Creed II

Creed_II_posterDirector: Steven Caple Jr.

Screenwriters: Che Hodari Coker, Sylvester Stallone, and Juel Taylor

Cast: Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Phylicia Rashad, Dolph Lundgren, Florian Munteau, and Brigitte Nielsen

I’ve said before that great sports movies are more about life, passion, talent, and determination, and less about “the game.” This statement applies to the 2015 film Creed and even more so with its sequel, Creed II. However, that does not necessarily make it better.

Creed II opens with Adonis “Donny” Creed (Michael B. Jordan) “riding high now” achieving the level of World Heavyweight Champion, beating Danny “The Stuntman” Wheeler (Andre Ward) for the title, and propelling him to the highest echelon of the sport. This accomplishment coupled with Creed’s mentor and trainer Rocky Balboa (Sylvester Stallone) in his corner, attracts the attention of disgraced former World Heavyweight contender Ivan Drago (Dolph Lundgren). Drago, whose loss to Balboa 33 years earlier resulted in a life of ignominy back in Russia and abandonment by his wife has been training his son Viktor (Florian Munteau) and sees an opportunity to regain his glory by pitting Viktor against Adonis for the title. Viktor, it goes without saying, is a threat in every sense. He’s enormous, fast, and has been conditioned for years by his father to crush any opponent. Ivan, of course, notoriously murdered Adonis’s father Apollo in the ring, and so any fight billed as Creed v. Drago sells itself in its sensationalism. The problem is, Rocky senses that this fight is happening for all the wrong reasons and if Adonis wants to go through with it, he’ll have to do it without him.

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So there it is, the setup for the film is Rocky IV, revisited. And the similarities do not end there. Creed II is very aware of itself, and this works both to the film’s advantage and disadvantage. Director Steven Caple Jr. makes subtle and overt references to just about every other film in the franchise in this film, which is at times rather endearing and at other times a bit too familiar. An example of the latter comes in the form of the conditioning montage. Rocky IV’s cross-cutting training sequence is pretty iconic, depicting Ivan Drago training conventionally (and juicing up with some roids) while Rocky trains in the Siberian wilderness, carrying logs in the snow and pulling sleds. An identical scene is present in Creed II, which is a tad too “on the nose.” On the other hand, some call-backs are crafted with just the right amount of nuance, like the way Caple Jr. takes the conflict of excess versus grit, flamboyantly displayed in Rocky IV, and tones it down to something more palatable for Creed II.

Of course it is easy to get caught up in the familiarity of Creed II, but there is plenty of unique material here as well. Michael B. Jordan continues to put out great and memorable performances, and man is this guy jacked! Creed II is also one of the more dramatic films in the eight Rocky-franchise films. While Creed was very character driven, it was still mostly a redemption story for its pair of protagonists. With Creed II, we get a chance to explore some generational themes that open the story up a bit, especially in regard to Adonis and Bianca’s (Tessa Thompson) relationship.

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Still the obvious focal point of this film is the return of Drago, and while there’s plenty here to enjoy and experience, Creed II is missing that signature moment that we want, and perhaps we have to fault Caple Jr. for that. The fight sequences and the drama overall is missing the sting, choreography and ambition that Ryan Coogler was able to achieve in the previous film. The technical brilliance of Creed no doubt is what caught the eye of Disney executives, leading them to hand him Black Panther, which as we all know became the biggest comic book superhero movie ever and highest grossing movie from a Black director ever. In that regard, congrats to Caple Jr. for stepping up in the first place! Still, Creed II does “throw in the towel” so to speak when it comes to giving us any surprises or something lastingly memorable. Overall, this is a decent entry into the franchise that while not a standout, will keep things fresh enough to make us want to see more. B

Creed II is rated PG-13 and has a running time of 2 hours and 10 minutes.  

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First Man

FirstDirector: Damien Chazelle

Screenwriter: Josh Singer

Cast: Ryan Gosling, Claire Foy, Jason Clarke, Kyle Chandler, and Corey Stoll

How do you follow up a movie that won Best Picture at the Academy Awards (for five seconds), and then lost it. What kind of film do you make after having your hopes dashed at the last possible second, just short of experiencing the glory of a mission accomplished? You make a movie about the first god damned guy who went to the god damned moon and stood on the Moonlight itself, that’s what you do! Did Damien Chazelle make a movie about Ryan Gosling standing on a vacant non-musical moon to lament La La Land losing Best Picture to Moonlight? Of course not. There was no love lost between them, and Moonlight was the better film. But if he did, that’s poetry right there, a pure, uncut, mass media movie battle. Your move Barry Jenkins. I’m looking forward to your movie about a jazz drummer who doesn’t need an abusive music teacher to self-realize.

Anyway, First Man is Damien Chazelle’s follow up to La La Land, and it is a departure for him compared to his previous work, and mostly a good one. First Man is the story of Neil Armstrong (Ryan Gosling), the astronaut who became the first man to walk on the moon. However, a word of warning follows. If you are looking for another story of American ingenuity that results in a heroic and feel-good sense of accomplishment, look elsewhere. Chazelle and screenwriter Josh Singer chose to adapt James Hansen’s authorized biography of the life of Neil Armstrong, which – spoiler alert – is not all moonwalking and giant leaps. Armstrong’s life encompassed some of the highest highs as well as some of the lowest lows imaginable, and Chazelle and Gosling bring these emotions to life with vigor.

This tense balance of highs and lows is apparent right from the start when the film opens on Armstrong as a young aeronautics engineer for the NACA, piloting a North American X-15 right into the edge of outer space, and then promptly back down to earth. It’s an intense and disoriented sequence of film.

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Soon Armstrong’s ambitions bring him to the NASA Astronaut program forcing him to uproot his wife Janet (Claire Foy) and family from California to Texas to join Project Gemini as part of the team of astronauts pivotal in putting the United States in the lead during the Space Race against the Soviets.

First Man, however, develops as a human drama rather than simply a biopic. Yes, the journey to the moon is central to the movie, but it is not essential to its impact. Objectively, this film could be about any person stifled by tragedy, loss, and cultural boundaries, who loses himself in the process. The journey to the moon is but an instrument to reveal his catharsis. Speaking of “instruments,” while First Man clearly lacks the musician aspect that has been front-and-center in Chazelle’s previous films La La Land and Whiplash, it is not without music in its core. The editing, orchestration, arrangement and choreography of surroundings is quite rhythmic. This element adds to the immersive quality of the film that continues to be a signature of this young director (although I was hoping that signature would also include another J.K. Simmons cameo).

First Man is a moody film full of emotion and grit. Ryan Gosling gives another brooding yet powerful performance worthy of the man he plays. Additionally, Claire Foy, an actress I admit I’m rather unfamiliar with, is the source of most of the film’s real impact. Her scenes transcend the “poor astronaut’s wife” tropes aspiring to something far more revealing. Her ability to emote anxiety, stress, and struggle under the guise of composure is remarkable. The rest of the cast is serviceable, with recognizable faces playing many of the familiar figures you’ve seen before including Ed White (Jason Clarke), Jim Lovell (Pablo Schreiber), Gus Grissom (Shea Whigham), and Buzz Aldrin (Corey Stoll), but this film is very much a character piece examining Neil and Janet.

Once one understands that this film will not hit the notes you most likely were expecting, First Man works very well. Its disarming use of camera to focus on the human element of the action, and not the detached traditional view of things that we are used to is both uncomfortable and powerful. Overall, a poignant and dramatic exploration of a major historic event without the all too common escapist quality generally associated with this type of entertainment. A-

First Man is rated PG-13 and has a running time of 2 hours and 21 minutes.

The Meg

MEGDirector: Jon Turtletaub

Screenwriters: Dean Georgaris, Jon Hoeber, and Erich Hoeber

Cast: Jason Statham, Li Bingbing, Rainn Wilson, Cliff Curtis, and Masi Oka

When a movie nails expectations, even expectations that are modest and purposefully withdrawn, does that mean it’s good? This is the question we must ask ourselves when describing The Meg, the latest crazy summer shark movie.

The Meg follows a Naval marine biologist played by Jason Statham (just go with it) named Jonas Taylor. After a mishap during a top secret exploratory mission in the Mariana Trench, Taylor is disgraced having abandoned half his crew and aborting his mission due to his sighting of a 70-foot long shark-like creature that no one else saw. Believing he was crazy or that the decompression sickness had made him delusional, Taylor is dishonorably discharged from his Naval position and from the project.

Five years later a submersible and crew are lost in the same area of the Trench where Taylor believed he saw the massive sea monster. The Naval research group privately funded by billionaire, Jack Morris (Rainn Wilson) has yielded some results, discovering a completely new ecosystem below the originally perceived base of the Mariana Trench. This ecosystem is protected by a cloud of gasses allowing the temperature below the cloud to support abundant sea life. Believed to be the only person on earth with the experience and training at such a depth, Taylor is hesitantly recruited back to assist with the search and rescue for the lost submersible. Reluctantly, Taylor agrees in the hopes to regain his honor and prove that the creature exists. Guess what? It does.

The Meg proceeds like every monster movie, only this one is in the ocean. The Meg (short for Megalodon) escapes the depths via a plume of warmer temperature water created by the Naval submersibles penetrating the gas cloud. Now, free to roam the Pacific, Taylor and his crew must attempt to capture the beast before it can cause catastrophic consequences to mankind. The film is actually a lot of fun. Taylor’s team includes all the archetypes we love to see mix it up: the fallen hero, the corporate businessman, the misinformed expert, and the strong-headed scientist, and a Terrier named Pippin.

The Meg is mostly brain candy. It’s like a Michael Bay movie before he totally lost his mind. The performances are weak, the premise is silly, and the story is predictable, but that’s what I thought it would be, and that’s kind of what I wanted it to be. So is it good. The short answer is, yes. The silly premise is not unlike most films in the genre, which is serviceable that some event allows this merging of worlds. It’s nearly 2 hours, but it’s a pretty tight 113 minutes. Most importantly, nearly all of the $130 million dollar budget appears to have been used on the shark, and it works. There are a nice pile of quality visuals presented here. The film has a clear intention of devouring Chinese box offices as well setting an outstanding and highly anticipated scene where the Meg terrorizes a busy beach of swimmers in China instead of San Diego as it happens in the book (yes this is an adaptation of a novel!).meg+banner

My overall point, is I’m a sucker for shark movies, and I like the popcorn element of this one more than many in recent years. I also like Jason Statham in this film, who is underrated in his ability to mix humor and action. He’s done this marvelously in films like Snatch and Spy, but here he does it in a movie that does not begin with the letter “S.” Hopefully this review has successfully communicated the esoteric appeal of this film, but if you fit the niche, dive in! B+

The Meg is rated PG-13 and has a running time of 1 hour and 53 minutes.

Ready Player One

readyplayerone-tributeposter-highres-backtothefutureDirector: Steven Spielberg

Screenwriters: Zak Penn and Ernest Cline

Cast: Tye Sheridan, Olivia Cooke, Ben Mendelsohn, Simon Pegg, and Mark Rylance

Ready Player One is the highly anticipated adaptation of author Ernest Cline’s best selling novel. The film opens with a shot of Wade Watts (Tye Sheridan), a high school student living in Columbus, OH in the year 2044. We are introduced to Wade as he navigates his way down from his trailer at the stacks, a futuristic “projects” where trailers are “stacked” on top of each other to conserve space due to the widespread poverty being experienced. Energy and environmental crises have rendered the world mostly back to the stone age with petroleum-fuel a thing of the past and poverty running rampant. One advancement has managed to proliferate through the classes however, and that’s the Online virtual world known as the Oasis. The Oasis is a place where everyone can escape their reality by entering a virtual space where they can be anyone and do nearly anything. All you have to do is log on to the Oasis, invent your avatar, and you’re in!

The Oasis is mostly an entertainment device, but it does serve many practical purposes as well. With the infrastructure of the real world crumbling, the Oasis has become a place of commerce, communication, and even education (although exploration of this concept is curiously missing from the film adaptation). The Oasis is the biggest thing in the world and it has made its creator, James Halliday (Mark Rylance), a trillioniare. However, Halliday takes ill, and with no heir or even true friend to designate his estate, he releases a statement that he has hidden an Easter egg, or hidden object, deep within the Oasis. Whoever is first to find the egg will inherit everything.

Wade, under his avatar Parzival is one such egg hunter, known in the film as a “gunter,” a highly problematic term, if you ask me. Wade along with his friends whose avatars Art3mis (Olivia Cooke), Aech, Daito, and Shoto are all attempting to seek out the hidden prize. This sets up an episodic adventure where Parzival travels through the Oasis searching for clues to lead him to various keys that help him unlock gates that will hopefully lead him to the egg. The catch is that in order to really play the game Halliday has laid out, it helps to know Halliday the man, which is to say you’d better know your 1980s pop culture, music, movies, and video games.

The antagonist of the film comes in the form of Nolan Sorrento (Ben Mendelsohn), the head of Innovative Online Industries (IOI), who wants to inherit and monetize the Oasis. Sorrento hires players to search for the egg on his behalf in exchange for suiting up their avatars with the best suits, armors, weapons, credits, and access possible. These sell-out gamers come to be known as “sixers” due to the fact that all of their avatar names are actually just a series of numbers that start with sixes.

So, what’s the verdict? As it happens all too often for many a film reviewer, I am placed in the curious position of having to evaluate a film adapted from a novel that I just adored. So, while my final grade will reflect my core value’s stance of whether the film itself is worth your money as mainstream moviegoer, I must first speak to how the film measures up to the book’s greatness.

First of all, Spielberg is an appropriate choice for envisioning this book as a film. His career and impact on pop culture is precisely what Cline celebrates in his novel, and he does get a few things right here. One scene based on the concept from the book called a “flicksync” finds the characters of the film transported into a well-known film as part of their journey towards the egg. The massively meta and fabulous poster campaign had me hoping this would play a larger role however. This scene captures the spirit of the book brilliantly while also changing things up for book readers and still pleasing non book readers. Additionally, Spielberg and screenwriters Zak Penn and Ernest Cline himself are very successful in their treatment of envisioning IOI and especially Sorrento who is portrayed brilliantly by Ben Mendelsohn. In fact most of the casting is quite good. Rylance is a very fine choice to play Halliday, and I daresay the film treatment of Sorrento’s eventual henchman iR0k (TJ Miller) is superior to the novel’s treatment. This can also be said for Art3mis who receives a more heroic portrayal in the novel than she perhaps had in the book.

That being said, the film mostly falls flat as an adaptation. The film’s focus diminishes the journey element that was so important to the book’s majesty, and instead simplifies the video game-centric quest plotline in favor of a cliché “resistance” storyline in the real world. Furthermore, the overall structure and complexity of the Oasis itself is marginalized. The crux of the novel is our understanding of this new environment as it unfolds. Its economy, its vastness, its rules, and most disappointingly its education system are all abandoned leaving the Oasis to appear cinematically as simply a game. I almost wish Spielberg had decided to take this project to Netflix or HBO in order to give it a longer play. Simon Pegg, who plays the Oasis’s co-creator Ogden Morrow, is also wasted, as much of his purpose from the book is left out leaving him quite flat as a character.

These gripes are clearly subjective, and Spielberg knew as well as anyone that many of these things had to be cut for a feature length film. Therefore, he did do one of the most bad-ass things a director of this film could do as a consolation, and that’s layer in tons of cinematic Easter eggs. There are numerous references to the various omissions I’ve just laid out all over this movie. It’s as if Spielberg is saying, “I know you love this book, but I can only include so much, so here’s a WarGames poster in the background and some fun Back to the Future imagery. The film’s ending, however is actually quite appropriate and rather clever. Some twists are implemented that work well, and overall there’s a lot to be entertained by in the final act. [Minor Spoiler Alert] However, those looking for that brilliant final “flicksync” in the end will be sadly disappointed, which really upset me; I mean the guy’s name is Parzival, how do you not go there!? [End of Minor Spoiler Alert] So here’s my take. This is a really fun movie overall. There are some great Spielbergian moments that play the nostalgia card, hard. However, the film does have its problematic moments regardless of your familiarity with the source material. What could have been a classic, instead is just kind of a pile of visuals with a story savagely butchered and left on life support. B

Ready Player One is rated PG-13 and has a running time of 2 hours and 19 minutes.

Wonder Wheel

WheelDirector: Woody Allen

Screenwriter: Woody Allen

Cast: Kate Winslet, Justin Timberlake, Juno Temple, Jim Belushi

I’ve been enjoying attending annual Woody Allen theatrical releases since Celebrity was released in 1998; that’s 19 of his films in 20 years that I’ve seen in the theater. Today, that streak comes to an unfortunate end with Allen’s latest, Wonder Wheel. Wonder Wheel is the first Woody Allen film to ever be released in December (December 1st actually, which is Allen’s birthday), and while reviews were mostly poor, the holiday and Oscar films marginalized it within seconds, and it just never opened in any major way. Therefore, as a little birthday present to myself, I rented it on Amazon, and I will turn the frown upside down by making it the first post-theatrical release film I have ever reviewed.

The title Wonder Wheel refers to the Ferris wheel attraction at New York’s Coney Island, the main setting of the film. This is one of Allen’s most minimalist films in years or perhaps ever.  It feels and looks like a play, even more so than films Allen has directed based on his own stage plays! I am unsure if he shot Wonder Wheel at an increased rate, but it’s entirely possible. This decision to go full-Tennessee Williams, or maybe more appropriately full-Eugene O’Neill, is at first rather distracting, and I’ll admit, the film may be an homage to the stage, but perhaps a better story would be more worthy of this treatment.

Wonder Wheel is another mid-20th century period piece for Allen. It’s also another Coney Island backdrop, harkening back to Allen’s childhood, explored in several of his other films like Annie Hall, Manhattan, Radio Days, Purple Rose of Cairo, and Sweet and Lowdown among others, but this is the first completely set within the amusement destination, especially in its heyday. Kate Winslet plays Ginny, a waitress at a Coney Island clam shack who lives with her husband Humpty (Jim Belushi). Ginny ruined her first marriage by being unfaithful, and now she and her pyromaniac son live on the boardwalk with Humpty who also works at Coney Island as a carousel operator. Humpty was also previously married and had one daughter, Carolina (Juno Temple), who married a mobster displeasing Humpty and causing him to disown her and kick her out years ago. Suddenly, Carolina shows up on the boardwalk looking for Ginny to help her as she’s on the run from her mob husband and needs a place to hide. She also hopes Ginny can help her patch things up with Humpty. Complicating things one step further is our fourth-wall breaking narrator, Mickey, a Coney Island lifeguard played by Justin Timberlake. Mickey is our narrator, but he also involves himself in the lives of the characters finding himself attracted to Ginny. Ginny returns his favor and enjoys his attention, but she finds herself suspicious and jealous when on a chance meeting, Mickey also meets Carolina. The layers of drama unfold rather predictably, but that’s not to say there’s not an enjoyable arc to everything. Carolina’s immediate danger is nicely balanced with the complicated and adulterous love triangle involving Mickey, Carolina, and Ginny.

Wonder Wheel is definitely sub-standard Woody Allen. Kate Winslet is the main appeal, and her performance is actually quite strong. However, she is still the most developed character in a film full of caricatures. Allen’s three central characters are an adulterous divorcee, an alcoholic divorcee, and a mobster’s divorcee, and most of the time they are as one-dimensional as that. At the end, the story manages a brief bit of poignancy, albeit a duller sense than Allen is capable of creating. This is not the bomb it was made out to be, but like Coney Island itself, it could use a few more thrills. C

Wonder Wheel is rated PG-13 and has a running time of 1 hour and 41 minutes.

 

The Shape of Water

SHapeDirector: Guillermo del Toro

Screenwriters: Guillermo del Toro and Vanessa Taylor

Cast: Sally Hawkins, Michael Shannon, Richard Jenkins, Octavia Spencer, Michael Stuhlbarg, and Doug Jones

Guillermo del Toro is a visionary unlike most working in entertainment today. Del Toro has been the architect of uniquely fantastic films like Pan’s Labyrinth, the Hellboy films, and Pacific Rim as well as the outstanding and underrated television series, The Strain. He’s also a terrific artist whose published artwork notebook is brilliantly impressive and fascinating. His latest and most celebrated film to date, The Shape of Water, is no exception.

The Shape of Water is what del Toro does best, blending an imaginative plot against the backdrop of a real-world historical period. Set in the 1960s in the midst of the Civil Rights movement and an escalating Vietnam conflict, The Shape of Water follows Elisa Esposito (Sally Hawkins), a shy, sweet and vulnerable mute woman who lives above a Baltimore movie house and works as a janitor in a top-secret government research facility. Elisa lives a mostly simple and generally isolated existance, except for occasional visits with her neighbor Giles (Richard Jenkins) and regular “chats,” for lack of a better word, with her co-worker Zelda (Octavia Spencer).

All of this abruptly changes, however, when Elisa’s research lab receives a new specimen from South America, an amphibious man-like creature. The creature is ushered into the facility late one evening during Elisa and Zelda’s shift, accompanied by government agent Richard Strickland (Michael Shannon) and research scientist, Dr. Robert Hoffstetler (Michael Stuhlbarg). Strickland and Hoffstetler are united in a goal to know

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A Tale of Two Michaels – Doesn’t it seem like at least one of these guys is in every good movie or TV show?

more about the creature, but their methods and purposes beyond that couldn’t be more different. Hoffstetler desires to understand and study the creature while Strickland wants nothing more than to determine its usefulness to the United States government, and when Strickland is attacked by the creature, his methods become savage. When Elisa witnesses some of Strickland’s cruelty towards the creature, she becomes determined to save it and enlists the help of Zelda and Giles. Like Elisa, the creature can not communicate verbally, and she also senses the kindness in its soul. What emerges is a twisted Beauty and the Beast narrative that is both beautiful and at times rather horrifying.

Del Toro’s cast is perhaps the most magnificent part of the film. Richard Jenkins and Sally Hawkins give perfect performances. Both are always on top of their game, but never have their talents been showcased like they are here. Legend has it, del Toro pitched this film to Hawkins at an awards show years ago while drunk. He was quoted as saying, I was drunk and it’s not a movie that makes you sound less drunk.” This is exactly the sentiment one should undertake when viewing this film. Objectively, this is a film that can be written off as ridiculous, but when one looks beneath the surface (pun intended), there’s the makings of a masterpiece. The performances by the cast are outstanding, the direction is deliberate and poetic, and the score by Alexandre Desplat is perfection. Del Toro’s film is reminiscent of the style of French director Jean-Pierre Jeunet who directed the films Amélie and City of Lost Children, both of which have a distinct and almost fairy-tale like quality to them.

The Shape of Water is a finely crafted film from top to bottom. It is imaginative and it is spellbinding in a way few films are able to achieve. If I had seen it earlier, it would surely have been on my list of the top films of the year, but I am guessing the 13 Oscar nominations it received will suffice. The cinematic voice of Guillermo del Toro is one I hope only grows and persists. His films deserve to be “events” not unlike those of Christopher Nolan, which makes it fitting that del Toro and Nolan will be duking it out this year for Oscars in eight different categories including the two biggest: Best Picture and Best Director. A-

The Shape of Water is rated R with a running time of 2 hours and 3 minutes.

Molly’s Game

MollyDirector: Aaron Sorkin

Screenwriter: Aaron Sorkin

Cast: Jessica Chastain, Idris Elba, Kevin Costner, Michael Cera, Graham Greene, (and an Aaron Sorkin cameo, of course)

Those of you who like your Wing West, your Network Social, and your Men, Few and Good already know who Aaron Sorkin is. You might know him as the author of some of your favorite long, witty monologues delivered while walking down a hallway. What you don’t know him as is a film director, until now. Molly’s Game is the directorial debut of one of the most celebrated screenwriters in Hollywood, Aaron Sorkin, whose films and television shows have earned every major critical writing award imaginable. Now, he takes his turn in the director’s chair with Molly’s Game.

Molly’s Game is the true story of the Olympic hopeful turned “Poker Princess” Molly Bloom (Jessica Chastain). When a freak accident dashes her hopes at Olympic glory, Bloom turns her focus to business, and while working as an assistant to a real estate schemer named Dean Keith (Jeremy Strong), Molly is inadvertently introduced to the world of poker. Dean hosts a weekly game with pretty high stakes and a core group of relatively famous attendees. When Dean forces Molly to take on the role of organizing the game, taking records and accepting the buy-ins and giving the pay-outs, she is hooked to the intricacies of the game and begins improving the experience for the players. Soon, Molly is the real draw to the weekly game, much to Dean’s chagrin, leading him to box her out and try to rein her in. Molly instead decides to make a move and start her own game – Molly’s Game.

Things are all Aces for Molly for a little while. She plays by the rules, never takes a rake, and keeps things for the most part, legal. Until she discovers that some of the players in her game, unbeknownst to her, may have ties to the Russian mob. This catches the attention of the FBI and forces Molly to hire a lawyer, Charlie Jaffey (Idris Elba) to help save her game, her name, and her life.

Sorkin’s film is anchored by a lights out performance by Chastain. If I were the real Molly Bloom, I’d be in love with this portrayal of my life. Sorkin also proves a credible director. Many a film has fallen victim to the struggle of envisioning how to depict Sorkin’s verbose and chatty repartee between characters (See Steve Jobs), but it turns out Sorkin knows Sorkin better than anyone! He also is smart enough to hire an actor turned Oscar-winning director, Kevin Costner to play Molly’s father, a resource that I assume Sorkin tapped for directorial advice from time to time. Perhaps the casting of Costner’s Dances With Wolves costar Graham Greene as Judge Foxman is also not so coincidental. This is a tight, authentic thrill ride through the lavish highs and deplorable lows that come with games of risk. The film may get a little heavy-handed in its use of The Crucible references to get its message across, but you can’t argue with the timeliness of these references and the relevance to the national conversation right now about reputation and its importance in Hollywood, in politics, and in society in general. Molly’s Game is by no means a flop, and with an ace in the hole like Chastain, you can push your chips in at the turn and let the river run. A-

Molly’s Game is rated R and has a running time of a “Sorkin-y” 2 hours and 20 minutes.