Hotel Artemis

Perspective. The lens through which we view the world. We usually focus on the most dominant storyline when it comes to art, as it pertains to film and literature. The subplots take a natural backseat to the action in the foreground. However, a fresh perspective allows for new and creative storytelling. Hotel Artemis seemed intriguing, not only because of a cast including Jodie Foster and Sterling K. Brown, but because it fleshed out a familiar plot point.

 If you’re anything like me, you’ve seen your fair share of crime dramas over the years. You’ll recall that whenever someone is shot or otherwise injured, it poses a real problem when they need medical attention. Well, what if there was a hospital just for criminals? Welcome to Hotel Artemis, which is not really a hotel at all. In this stylish, dark action drama, writer/director Drew Pearce (Iron Man 3) spins a common trope of the genre into a tale of murder and mayhem.

 The film opens in the not-too-distant future of 2028 Los Angeles, as three men attempt a bank heist. Two of the three are brothers, the older played by Sterling K. Brown (Black Panther) and the younger portrayed by Brian Tyree Henry (Atlanta). Gravely wounded, the trio call ahead to book some rooms in the Hotel Artemis, members only. The Artemis deals in anonymity, and each resident is known by the room to which they are assigned. The older brother is assigned to the Waikiki room, and the younger to Honolulu. Jodie Foster (Elysium) stars as The Nurse, gatekeeper and Chief Surgeon, so to speak. She runs a tight ship, adhering to a strict set of rules that only allows treatment for members who have paid the hefty premium.

 The technology in the film is pretty cool, with The Nurse performing complex surgeries in half the normal time. Upon arrival, Waikiki runs into old friend Nice (like the French city), portrayed by Sofia Boutella (Atomic Blonde). She’s at the Artemis for more than just medical care, and her mysterious intentions put her odds with the other guests. Throughout it all, The Nurse is tasked with keeping her unsavory clientele in line, enforcing a strict set of rules with the help of her sidekick, a juiced up looking orderly appropriately nicknamed Everest (Dave Bautista, Avengers: Infinity War). On this particularly chaotic night, a riot rages outside. The people have taken to the streets to protest the privatization of water, a nasty hallmark of this quasi-dystopian future. As if things weren’t hectic enough, The Nurse has one more problem to consider after receiving word that yet another patient will be arriving, this one a VIP. “The Wolf King,” ruling crime boss of LA’s underworld is en route (Jeff Goldblum, Thor: Ragnarok) and cannot be denied.

 Hotel Artemis was a fun movie to watch, largely due to its premise. In some respects, the setting is the star. This film isn’t character driven, it’s plot driven. The characters must sustain the action and carry the film, but their maneuvering is made easier by the film’s construct. Although the Artemis is the focal point and the film’s only real setting, its occupants ensure there is never a dull moment. Sofia Boutella proves that her turn in last year’s Atomic Blonde wasn’t a fluke, dispatching unwanted guests Oldboy style. Sterling K. Brown is just a pleasure to watch, in any setting. I rooted for Waikiki, the dutiful older sibling, always making sacrifices. And Jodie Foster, well she’s Jodie Foster. In sum, Hotel Artemis was a cut above your average shoot ‘em up, a cool movie that refreshingly expounded upon a common thematic element. I don’t think you’ll be disappointed.

Grade: A-

Ocean’s 8

There’s something to be said for novelty, for curiosity. If you add a twist to a familiar theme, you’ve got my attention. Such was the formula of Ocean’s 8, a spinoff of the popular Ocean’s Eleven franchise that spawned two sequels. This time around it’s Danny Ocean’s sister Deborah (Sandra Bullock, Our Brand Is Crisis) who has taken up the mantle. Recently paroled, Deborah begins cooking up her next caper soon after doing a 5-year stretch.  She connects with old pal Lou (Cate Blanchett, Thor: Ragnarok), and the two hatch a plan to rob the Met Gala.

I’m usually skeptical of reboots and updated versions of movie franchises. For example, I was ambivalent about the Ghostbusters reboot and I generally dislike the idea of making the “Black” or “female” version of popular movies. However, I’m a fan like anyone else, and star power is a legitimate draw. An all-star lineup attracts audiences, and that is the universal appeal of Ocean’s 8. Somehow my snobby cinematic preferences went out the window when I heard that Cate Blanchett and Rihanna were going to be in the all-girl interpretation of Ocean’s Eleven, itself a reboot of the 1960 Rat Pack classic.

Writer/director Gary Ross (The Hunger Games) has created a fun, slick caper that doesn’t quite live up to Steven Soderbergh’s original Ocean’s Eleven, but more than holds its own against Ocean’s 12 and 13. Deb and Lou assemble a team whose mission is to swipe a diamond Cartier necklace from starlet Daphne Kluger (Anne Hathaway, Alice Through the Looking Glass), who will be wearing the jewelry worth 150 million dollars to the Met Ball. Through an intricate plan involving surveillance, reconnaissance, and good old-fashioned luck, the hodgepodge team of bandits set the stage to pull off the brazen heist.

Rihanna (Annie) features prominently as Nine Ball, hacker extraordinaire and overall badass, much like the singer herself. Rounding out the cast are Sarah Paulson (The Post) as Tammy, Mindy Kaling (A Wrinkle in Time) as Amita, high-strung and anxious to get out from under her mother’s thumb, and Awkwafina as a sticky-fingered hipster. The esteemed Helena Bonham Carter (Alice Through the Looking Glass) appears as fashion designer Rose Weil, tasked with dressing Daphne for the ball and rigging the necklace. The audacious caper requires extraordinary skill and luck, and of course it’s all farfetched, but that’s not the point!

Ross lacks the finesse of the aforementioned Soderbergh, so the film wasn’t as slick and polished as the other “Ocean’s” movies. Nevertheless, there were tonal similarities, and the cast’s chemistry and camaraderie made the movie as fun to watch as it probably was to film. The movie’s flaws weren’t significant, as I expect some suspension of disbelief and understand that any retread inherently lacks originality. Ross allowed the cast to shine, even if their considerable talents may not have been particularly tested by the material here. Rihanna was surprisingly effective, and Paulson and Hathaway were particularly endearing. This was perfect summer fare.

Grade: A-

Deadpool 2

Superhero roles in Hollywood are coveted. Most often the character will have a built-in audience, and comic book movies routinely debut at number one at the box office. Some actors are fortunate enough to get more than one opportunity to don a pair of tights and save the world. Chris Evans is one example, having been both Johnny Blaze of the Fantastic Four and the iconic Captain America. Similarly, Ryan Reynolds (The Hitman’s Bodyguard) got two bites of the apple, having starred in both the regrettable Green Lantern and the wickedly funny Deadpool. In Deadpool 2 Reynolds returns as the quick-witted facially challenged Wade Wilson, to great effect.

We find Wade living happily, still in a relationship with his beloved Vanessa (Morena Baccarin, Gotham). Can I take a moment to applaud Vanessa as a great superhero girlfriend? I mean Pepper Potts (Iron Man’s girlfriend) is cool and all, but who else is there? Vanessa’s love has never faltered, despite her man resembling Freddy Krueger on a good day. Recall Wade’s backstory from the first movie: he was diagnosed with Cancer, a nefarious group offered a cure that obliterated the cancer and gave him mutant powers of immortality and invincibility, but he was terribly disfigured in the process. The couple have endured a lot and are excited about starting the next chapter of their lives. That is, until tragedy strikes and sets Wade/Deadpool on a deadly course of revenge.

Deadpool relies on the counsel and encouragement of his roommate Blind Al (Leslie Uggams, Empire) and pal Weasel (T.J. Miller, Office Christmas Party), as he channels his rage and pain into hunting down his enemies. While Deadpool pursues one foe, a new one emerges in Cable (James Brolin, Avengers: Infinity War), a time-traveling villain from the future. Recall from the first movie that the X-Men made a play to recruit Deadpool into their ranks, with unsuccessful results. That continues in the sequel, with Colossus and Negasonic Teenage Warhead encouraging Deadpool to follow a greater calling, defending the innocent. To that end, Wade intervenes after seeing the breaking news story of Firefist, a mutant teenager whose hands hurl flames. Attempting to corral and mentor the wayward youth, Deadpool must contend with Cable, who has come to eliminate the boy before he grows into the monster he’s destined to be.

Forced to rely on others for the first time, Deadpool’s rag-tag band of misfit heroes includes Domino (Zazie Beetz, Atlanta), a badass whose superpower is simply luck. We see a new surrogate family taking shape for Deadpool, and the movie’s irreverent tone is balanced with intermittent humor and warmth, although this allows the film to get away with questionable plot points at times. Deadpool is likeable because he is relatable and funny as hell. Reynolds has never been on anyone’s Best Actor list, but the guy stays in his lane. He’s funny and charming and can still carry a movie despite the inability to rely on that handsome face.

The Deadpool franchise is hilariously self-aware, breaking the fourth wall and eschewing convention by dismantling the superhero mystique. This self-deprecation is what endears the character to audiences and it’s a recipe for success for Marvel Studios.

Grade: A

Annihilation

Science fiction isn’t my favorite genre, but one must be open-minded about art. You never know what may end up being a great film. 2014’s Ex Machina was a film that I assumed I’d dislike, and I actually ended up really enjoying it. When I learned Annihilation not only featured one of my favorite actresses in Natalie Portman, but also that Ex Machina’s director Alex Garland was responsible, I was convinced it was worthy of a Movie Pass swipe.

Portman (Jackie) stars as Lena, a biologist and professor recently widowed. Or is she? Her husband Kane (Oscar Isaac, Star Wars: The Last Jedi) has been missing in action for over a year. He never returned from a recon mission that took him inside of a mysterious visible, moving force field dubbed the “shimmer.” Meanwhile, Lena is stuck in a holding pattern, going through the motions of daily life, continuing to teach. But her grief persists, compounded by a lack of closure. Then, one day, Kane reappears. It’s apparent that something is different about him now, from the vacant look in his eyes to the decreased cognition. Eventually he has to be rushed in for medical treatment, quarantined in a nearby government facility. There Lena encounters a team of women, the latest doomed collective to be sent on a virtual suicide mission inside the shimmer. Lead by Dr. Ventress (Jennifer Jason Leigh, Amityville: The Awakening), the small band includes scientists and rescue personnel.

The bulk of the film is told in extended flashback. Lena and Dr. Ventress’ team enter the shimmer, and while five enter, it’s not clear that all five will make it out. We switch back and forth between the present, where Lena is recalling what happened inside the shimmer, and their actual time inside. The shimmer covers a wide, remote area and has moved slowly over time, drifting closer to population centers. Within its depths a unique ecosystem has developed, giving rise to beautiful foliage but also deadly hybrid creatures. Lena is the central figure of the story, and it is through her perspective that most of the action is filtered. Despite the fragility brought on by recent events, she’s surprisingly courageous within the shimmer, boldly facing unknown dangers, including bizarre creatures and supernatural energy. She starts off well with the others at first, but camaraderie gives way to fear and mistrust as they face one threat after another. Undeterred, Lena persists in hopes of getting answers about what happened to her husband.

Annihilation was an okay movie, but that’s the extent of any praise. Although the shimmer’s premise allowed for some cool visual elements and fantasy-driven concepts, the story didn’t have a satisfying resolution. During one weird scene, I took a moment to survey the faces of those around me, to see if they were exasperated, engrossed, or disengaged all together. They seemed to be enjoying it, so perhaps I was missing something. Science fiction is unconstrained by convention, and I think its freedom in storytelling sometimes results in suspect plot development. The performances were more than adequate, and I enjoy both Portman and Issac in mostly everything. Moreover, I was glad to see Tessa Thompson (Thor: Ragnarok) continuing her recent campaign of worthy notches  – but the film felt unremarkable. Perhaps more suited for sci-fi enthusiasts, it fell flat for me. Don’t waste your time unless you’re a fan of the genre.

Grade: C

Red Sparrow

No actor is immune from making a bad movie; even some of the best have been guilty. However, a string of bad films might be cause for concern in an industry where the latest “It” girl can change from one year to the next. I don’t think Jennifer Lawrence (Mother!) has anything to worry about, as she’s been the toast of Tinseltown for a few years now, a bonafide megastar. But Red Sparrow marks her second consecutive disappointing feature (last year’s Mother! was an esoteric mess), and now I know that her presence alone doesn’t necessarily elevate a bad movie.

Red Sparrow intrigued with me its premise, the story of a Russian ballerina who becomes a spy. That’s all I gleaned from the trailer, and I imagined Black Swan meets La Femme Nikita or something. Lawrence stars as Dominika Egorovo, a ballerina with a promising career but meager finances and an ailing mother.  When she suffers a catastrophic injury on stage, she is presented with an opportunity to become a “sparrow,” a covert operative deployed by the Russian government in matters of espionage. Her training commences, and Dominika is subjected to a series of tasks and rituals designed to break her psychologically and emotionally. The film’s first act was its best, and I found it fascinating to witness their methods of training and subjugation. Veteran actor Charlotte Rampling (Assassin’s Creed) is featured as the “Matron,” subjecting the recruits to such humiliation as public nudity and intercourse.

As the film shifted into its second and third acts, the plot veered to and fro, with nothing but Jennifer Lawrence and some nice visuals holding the movie together. Director Francis Lawrence (The Hunger Games: Catching Fire) has shown from his music video beginnings a deft ability to capture stunning visual imagery of his subjects and their environments, and the film’s cinematography was one of its few bright spots. About midway through, Joel Edgerton (Bright) appears as an American spy to whom Dominika is assigned. He attempts to turn her and recruit her as a double agent, and it was all downhill from there. I can’t tell you much else about the film, because at that point I simply didn’t know what was happening anymore.

Jennifer Lawrence is a really good actress. American Hustle, Silver Linings Playbook and Winter’s Bone all prove it. I’m not sure if Red Sparrow seemed like a good script when she initially read it, but I found writer Justin Haythe’s screenplay muddled, meandering, and confusing. Perhaps the source material was richer, but its interpretation left much to be desired. Jennifer Lawrence is better than this? Scenes that were intended as provocative and edgy came across as lurid and trashy instead. I can appreciate the alluring surface qualities, Lawrence’s beauty and the rich decadence of the environment, but that’s where my praise ends. Wait until this one makes its way to HBO.

Grade: C

Black Panther

About three years ago, Marvel announced a solo Black Panther movie. The news was met with enthusiasm, but the energy was largely confined to Marvel fans. Fast forward a couple of years later as buzz builds towards a Black History Month release date, and the masses have been whipped into a collective frenzy – myself included. I said that regardless of my opinion, I would be honest in my review of Black Panther. I told myself that I wouldn’t succumb to groupthink, as I admittedly did in my final grade of Moonlight. I needn’t have worried about that, because Black Panther met every expectation, living up to the hype in a dazzling display of Afro-futurism that left me swelling with pride. And while the film will undoubtedly appeal to a broad cross-section of viewers, there is something uniquely dope about Black Panther that resonates with Black folks particularly.

Chadwick Boseman (Marshall) returns as T’Challa, heir apparent to the throne of Wakanda after the death of his father King T’Chaka. Although the throne would seem T’Challa’s birthright, he still must compete for it, if challenged. In two exhilarating scenes T’Challa competes in tribal battle as inspired Wakandans look on, their shoulders rising and falling rhythmically in ritual witness to the spectacle. Untouched by European imperialism and Western civilization, Wakanda is a thriving bastion of technology due in part to its rich natural supply of Vibranium. Mined from a meteorite that landed thousands of years ago, Vibranium is used for everything from powering transportation to advanced weaponry. In fact, T’Challa’s younger sister Princess Shuri (Letitia Wright, The Commuter) has harnessed its properties brilliantly, unimpeded by Western ideals about traditional female roles.

T’Challa is an empathetic and even-tempered leader. He seems almost reticent to assume the throne, fueled by a sense of responsibility rather than hubris. He has lionized his father his entire life, but as Wakanda confronts new threats, T’Challa must contend with the harsh realization that T’Chaka had moral shortcomings that would prove dire. Enter Erik Killmonger (Michael B. Jordan, Creed), wayward son of Wakanda with questionable origins. He has aligned himself with Wakandan nemesis Ulysses Klaue (Andy Serkis, Star Wars: The Last Jedi), one of the few outsiders who are aware of Vibranium. Very few people know that Wakanda is a thriving epicenter of technology and innovation; most Westerners think it is a primitive, third world country, and it is that fallacy that has sustained Wakanda’s existence. People cannot colonize or exploit that which they do not know exists. But will T’Challa continue the path of isolationism that has sustained Wakanda until now, or will he step to the forefront of the global stage and reveal its greatness?

Black Panther was larger than life. I could fill page after page with praise for the entire cast, including writer/director Ryan Coogler (Creed), who gave the latest Marvel entrant an added layer of cultural significance while putting his signature Oakland twist on the story. He was my quiet favorite after his debut Fruitvale Station, but after pairing with Michael B. Jordan for a third time, the two are charting a relationship on par with DeNiro or DiCaprio and Scorsese. That may sound like lofty praise right now, but I think we are just scratching the surface. The film’s cultural impact cannot be overstated, and the power of film as a medium cannot be denied.

Marvel fans will enjoy the accurate interpretation of the Black Panther and his origins, while many Black moviegoers will recognize the film as a defining moment in the culture. The beauty, strength and power of African people was on glorious display throughout, and the film’s casting reflected a deliberate representation of beautiful, strong dark-skinned actresses like Lupita N’yongo (Star Wars: The Last Jedi) and Danai Gurira (All Eyez On Me) – a stark contrast to most mainstream movies. The film hinted at the greatness and untapped potential of the continent, and challenged its viewers with powerful themes that served as metaphors for the current state of our communities. At the risk of turning this review into a dissertation, I’ll conclude my thoughts by saying: Black Panther was flawless, and should be etched in the pantheon of Black cinema as required viewing.

Grade: A

Hostiles

Versatility. Range. To me, these are the hallmarks of great acting – and they have served Christian Bale (The Big Short) well, from The Fighter to American Hustle. Hostiles marks his return to the Western, his first since 2007’s 3:10 to Yuma. One would hope that the genre has evolved enough to be devoid of stereotypes, while maintaining historical accuracy in a way that doesn’t sacrifice artistic merit. Hostiles didn’t break new ground within the genre, but emotional dramatic turns from Bale and co-star Rosamund Pike (Gone Girl) make it a worthwhile film.

Set in 1892, the film depicts a rough and tumble American landscape of centuries past. Bale stars as Joseph Blocker, an Army captain tasked with a final mission before retirement, which he begrudgingly accepts. He must transport a dying Apache chief and his family back to their home state of Montana, as the elder is riddled with Cancer and has been granted mercy to die on his homeland. Violent and racist, Blocker’s visceral contempt for Native Americans could not be more obvious, and he pleads in futility to be excused from the mission. His superior officer ignores those complaints, and Blocker leads a small party of soldiers in the transport of Chief Yellow Hawk (Wes Studi, A Million Ways to Die in the West) and his family, including his adult children and grandson.

Historical accuracy is important, and while it is true that some early Native Americans terrorized White settlers expanding West, it is equally true that White colonizers terrorized the indigenous populations already here. Be that as it may, the film did an effective job in its first act, presenting both sides of a philosophical coin in its depiction of brutality. In a riveting opening scene, a Comanche tribe descends upon a family to steal their horses. They slaughtered them all, save for Pike’s character Rosalie, now a grieving mother and widow. Blocker and company encounter the woman en route, and she joins their small, weary procession.

Hostiles is quite simply a movie about a journey from point A to point B. The strength of the film is in the richness and depth of the characters and the performances. The Captain is a figure whom you can’t quite root for or against. Initially Blocker is cruel, failing to see the humanity in his charge. However, in moments with the soldiers under his command and in his interaction with Rosalie, we see genuine affection and tenderness, a reminder of the complexity of human nature and the duality that lies within all of us. He is an effective leader, engendering loyalty that is met with a deep and loving gratitude. As they encounter peril in their journey, circumstances force Blocker to amend his dealings with Yellow Hawk and to forge a new, albeit begrudging respect as they face a common enemy together.

An air of sadness hangs over the film, giving it a somber tone throughout. I was moved by its theme of reflection, as several characters bleakly assessed their own careers and lives, burdened by the weight of loss. I was particularly struck by a poignant scene between two lieutenants, as the younger (Jesse Plemons, The Post) reflects on his first killing. The contrast between the two men was powerful, the older immune to regret over certain lives but not others. This emotional compartmentalization exemplified the cynicism of war and of life generally, and it was portrayed beautifully.

My critique of the film boils down to a matter of taste, of whether or not one can get past the limitations of the genre and the fact that it isn’t a “feel good” movie.  Hostiles was a fine film, featuring another excellent performance by Christian Bale, and a rich emotional turn from Rosamund Pike, which may be enough for some moviegoers.

Grade: B+

The Post

In today’s climate, fake news and misinformation abound. Now more than ever, we should be able to rely on the press to disseminate truthful information. The Post hearkens back to a time in American history when the public still had trust in the fourth estate, and news publications prided themselves as gatekeepers: the last line of defense between the average citizen and a (potentially) corrupt government.

The Watergate scandal has been well-documented, but some may be unaware of the precursor to that tumultuous time, when public trust in our nation’s highest office previously began to be eroded. Incomparable director Steven Spielberg (Bridge of Spies) brings us The Post, an account of The Washington Post’s controversial publishing of The Pentagon Papers in 1971. Initially the classified information was brought to light by The New York Times, but The Post published a lengthier excerpt shortly thereafter. Specifically, The Pentagon Papers were a detailed report written by the Department of Defense revealing that the U.S. was essentially involved in a war that it knew it could not win. At least four administrations, including Kennedy and Johnson – had not been truthful about the Vietnam War with the American public – while still sending our young people off to die in a foreign jungle.

Tom Hanks (Sully) stars as editor Ben Bradlee, while his boss is owner Kay Graham (Meryl Streep, Ricki and the Flash), whose father owned the paper before her. In a sign of the times, her father willed the paper to his son-in-law and Kay’s husband rather than to his own daughter. This apparent invisibility in male-dominated spaces would require Kay to assert herself in courageous ways, and the film’s subtle depiction of Graham’s timidity in that sphere was spot-on. The strength of The Post is two-fold: Spielberg masterfully impresses upon us the weight of the classified information, and lends an equally deft hand to the agonizing dilemma with which Graham is faced: to publish or not to publish?

It was interesting to see an iconic newspaper such as The Washington Post depicted as a fledgling underdog but remember this was before Woodward & Bernstein. Hanks and Streep were effective, with the former showing the dogged tenacity of a grizzled vet and Streep delivering a quietly brilliant performance. Some Hollywood names are all hype, but Streep is as good as advertised. Kay Graham could’ve been imprisoned for publishing The Pentagon Papers, but she did so anyway, in bold defiance of the male members of the Board of Directors, blazing a new trail for the paper and positioning it as a bastion of truth through diligent investigative reporting.

The Post was deliberate, sharp and compelling. Spielberg, Hanks, and Streep elevated the film by virtue of their presence/involvement alone, which was enough of a draw for me. The accolades are well-deserved. I also enjoyed the limited screen time and supporting performances from Carrie Coon (Gone Girl) and Matthew Rhys (Burnt). My only criticism of the film is less of a ‘ding’ and more of an observation. It’s an important film but it’s not an exciting movie, and for that reason I recommend this movie to those who are fans of Hanks and Streep and to those who try to check out the Oscar contenders every year. I enjoyed The Post and hope it’s indicative of the films to come in 2018.

Grade: A-

Molly’s Game

The saying goes, if they wrote a book about your life, would anyone read it? Part of what makes the human experience beautiful is its variation. Two wildly different lives can both be compelling. For instance, Nelson Mandela and Al Capone don’t have much in common, but I’d watch a movie or read a book about either one of them. If you reduce a film to its most essential element, what you have is a story, and Molly’s is simply a great one.

Molly Bloom (Jessica Chastain, The Zookeeper’s Wife) was a competitive skier and former Olympian, an amazing feat by most standards. Like many Olympians, her father (Kevin Costner, Hidden Figures) doubled as coach/mentor – wielding influence that was instrumental to her success, yet stifling in its effect on her psychological makeup. The problem with many athletes or other uber talented people is that they run the risk of tying their entire self-identity to this one facet of their being, their gift. When it disappears, they’re often left asking, what now?

 Written by the incomparable Aaron Sorkin (The Social Network), Molly’s Game is replete with the auteur’s smart, succinct dialogue, often delivered through rapid-fire, omniscient narration. The film begins with the pivotal moment that changed the trajectory of Molly’s life, the last day she skied competitively. Through flashback Sorkin depicts her tragic final run, one that ends in a crash at the bottom of a hill instead of the medal podium. This opening scene was critical in establishing Molly’s relentless drive, type A personality, and her resilience. Not to mention it was just a fascinating look into a sport I know very little about. I always feel a bit smarter after watching Sorkin’s work, and Molly was expertly fleshed out from the beginning.

Forced to reinvent herself, Molly charts a new course, delaying law school to move to Hollywood. There she takes a job as an office assistant and moonlights as a cocktail waitress. Her boss Dean Keith (Jeremy Strong, The Big Short) runs a poker game for a collection of celebrities, including actors, rappers, athletes and titans of tech. He recruits Molly to assist, and soon she’s collecting hefty tips from rich gamers and rubbing elbows with A-listers. Her voracious intellect demands that she learn everything about poker, from the terminology to player “tells.” After a rift with Dean, she uses her newly acquired skillset to begin running her own games, and soon Molly’s game is the hot ticket in town.

By carefully skirting illegality, Molly was able to keep her nose clean. But when circumstances dictated a different clientele for the games, she runs afoul of the FBI. Again, Sorkin effectively uses pace and sequencing to paint a picture, establishing certain crucial events and expounding upon them later in the film. Chastain was endearing as the flawed Bloom, seeming to act out of necessity rather than greed. She relished the success of the game, but it never felt like she wanted more than what was owed and fair. It could be said that she facilitated people’s addiction, but can’t the same be said of casinos? She didn’t take money for the games (known as a “rake”), she didn’t employ muscle to collect from people who couldn’t pay up, and she even tried to talk the more degenerate amongst them from gambling their lives away.

Chastain is joined primarily by Costner and Idris Elba (Thor: Ragnarok) as her attorney Charlie Jaffey. The two actors buttress Chastain with earnest, warm performances – Costner as the domineering yet regretful father forced to revisit his mistakes in parenting, and Elba as her sympathetic advocate. Chastain rightly received a Golden Globe nomination and I’ve been impressed with her since 2010’s The Debt. This film is a bit dialogue heavy to be totally rewatchable, but it was superbly written and performed.

 Grade: A-

Justice League

There’s nothing like a good old-fashioned rivalry. As I write this review I’m trying to think of a fitting analogy to describe the comic rivalry that is Marvel vs. DC. The best recent comic book movies have been Marvel editions, from Captain America: Winter Soldier to Logan. However, The Dark Knight still reigns supreme, and Wonder Woman has rejuvenated DC. Regardless of how cool The Avengers are, when it comes to iconic superheroes, Batman and Superman are the standard bearers.

I’m still settling into the idea of Ben Affleck (Live By Night) as Batman/Bruce Wayne, but he at least looks the part, checking all the superficial boxes. I don’t get any real depth of character from him, but where Christian Bale (The Dark Knight Rises) brought an air of refinement to Bruce Wayne, Affleck is more of a rugged Everyman. In Justice League, he is the catalyst for their coalition. Still reeling from the loss of Superman, Bruce is rather downtrodden. Sensing trouble on the horizon, he feels compelled to gather a team who can be ready when impending doom finally darkens their doorstep.

Methodically and effectively, director Zac Snyder (Batman v. Superman: Dawn of Justice, Man of Steel) introduces us to the Justice League. We’re familiar with Bruce and Diana (Gal Gadot, Wonder Woman), and now we meet Cyborg, Aquaman (Jason Momoa, Once Upon a Time in Venice) and The Flash (Ezra Miller, Suicide Squad). Bruce’s sense of foreboding is confirmed with the appearance of “Steppenwolf,” a sinister being also known as the End of Worlds. He seeks to unite three motherboards, which are gleaming mythical cubes of energy/life force found in separate, remote locations. Their unification can bring about the end of the world, and the Justice League must stop Steppenwolf from obtaining all three.

One motherboard is on Themyscira, under Amazon guard on Diana’s home planet. I read that Justice League was re-shot to include more scenes with Wonder Woman, after the success of the solo film earlier this year. That was a shrewd decision, and it was effective from a storytelling perspective. Bruce challenges Diana to embrace her iconic role and to be more proactive than reactive, leveling the same criticism at the character that some feminists aimed at the Wonder Woman film. I’m paraphrasing, but he essentially states that all it took to break down this warrior woman was a little heartbreak. I thought that bit of dialogue was a clever nod to the fan base and legitimate acknowledgment of a perceived flaw in our beloved heroine.

Bruce Wayne has never been so humble and self-deprecating. He comically acknowledges that being rich is his only super power, and the rest of the team often challenges his quiet air of authority. The Flash is funny, his youth refreshing compared to his more jaded, skeptical counterparts. Cyborg has not fully embraced his altered body, still gingerly navigating his newfound abilities. Aquaman is aloof, but devoted. While they don’t always share the same approach, when they are called to action they are in perfect unison, highlighting the shared chemistry attendant of ensemble films.

Justice League was nearly as good as The Avengers, and much better than last year’s Suicide Squad, which felt like a hodgepodge collection of misfits. I appreciate a plot that isn’t needlessly complex, and I wasn’t disappointed here – although the premise is a trite one. As long as it continues to bring out the best in each franchise, the Marvel-DC rivalry is great for moviegoers. Justice League was simple, yet funny and entertaining. I can’t say unequivocally that one character stole the show, which is a testament to the shared star power on screen. There were no weak links, and now I have to think twice about what super squad I’d want to save me.

Grade: A-