The Big Short

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+

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-

Allied

As a self-professed cinephile, I try to be a student of film. Admittedly I’m not as well versed in the finer points of film history and avant-garde genres as some others, though I pride myself on at least knowing the masters, from Kurosawa to Kubrick. Moreover, I try to view the classics such as Citizen Kane and Casablanca (I enjoyed the latter more than the former). The films of yesteryear give a glimpse of the glamor of Old Hollywood, replete with dashing leading men and captivating leading women. Allied harkens back to that golden era in its stars Brad Pitt (The Big Short) and Marion Cotillard (Macbeth), two spies who fall in love amidst the danger and turmoil of World War II.

Pitt stars as intelligence officer Max Vatan, whom we first meet parachuting into the middle of the Moroccan desert. Cotillard features as spy Marianne Beausejour, Max’s mission cohort who has been laying the groundwork for his arrival. Posing as husband and wife although only having just met, I was enchanted by the delicate dance between characters, Marianne taking the lead as a compliant Max deferred to her expertise. Having to play the role of lovers (of course) leads to real feelings between Max and Marianne, but their focus is razor sharp – and in one scene Max reminds the audience that even though he is maintaining an outward charade, he cannot afford to let his guard down, as any momentary lapse in judgment could not only cost him the mission, but their lives.

It’s tempting to glance at this film and compare it to Mr. & Mrs. Smith, another film in which Pitt and his female co-star are featured as married spies. That would be a mistake, as any comparisons are superficial. Allied is a far superior film, though to be fair both movies have their place. Not purely a love story, Allied should appeal to an array of viewers with its air of romance and intrigue. Writer Steven Knight (Burnt, Locke) punctuates the story with suspense and danger, equal parts action and love story. Pitt and Cotillard’s chemistry is undeniable, both organic and intentional. Pitt hasn’t been this magnetic on screen in years, and veteran director Robert Zemeckis (Flight) depicted every detail beautifully, effectively capturing every passionate, dangerous moment between the two sizzling leads. In one unforgettable scene Max and Marianne make love in the middle of a sandstorm, the swirling sands rocking their car to and fro as they reach their pique within.

I can’t find a single fault with Allied, a well-acted, well-written, beautiful film with something for everyone: action, suspense, love, and mystery. Stylish and atmospheric, it was reminiscent of a bygone era but will undoubtedly appeal to contemporary audiences. This was one of the better films I’ve seen in 2016. Grade: A.