challenge.  Rocky is not up to training him (he is still battling leukemia), so leaves that in the hands of Little Duke (Wood Harris).  

     In addition, there are other important things going on in Adonis’ life, and these, along with his own personal challenges, enrich and complicate his life. He’s involved romantically with the lovely singer Bianca (Thompson), who is a huge support to him, but also has aspirations for her own career.  She would like to move from Philadelphia to California for that reason, and points out that Adonis’ widowed mother Mary Anne (Rashad) lives there. The introduction of real-world considerations marks a plus for Creed II; it’s not just about heavyweight fighting, but reflects as well the kinds of considerations and dilemmas contemporary families have to face in deciding such things as where to live and whose career takes precedence at what time.  

     Over and over, screenwriters Sylvester Stallone and Juel Taylor, have the characters wrestle with parenting, family issues, and emotional attachments.  These scenes are not simply “tacked on”, but are well integrated into the primary action of the story.  (And are definitely a saving grace for this reviewer who has an aversion to boxing because of potentially life-changing injuries.) Relationships between Creed and Bianca, Rocky, and his mother; between Viktor and his father Ivan; and in the ring between Creed and Viktor Drago are rich with emotional valence.  And the bitterness Adonis experiences during one period is palpable.

     Michael B. Jordan has proven his skill in Fruitvale Station, Creed (2015), and Black Panther, and lives up to that reputation in this film.  Sylvester Stallone comes across as an anchor, not only for his parts in the Rocky and Creed films, but as one for Adonis in this film, Creed II.   I get the impression he has provided much of the heart that is a part of the series.

     One aspect of the film that detracts from its freshness is the predictability of the storyline.  Almost from start to finish, the viewer can guess what’s ahead.  If that doesn’t bother you, and if you like to see physical struggles against extreme adversity, this might be the movie for you.

This film is for devotees of the Rocky and Creed series of heavyweight championship films.  

Grade:  C+                      By Donna R. Copeland

THE MIRACLE SEASON

Helen Hunt     Tiera Skovbye     Erin Moriarty     Danika Yarosh     William Hurt     Nesta Cooper

      The story begins with the star of the high school girls volleyball team, Captain Caroline ‘Line’ Found (Yarosh), doing her thing, which is to take center stage in any gathering with a special talent for drawing everyone into her circle. She is charismatic and impulsive, and pulls love and adoration from all she meets.  With her hyper vibes and constant chatter, she is a bit irritating to Coach Kathy “Bres” Bresnahan (Hunt), and the coach has to counsel her about what leadership involves.  But somehow, all this works, and the team is pumped about going for their second state title in a row.

     But Caroline’s life is not as rosy as it appears; her mother is seriously ill and not expecting to live much longer, much to the sorrow of Caroline and her father, Ernie (Hurt).  She was actually a volleyball star in her day, and has given her daughter the shoes she wore.  The always-optimistic Caroline ignores her mother’s frankness and visualizes that they will be together forever.  Regrettably, this turns out to be an ironic statement, in that Caroline will go before her mother. 

     Based on a true story, Miracle Season is meant to inspire viewers by getting them into the spirit of the (volleyball) game, and see how a team pulls together in the face of adversity.  The adversity is grief that comes over them after their beloved captain is killed in an accident.  Caroline’s best friend, Kelly (Moriarty) is tapped to take her place as captain, but it’s clear that in their relationship Caroline was the leader, and Kelly’s self-image pales in contrast.

     This is the turning point in the story; whereas the first part is almost irritatingly sweet in its idolization of Caroline, the transition into grief and how the characters manage it becomes the meat of the film.  Director Sean McNamara focuses on the different ways people cope with loss, and highlights conversations that are healing and inspiring.  An example is Caroline’s father expressing his bitterness and guilt and then helping Kelly with hers.  He’s a strong force in moving her from hero- worship to valuing herself, and assuming her legitimate role as captain.

     Helen Hunt and William Hurt anchor the film as only well seasoned actors can, showing how a viewer can be transported beyond the entertainment value of a film to one of real substance.  Coach is ill at ease socially, but provides the toughness this group of girls (I think the filmmakers tilted them too far into stereotypical “girly” girls) need to overcome adversity.  Hurt is the gentle, fatherly support Kelly, in particular, needs to become her own person.  Erin Moriarty as Kelly, shows great potential for bringing life to a character and becoming a star in her own right.

     For its intentions, I think this film succeeds in its likely appeal to viewers wanting to be inspired and follow a sports team with all its thrills and chills. I’m wondering how it will appear to women who actually play volleyball and are on teams.  My impression is that it is overly dramatic in its depiction of the girls, and that for all its heavy focus on the grief, many will, unfortunately, be turned off.  I congratulate the film for being frank about the grief process.

An exciting sports story about an “impossible” comeback, but with dips into the reality of grief.

Grade:  C+                                    By Donna R. Copeland

I, TONYA

Margot Robbie     Allison Janney     McKenna Grace     Sebastian Stan     Caitlin Carver     Paul Walter Hauser     Julianne Nicholson

      This film could fit into that category of “Truth is stranger than fiction.”  If I weren’t so sad about the bad parenting and its disastrous effects, I could have giggled a lot about the ludicrous reasoning  and lack of judgment used by so many of the characters.  I did end up having more sympathy for Tonya Harding than I did at the time she was skating and this scandal broke out in the news, seeing (at least in the movie) first-hand how little positivity she got from her mother and few opportunities to learn sound judgment.  Her two coaches seemed to be the only helpful people around her.

     In brief, this is the story about a U.S. figure skater in the Olympics in the 1990’s, Tonya Harding (Robbie) who was the first woman to perform a triple axel in competition.  It starts when she is four years old and her mother takes her to a skating rink wanting to show her off.  The coach (Nicholson) tries to dismiss them, saying that she doesn’t coach beginning skaters who are four years old.  The mother (Janney) brazenly continues to smoke a cigarette (against the rules), use the f-word, and later tells her daughter to go ahead and start skating.  This is a perfect introduction to the kind of parenting Tonya received her whole life.  But…the coach does in fact pick up on the child’s talent and begins coaching her.

     The rest of the story is about the hardships Tonya encounters in navigating the figure-skating world (she doesn’t fit the “model” in dress or in behavior, and judges tend to be biased against her), trying to work through a destructive, abusive relationship with Jeff (Stan) (who sabotages her career at every turn), and managing to support herself while keeping up her training regimen.  The value of the film is in shedding light on this particular story, but just as much, in its depiction of life for children in this country who grow up with few values and little education.  As in Sean Baker’s current film, The Florida Project, we get a picture of what happens to children growing up in impoverished circumstances whose parents don’t have the slightest idea about how to nurture their children and build character with a good set of values; all of this is within a culture that has little sympathy or understanding of the problem.

     In addition to the fine direction by Craig Gillespie and script by Steven Rogers, the acting is superb, with standouts being Margot Robbie as Tonya, Allison Janney as her mother, Sebastian Stan as her husband, and Hauser as her bodyguard.  Accompanying music by Peter Nashel and cinematography by Nicolas Karakatsanis help make the picture come alive and command your attention.

A docudrama that elucidates the infamous story about Tonya Harding, a major figure skating competitor in the 1990’s.

Grade:  A                                    By Donna R. Copeland

BATTLE OF THE SEXES

Emma Stone     Steve Carell     Andrea Riseborough     Sarah Silverman     Bill Pullman     Alan Cumming     Elisabeth Shue

      This was a full-blown battle, made more public by the macho boasting of Bobby Riggs for weeks beforehand.  It was a contest with a winner-take-all prize of $100,000.  By the time the match between him and Billie Jean King took place, they had an audience of 50 million in the U.S. and 90 million worldwide, with 30,472 present in the Houston Astrodome.  King was passionate in proving that women’s tennis was just as important/entertaining/professional as men’s, and that they should be paid the same.  Male chauvinism was common in the 1970’s, so men were aghast that women should expect such a thing, saying men were stronger, faster, and better than women who were weaker and “couldn’t stand the pressure.” 

     All this seemed to spur King on even more; she was still stinging from Jack Kramer’s (a former tennis star and radio commentator, smoothly played by Bill Pullman) banning women from a major tournament when they demanded to be paid on the same scale as the men.  Later, when Riggs and ABC wanted Jack to be the commentator for the Riggs/King match, King protested, and threatened to withdraw from the contest unless they hired someone else, reasoning that Jack did not believe in women’s tennis.  “Either he goes—or I go.”  She got her way.

     The match is filmed extremely well by cinematographer Linus Sandgren, starting out slower so each lob is carefully shown, and gradually speeding it up to real time, and the music is well chosen by Nicholas Britell.  With a filmography that includes movies about Red Hot Chili Peppers, R.E.M., and Smashing Pumpkins, the directors Jonathan Dayton and Valerie Faris likely had some informed input for the music as well.  Although I enjoyed the music immensely, it was often too loud for my ears, overpowering the drama and dialog.

     Emma Stone and Steve Carell demonstrate their considerable talent in portraying two colorful characters.  Carell’s Bobby is as obnoxious and full of himself as he is supposed to be, which is in stark contrast to Carell as I’ve seen him in real life.  I was especially moved by King as she is shown in the film and beautifully exemplified by Stone; always dignified, magnanimous enough to initiate the arms-around-the-shoulders exit at the end of the match, and keeping her cool amidst rude taunts and tense negotiations. 

     There were a couple of scenes that made me shake my head (a last-minute hair fix just before the major event and Billie Jean King by herself at the end of the match), and sure enough, these seem to be Hollywood elaborations on the real story.  They are unnecessary veneers to a story that is already sufficient in itself.

Battle of the Sexes exemplifies the ongoing struggle between males and females, but in an entertaining manner.

Grade:  B                                    By Donna R. Copeland

CHUCK

Liev Schreiber     Elisabeth Moss     Naomi Watts     Ron Perlman     Jim Gaffigan     Morgan Spector     Pooch Hall

     The story of Chuck is not much different from so many other sad boxing tales in the movies (e.g., The Fighter, Hands of Stone, Raging Bull) in which the fighter comes from humble origins, doesn’t mind getting hit, is persistent against all odds, gets bruised and bloodied in the ring, indulges in self-inflated trash talk, and after he has a success or two gets into serious trouble that threatens his career and destroys his family.  In fact, the fighter in Chuck, Chuck Wepner, is the real person on which the character in the movie Rocky is based. 

     Chuck (Schreiber) has such a reputation for getting beat up in the ring, his nickname is the “Bayonne [New Jersey] Bleeder.”  He never shows pain, and when his wife worries about him or his daughter draws a picture of his battered face, his response is always, “I don’t mind getting hit.”  Chuck’s wife Phyliss, beautifully played by the talented Elisabeth Moss, is supportive, comforting, and a good sport; that is, except in cases where his flirtatiousness exceeds the limits of her tolerance.

     Everyone gets excited when Chuck’s trainer (Perlman) informs him that Don King, the influential boxing promoter, wants Muhammad Ali to fight a “white guy” at the world championship.  Chuck has won enough rounds with other fighters that he is considered and finally chosen to be that guy.  That’s enough to get his name on the map, because after the fight went through more rounds than was expected, Chuck became famous. 

     Thereafter, the story grows dark as Chuck has hopes of starring in Sylvester Stallone’s second Rocky picture.  (The first one was based on Chuck’s life, and even though he recognizes that it is actually the story of his life, he simply enjoys the compliment).  But by this time nightlife has done him in, and he fails to succeed in the audition.  He ends up being arrested for drug trafficking, and goes to prison.  That’s not the end of the story for Chuck, though.

     The script and the direction of this film by Philippe Falardeau is well done, and the acting by Schreiber, Moss, Perlman, and Watts is especially good.  Watts doesn’t really figure in until toward the end of the story, so in the interest of not being a spoiler, I won’t go into that.  I will say that the film could have done a better job of folding her character into the plot early on so that what finally transpires is more plausible.

     This seems to be a case where the movie is well done by all concerned, but because there have been so many predecessors telling the same tale, Chuck doesn’t have the punch (pun intended) to wow us as it may have intended.

Yes, another film about boxing, with the hero replicating his predecessors.

Grade:  C                        By Donna R. Copeland

QUEEN OF KATWE

David Oyelowo     Lupita Nyong’o     Madina Nalwanga

        Mira Nair is known for quality filmmaking (Salaam Bombay, Mississippi Masala, Monsoon Wedding), and in Queen of Katwe, which is based on a true story, she excels in her conceptualization and import of the film, and directs an outstanding cast and crew to deliver a comprehensive work that is cross-cultural, and has heart, soul, and entertainment value.  Her choices of Alex Heffes to compose and incorporate African sounds in the music and Sean Bobbitt to do his magical cinematography (e.g., making chess matches interesting and exciting and capturing the facial expressions of the native players and observers) show her perceptiveness and attention to detail.  It helps that for a story about Africans that is to be strongly cultural, Nair has filmed in Uganda before (Mississippi Masala), where she met and married an Ugandan and now has a home there.

           The film stars, David Oyelowo, a native Nigerian, and Lupita Nyong’o, born in Mexico of Kenyan parents and reared in Kenya, are likewise excellent choices because of their backgrounds as well as their acting talent and skill.  The central main character, Phiona, is played by Madina Nalwanga, a native of Katwe and a first-time actor who gives a flawless rendition of the girl from the slums who is taught to play chess and turns out to have an uncanny gift for the game (e.g., she can reason out and see the next eight moves she will make).  Nair wisely chose all the rest of the actors from the area around Katwe, who give naturalistic expressions when they see the other actors in the story and interact with them.  A prime example is when Oyelowo graphically acts out a sequence in which he is telling the “Katwe Pioneers” the story of a dog chasing another animal for food who escapes, and hearing the principle behind it—running for a meal vs. running for your life.  It’s clear that the child actors have not heard this before and are completely enthralled.

        Mira Nair began considering this feature film after making a short documentary (“A Fork, a Spoon, and a Knight”) about the teacher, Robert Katende.  Katende was an engineer in Uganda who couldn’t land a job in that profession and began teaching soccer and chess to children in the slums who didn’t have a prayer for an education, or even learning to read.  He astutely identified a girl (horror to male egos young and old) who seemed to have not only the ability to strategize and plan ahead, but was a fighter. 

          Phiona (Nalwanga) was an outcast even in her poor neighborhood, but when she and her brother began to learn chess, it was clear that she had an uncommon talent for it.  The acclaim she began to receive was a boost to her ego, and as a result she adopted better social skills.  Katende (played by Oyelowo) was a “born teacher”—with all the selflessness that implies.  He often taught by telling stories as well as direct instruction, and he wisely thought chess would be especially valuable to poor children in the discipline, persistence and planning ahead that it requires.  After he talked a few kids into coming and learning the game, Katende got hooked on leading this young group of chess players to national chess championships.  His talent in hustling enabled him to jump over the hoops thrown out to the lower classes by the system, and get his kids to tournaments.  (Gratifyingly in the story, it is pointed out that his wife plays an important role in her understanding of his decisions and aims so that she goes along with him, encourages him, and agrees to house them and teach many needy children to read in her home). 

          The screenplay by William Wheeler is based on an ESPN Magazine article and a book by Tim Crothers with the same title as the film.

       In an after-screening satellite interview, Nair, Oyelowo, Nyong’o, and Nalwanga responded to questions from the host Dave Karger and the audience.  Oyelowo stated that he was most inspired by Nair’s decision to make the film from the perspective of a woman, a woman of color, and to make the central character be a female, rather than the male teacher, Katende.  At one point in the film, a chess tournament official states about Phiona:  “Such aggressiveness in a girl is quite a treasure.”  He also praised Nyong’o for her ability to convincingly play a woman living in a slum, selling corn in order to support her large family, given that Nyong’o is a famous movie star and Oscar winner and a fashion icon.  He began his compliment by saying he had the most fun watching her practice walking like Phiona’s mother, and even demonstrated it for us (making everyone laugh), and then explained why that was such a feat, given who the actress is in real life.  The film’s appeal to Lupita was in its depiction of a small girl with a big dream, which came from her becoming aware of her passion for something.

          In regard to cast selection, Nair said she first met Phiona and Katende in New York during a chess match.  She observed Phiona’s feistiness and pluck at the time, and when she met her mother back in Uganda, she could see where the daughter had gotten it.  So she chose actors who could recapture that spunk, Lupita Nyong’o and Madina Nalwanga.  

           An interesting observation is that the real Phiona and Madina (who had never acted in a movie before) had never seen a film before this one, except for Jurassic World, which the child actors were shown after shooting began.  Madina said that her role seemed like she was acting out her own story, because she is a native of Katwe.

           A heartwarming touch at the end of the film is Nair’s idea to take photographs of the actors with their real person counterparts standing side by side.  In addition, Phiona and Katende were in the telecast audience for us to see them as well.

An inspirational story about a most unlikely chess player.

Grade:  A                                            By Donna R. Copeland

HANDS OF STONE

Robert De Niro     Edgar Ramirez     Ana de Armas     Ellen Baskin     John Turturro     

Ruben Blades     Usher     Oscar Jaenada     Reg E. Cathey

          Roberto Duran (Ramirez) grew up in Panama, a street kid, who learned early on how to hustle, coached by a neighborhood “Pied Piper” who gathered up the kids and taught them how to survive by hook or by crook.  Duran’s father had long left his mother, and this man, Chaflan (Jaenada), served as his first father figure.  The second was Carlos (Blades), whom Duran at an early age kept bugging to train him to be a fighter, and when Carlos actually saw his drive and determinism in an underground fight, he agreed.  The third—who served as devoted mentor as well—was Ray Arcel (De Niro), who was approached by Carlos to pick up Duran’s training because he recognized that the famed trainer would make Duran a champion prizefighter.  Both Carlos and Ray sustained their involvement in Duran’s career for years despite major setbacks.  This could be the underlying substance of this biopic—the search for a missing father and how that served to fuel a man’s aggression and then channel it into something useful.

     Another influence was Panamanian politics, that country’s efforts to regain their sovereignty after the U.S. “bought them” with a canal.  Duran was a perceptive child when the protests first began, and when he witnessed the killing of a Panamanian trying to raise Panama’s flag at the Panama Canal and the Panamanians’ perception that the U.S. had reneged on a deal, the U.S. was identified as the father who abandoned him in infancy.

Ray Arcel was reluctant to take on Duran—he had been punished by the boxing powers that be at the time—but partly because he saw the potential and partly because he just wasn’t ready to retire, he began a relationship with Duran that affected both of them emotionally and changed their lives.  Duran soon became the boxer with manos de piedras (hands of stone).

         After Duran does become a sensation, he makes some mistakes that almost cost him his titles and reputation.  The film chronicles these with good pace and timing (the director is Jonathan Jakubowicz), allowing us to see the evolving relationships not only between the fighter and his trainers, but also his wife (de Armas) and Sugar Ray Leonard (Usher).  The film touches on the corruption in boxing that uses fighters as commodities (Turturro’s cameo appearances are appropriately subtle and commanding) and how international events can encroach upon people’s lives.

      Cinematography by Miguel Ioann Littin Menz is remarkable, particularly during the boxing matches.  Like a ballet dancer, the camera soars, pauses, and has explosions of color and action, capturing the viewer’s attention with its sheer beauty.

         De Niro remains a force in the movie business, and Hands of Stone is his film in a way, although Ramirez more than holds his own in portraying a deeply conflicted man who had to evolve from a scrappy street kid to head of a prosperous household, all while managing the temptations and seduction of fame.  Ramirez capably shows the multi-facets of this personality.  Ana de Armas captures our interest as well in her excellent portrayal of a wife needing to adapt to as well as influence her tempestuous husband.  A delightful addition to this cast is Usher, who plays the patient, charming, and ultimately very insightful Sugar Ray Leonard, a gentleman in the best sense of the word.

Under the guidance of father figures, a tempestuous boxer acquires hands of stone.

Grade:  B+                        By Donna R. Copeland

CONCUSSION

Will Smith   Gugu Mbatha-Raw   Alec Baldwin   Eddie Marsan   David Morse   Albert Brooks

          Young Dr. Bennett Omalu is from Nigeria, and from the time he was a boy he dreamed of coming to America.  He obtained medical degrees (bachelor of medicine and bachelor of surgery) at the University of Nigeria, obtained a residency position at Columbia University in New York, and along the way earned multiple advanced degrees and certifications, eventually ending up as a forensic pathologist.  When the story of Concussion (based on a true story) begins in 2002, Omalu (Smith) is at the Allegheny County Coroner’s Office in Pittsburgh, with the notable Dr. Cyril Wecht (Brooks) as his mentor.

              Omalu will soon gain recognition as the physician-scientist who first discovered that head injuries among professional football players have long lasting and sometimes devastating consequences.  He called the condition chronic traumatic encephalopathy (CTE).  No small thing, because when it progresses, it eventually makes the person crazy, often driving them to suicide.

           Now, football is big business, employing hundreds of thousands of people, seeing that disadvantaged kids get an education, and making senior executives in the National Football League very rich.  The NFL will not take Omalu’s discovery lightly, and will fight circulation of the information about the damage to players like the tobacco companies fought the truth about the danger of cigarettes.  It will attempt to destroy the careers of Omalu and his mentor Wecht using every scheme the executives can think of.

           The themes of the film are very interesting and educational.  First is the dramatic story of how Omalu came to his conclusions, primarily by studying the brains of five or six players after they began developing problems.  This is not a smooth journey, and Omalu faces all kinds of objections and derision along the way, always with the backup of a strong mentor, Wecht.  Keep in mind that this drama is taking place in Pittsburgh, home of the Steelers, with one of the largest fan bases in the country.  Fans are just as vociferous in their objections to Omalu’s work as the NFL is. 

          Another enlightening theme is what the affected players go through once they develop the condition.  It’s heartbreaking to see the devastation to their minds, and consequently, the destruction of their families and finances. 

Another theme that lightens the burden of learning about a shocking condition is the romance between Omalu and his eventual wife, Prema (Mbetha-Raw) that gradually develops after his priest puts pressure on Omalu, a loner completely dedicated to his work, to take in a border who recently arrived from Nigeria.  She brings order to his home life and provides impressive support as he goes through his trials.  A touching item she brings up at one point is that his last name in Nigerian means “If you know, you must come forth and speak.”  She reminds him at a time when he is doubting the wisdom of pursuing such a controversial subject. 

         Writer-director Peter Landesman (Kill the Messenger, Parkland) is gifted in his presentation of controversial subjects, maintaining a comfortable balance of factual information and emotional experiences of the players.  He does not preach, but maintains a neutral stance in laying out material for the viewer to consider.  His storytelling is captivating.

           I would say that this could be Will Smith’s most important and well-done performance in his acting career.  He has been nominated for and won numerous awards, but he completely loses himself in this role and consistently maintains a plausible Nigerian accent throughout.  He and Mbatha-Raw (Belle, Beyond the Lights) a gifted performer as well, have good chemistry and come across as a very believable couple somewhat awed by their new love.  Supporting actors Albert Brooks, David Morse, and Alec Baldwin live up to their usual standards of quality.

A most enlightening and timely account of a troubling scientific discovery.

Grade:  A                                    By Donna R. Copeland

MY ALL AMERICAN

Finn Wittrock     Aaron Eckhart     Sarah Bolger

       My All American is written to be inspirational, showing that true grit, family, and religious faith is a winning combination.  Based on a true story, Freddie Steinmark (Wittrock) plays football at Wheatridge High School in Denver, and despite his small size becomes a local hero on the field.  He is from a modest background, but his father appears to be an A-plus parent, seeing that Freddie makes the most of his physical and intellectual abilities.  He puts him through rigorous daily routines, which the boy not only goes along with, he does so with a smile and a cheer, as if he is cheering himself on—except that he is always humble.

      Freddie makes such an impression on his tobacco-chewing coach his plays are shown to Darrell Royal (Eckhart), the famed coach of the University of Texas champion football team (1957-1976), who is duly impressed, and immediately gives the stunned Freddie a football scholarship.  This is a film where traditional American values, which include religious faith, are borne out to be the recipe for success. 

   We see Freddie achieving remarkable feats on the ball field and doing well in his academic subjects, all while cultivating an enduring romantic relationship with blonde beauty Linda (Bolger) at Wheatridge High, a stalwart supporter always by his side.  She manages to get into the University of Texas majoring in Spanish so they can be together in Austin.

     At UT, Freddie not only excels on the football team, he cultivates friendships and alliances with his teammates and wins the respect of the coaches.  He seems to have an innate ability to connect with people, minimizing competition as he promotes collaboration.  The film is effective in showing him in action with clips of the UT football games that document his prowess on the field.

       My All American is a film for those who like to be inspired by traditional American values and success stories.  I find it to be a bit “sugar-coated” with all-positive traits in characters that are likely to be flawed as well as admirable.  Angelo Pizzo, writer and director, has brought us a film that will be inspiring to many, but for those who are more reality based, it may be a little too sweet and perfect.

Football fans will be inspired by My All American.

Grade:  C                              By Donna R. Copeland

MCFARLAND, USA

--> Kevin Costner     Maria Bello

 

McFarland, USA is a Disney production that reminds of the recently opened indie, Spare Parts, in which, like this film, Latino teenagers are challenged by an inspiring teacher to go beyond their perceived destiny and achieve the American dream.  Spare Parts is about a scientific competition, whereas McFarland is about a sports competition.  Both are based on true events.  I preferred the raw, edginess of Spare Parts, but McFarland is still very good. 

In both films, the inspiring teacher has a dicey past that each man is trying to overcome, and find themselves in what they think is a temporary position, not having an inkling of the emotional pull of their new communities.  Coach White (Costner) has gotten into trouble at several institutions because of a hot temper and not controlling his impulses, and the family has had to move multiple times; McFarland is the lowest yet.  White’s wife Julie (Bello) is a model of support, and they have two lovely girls. 

White is astute, though, and when he sees three of his students running back and forth to the farm fields to help their parents, he realizes how fast they go, and hatches the idea of coaching them in cross country running.  He takes advantage of the fastest runner getting in trouble, and sees to it that his “punishment” will be to recruit his fellow students for the team.  As a side, in both these films, the principal is a leader who has insight into teachers’ intentions and what’s best for students.  So with everyone involved working together, Coach White has a scrappy team that can be motivated to reach beyond their dreams, and educate him along the way as well.

The road will not be smooth, of course, with family issues, work vs. school pulls, some parental resistance, and community violence needing to be dealt with along the way.  But another strong point of the film is in demonstrating how community support and everyone working together can achieve seemingly impossible goals.

Niki Caro, the director, working closely with the writers, presents a realistic picture of the Latino and white cultures mixing together—both rough spots and humorous incidents—and balances well the athletic, emotional, social, and administrative highs and lows.  The audience in the screening I attended expressed their appreciation of the film by applauding, chuckling, and cheering throughout.

Kevin Costner was at his best in giving eloquent speeches at just the right time and—more often—mumbling shyly his thanks or sympathy.  At one point, though, he has to come through more openly in a very tender moment with a student.  The supporting cast of Latinos—many of whom have been in television productions—are really fine, and make the picture sing.

Altogether, McFarland is an entertaining, inspiring, and heartfelt movie.

Running for your life cross country—literally.

Grade:  B                        By Donna R. Copeland