BOMBSHELL (US/Canada - 2019) Directed by Jay Roach. Written by Charles Randolph. Cast: Charlize Theron, Nicole Kidman, Margot Robbie, John Lithgow, Allison Janney, Malcolm McDowell, Kate McKinnon, Connie Britton, Mark Duplass, Liv Hewson, Brigitte Lundy-Paine, Rob Delaney, Stephen Root, Robin Weigert, Amy Landecker, Mark Moses, Richard Kind, Holland Taylor, Alanna Ubach, Anne Ramsay, Andy Buckley, Brooke Smith, Ben Lawson, Josh Lawson, Nazanian Boniadi, Brian d'Arcy James, Alice Eve, Elisabeth Rohm, Bree Condon, Ashley Greene, Tricia Helfer, Jennifer Morrison, Lisa Canning, Ahna O'Reilly, John Rothman, Tony Plana, Kevin Dorff, P.J. Byrne, Spencer Garrett, Michael Buie, Marc Evan Jackson, Katie Aselton. (R, 109 mins)
A chronicle of the Fox News sexual harassment scandal that brought down chairman and CEO Roger Ailes, BOMBSHELL belongs to that same "ripped from the headlines" subgenre that gave us THE BIG SHORT and VICE, generally decent films that provide easy Oscar bait for big-name actors to do uncanny impressions of ubiquitous figures. BOMBSHELL is very much in line with those films, and could make an unofficial trilogy with director Jay Roach's two previous HBO political docudramas, 2008's RECOUNT and 2012's GAME CHANGE. Those were instant Emmy and Golden Globe magnets, with RECOUNT giving Laura Dern a chance to do a remarkable take on Florida Attorney General Katharine Harris, and GAME CHANGE showcasing Julianne Moore and Ed Harris as dead-on versions of Sarah Palin and John McCain, respectively. But because these stories are so recent and the 24-hour news cycle so constantly there and in our faces, BOMBSHELL falls into the same trap as the rest of these kinds of movies: it entertains but offers nothing that we don't already know. Given Roach's history with HBO, it's surprising that BOMBSHELL is even in theaters. It follows the same formula and style as RECOUNT and GAME CHANGE, eschewing the snarky smartassery that Adam McKay brought to THE BIG SHORT and VICE, opting instead for occasional fourth-wall breaking while generally keeping it straightforward and serious.
The Fox News scandal broke in 2016 and BOMBSHELL is already the second 2019 project to tackle Ailes as a subject, following the Showtime limited series THE LOUDEST VOICE, with Russell Crowe as Ailes and Naomi Watts as Gretchen Carlson, the fired Fox News personality who was the first to sue him for sexual harassment. THE LOUDEST VOICE was more about the entire Ailes story, starting with the establishment of Fox News, while BOMBSHELL just deals with the scandal, with the focus being on Megyn Kelly (Charlize Theron), who finds herself under fire as the film opens in 2015, just after her debate scuffle with Donald Trump that led to his infamous "blood coming out of her...wherever" comment. Ailes (John Lithgow, with prosthetic jowls and a NUTTY PROFESSOR fat suit) sympathizes with the way Trump supporters are raging at her on Twitter, but wants her to play nice, as Fox and Trump are well on their way to a perpetual state of symbiotic co-dependence. At the same time, Carlson (Nicole Kidman) is ruffling feathers on the afternoon dead zone she's been given after being bounced from the highly-rated morning show FOX & FRIENDS, and when she's eventually fired, she decides to blow the doors off the worst-kept secret in the building: that Ailes is a serial sexual harasser and all-around creep, and that the network's "boys club"--the costly harassment settlements of Bill O'Reilly (played here by Kevin Dorff) are unspoken common knowledge among the grunts in the newsroom--has made for a toxic work environment. The mood is also fueled by deranged, right-wing paranoia that comes straight from Ailes, who at one point makes an off-the-cuff remark to his legal team about an Obama White House plot to have him murdered, a comment so batshit crazy that even his attorney Rudy Giuliani (Richard Kind) is seen looking away in incredulous discomfort.
The third figure in the story is the most problematic in that she's a wholly fictional creation of Roach and screenwriter Charles Randolph (a co-writer of THE BIG SHORT). Margot Robbie is the improbably-named Kayla Pospisil, a composite character meant to show the kind of treatment given to established vets like Kelly and Carlson when they were ambitious youngsters at the network. Composite characters are very often a necessity with dramatic narrative recreations, and while it's no fault of Robbie's, the script just requires Kayla to be too many things at once. Ostensibly an "evangelical millennial" with a repressed upbringing in a staunchly far-right church family, Kayla is at Fox News to be a voice for young conservatives. She's first shown in a control booth, demonstrating no knowledge of the Eagles or classic rock in general when she puts a photo of Don Henley on the air to accompany a breaking news report on the death of Glenn Frey, blaming the gaffe on "never listening to secular music." The next time we see her, she's telling Carlson that she's leaving her staff to work for O'Reilly (wait...when was she on Carlson's staff in the first place?). Right after that, she's hopping into bed with a closeted lesbian cubicle mate (Kate McKinnon), who's a secret Hillary Clinton supporter. It's rightly disgusting and infuriating when we see ambitious Kayla requesting a meeting with Ailes and ending up being subjected to his degrading requests that she pull up her skirt for him, and the squirm-inducing scene is played very well by Robbie and Lithgow. But Robbie simply can't assemble a believable character out of the wildly disparate pieces she's been given.
Kidman has a good amount of screen time, but her story generally takes a backseat to what goes on with Robbie's Kayla and Theron's Megyn Kelly. Theron is definitely the MVP here, with just the right amount of subtle prosthetics combined with an astonishing mimicry of Kelly's voice, cadence, and speaking style. It's one of the most believable transformations of an actor into a real-life figure in recent memory. There's been some chatter online complaining that the film makes Kelly a hero, but that's another discussion for another time. No one deserves to be a victim of sexual harassment, and BOMBSHELL isn't about Megyn Kelly's dubious comments as a Fox News personality or during her short tenure at NBC. Briskly-paced and well-acted (except for the one scene between Theron and Robbie, which comes off as strangely clunky), with Theron and Lithgow being the standouts, BOMBSHELL also boasts a very large supporting cast, including Malcolm McDowell as Rupert Murdoch, Allison Janney as Ailes attorney Susan Estrich, Spencer Garrett as Sean Hannity, Tony Plana as Geraldo Rivera, a perfectly-cast Alanna Ubach as Judge Jeanine Pirro, Mark Moses as the loathsome Bill Shine, Anne Ramsay as Greta Van Susteren, Bree Condon as a Mean Girl-ish Kimberly Guilfoyle, P.J. Byrne as Neil Cavuto, and Connie Britton as Ailes' endlessly supportive wife, introduced scoffing at an employee for eating "liberal" grocery store sushi. Like RECOUNT, GAME CHANGE, THE BIG SHORT, and VICE, BOMBSHELL is perfectly fine entertainment and it'll almost certainly be up for major awards (Theron and Lithgow are both deserving). But once you get past the dedication and diligence of the performances, do these films have any lasting impact beyond that first viewing? THE BIG SHORT was great, but have I thought "I need to rewatch THE BIG SHORT" even once in the four years since I saw it in the theater?
THE MUSTANG (France/Belgium - 2019) Directed by Laure de Clermont-Tonnerre. Written by Laure de Clermont-Tonnerre, Mona Fastvold, Brock Norman Brock and Benjamin Charbit. Cast: Matthias Schoenaerts, Jason Mitchell, Bruce Dern, Connie Britton, Gideon Adlon, Josh Stewart, Noel Gugliemi, Thomas Smittle, Keith Johnson. (R, 96 mins) Initially developed at the Sundance Institute (Robert Redford is among the truckload of credited producers), THE MUSTANG is the debut of French actress-turned-filmmaker Laure de Clermont-Tonnerre (THE EXTRAORDINARY ADVENTURES OF ADELE BLANC-SEC), and if you're a guy who likes a good UMBERTO D, BRIAN'S SONG or FIELD OF DREAMS man-weepie, then you're gonna want to see this one right away. Incarcerated at Nevada State Prison for the last 12 years, Roman Coleman (Matthias Schoenaerts) is a ticking time bomb waiting to go off. Only able to express himself through rage and violence, he's spent most of his prison time in solitary confinement, preferring to be alone and resorting to behaviors and actions that he knows will keep him isolated from the other inmates. "I'm not good with people," he mumbles the prison psychologist (Connie Britton), who's prepping him for his latest return to general population from solitary. She assigns him to work on the outdoor maintenance crew, shoveling piles of shit from the prison's horse-training program, funded by the state as a rehabilitation technique and to fill a demand for captured wild mustangs to be properly trained and groomed to sell at auction. The program is run by elderly rancher Myles (Bruce Dern), who's earned the respect of the inmates under his charge and repays it in kind, with inmate Henry (Jason Mitchell) designated the head trainer.
Roman is drawn to one horse in particular, who's kept in a locked stable and spends all day, every day kicking on the door in rage over his confinement. Myles gives Roman a shot at working with him, and it goes well for a while until Roman, furious over a disastrous visit from his estranged, pregnant daughter Martha (Gideon Adlon), takes his anger out on the disobedient horse, violently pummeling him with a series of punches. Myles has him thrown back in solitary as punishment, but he gets a second chance when he's called to help move some horses inside the prison kitchen when a dangerous storm approaches the area. Slowly but surely, Roman and the horse, who he names "Marquis," begin to bond, with Myles and Henry remarking that no one was able to break him until Roman came along. De Clermont-Tonnerre and her co-writers (including Nicolas Winding Refn's BRONSON collaborator Brock Norman Brock) aren't really dealing with complex metaphors or deep symbolism here, as it's quite obvious that Roman and Marquis are two sides of the same coin, kindred spirits who feel constantly trapped and violently lash out at anyone who tries to get close to them.
THE MUSTANG's strengths come not from its formulaic story arc but from its performances. Belgian actor Schoenaerts first began getting attention in art-house and foreign film circles with 2011's BULLHEAD and 2012's RUST AND BONE, and while he's made some impression with American audiences with roles in 2014's THE DROP and as Jennifer Lawrence's duplicitous uncle in 2018's RED SPARROW, THE MUSTANG might prove to be his English-language breakthrough. It's a very internalized performance, and as Roman, he's tightly-wound and seething, but with his eyes conveying the pain of regret and a complete inability to communicate. While he has frightening outbursts, it's in the quiet moments that Schoenaerts speaks volumes about this character, and you might be dead inside if you can keep it together at the pivotal moment when Roman and Marquis reach a mutual respect and understanding of one another. Schoenaerts gets solid support from Mitchell (STRAIGHT OUTTA COMPTON) and Dern, who's just perfect in a role that has him getting a little piece of Robert Duvall's "grizzled old coot" action. De Clermont-Tonnerre's messaging gets a little ham-fisted at times, and there's an underdeveloped subplot with Roman's shitbag cellmate (Josh Stewart from the COLLECTOR movies) forcing Roman and Henry to procure ketamine from the horse vet's office, but at its core, THE MUSTANG is an empathetic and compassionate character study of rehabilitation and redemption.
Over her legendary career, Meryl Streep has demonstrated that she's capable of pretty much everything, so while it may seem like a stretch to imagine her as an aging rocker, it doesn't take long to accept her in the role. Streep is Ricki Rendazzo, who's more or less a D-list Bonnie Raitt in the grand scheme of things: her classic rock cover band Ricki and the Flash have a loyal following as the house band at a Tarzana bar that draws the same crowd every night of the week, but after one unsuccessful album over 20 years ago, she never came close to hitting the big time. Ricki's pursuit of fame and fortune came at a price: in the late '80s, she walked away from her life as Indianapolis housewife Linda Brummel, and though she's made sporadic appearances in the lives of ex-husband Pete (Kevin Kline) and their children, her job as a mother has been fulfilled by Pete's second wife Maureen (Audra McDonald). Now, Ricki has been summoned back to Indianapolis after her daughter Julie (Streep's daughter Mamie Gummer) attempts suicide when her husband leaves her for another woman. Had RICKI AND THE FLASH kept that dysfunctional family dynamic as its focus, it would've been a lot better than the film that screenwriter Diablo Cody (JUNO) and the great director Jonathan Demme (STOP MAKING SENSE, THE SILENCE OF THE LAMBS) ended up making. For a while, it goes along similar lines as the Cody-scripted YOUNG ADULT, even resorting to some well-done scenes of squirming discomfort, as when Ricki and Pete confront Julie's estranged, dickhead husband at a bar. I also like the approach Cody takes with Kline's Pete, who's happier with Maureen, has made peace with the past and, surprisingly by Hollywood standards, has moved on with his life and honestly harbors no resentment toward his ex-wife. Even more against convention, he may still have feelings for her but stops himself from acting on them. And Ricki's presence--and her tentative reconnection with her daughter and her sons, one sympathetic and forgiving (Sebastian Stan), the other bitter and resentful (Nick Westrate)--does manage to pull Julie off the ledge and get her taking steps toward rebuilding her life.
But then Demme abandons that, almost completely. Pete, Julie, and the rest disappear for a long stretch as Ricki returns to Tarzana and gets serious with her guitarist/boyfriend Greg (Rick Springfield) before heading back to Indianapolis for her son's wedding. It's here where Demme sees fit to turn the film into a less caustic version of his own RACHEL GETTING MARRIED before letting it careen into full-on feelgood bullshit with a cast sing-along as Ricki and the Flash boot the wedding band off stage as the uptight onlookers sneer their disapproval but are eventually won over, get up and start dancing. Yes, a blunt and honest film about fractured family dynamics and decades-old wounds turns into a movie that ends with everyone getting over hating Ricki (and her far-right politics, which are introduced and promptly forgotten) and joining her onstage for a big, triumphant jam session at her son's wedding reception. Streep, Springfield (who's quite good here) and the band playing the Flash (featuring guys like keyboardist Bernie Worrell and drummer Joe Vitale) are really playing the songs, and Demme seems more interested in letting Streep show off her rhythm guitar skills and her singing voice in full-length Tom Petty, U2, and Bruce Springsteen covers. RICKI AND THE FLASH just utterly collapses in its second half to the point where it's not out of the question to wonder if Ricki is imagining the whole thing. The first half is honest, smart, and occasionally scathingly funny (Julie to Ricki: "Do you have a gig or do you always dress like a hooker from NIGHT COURT?"), but it just skids to a halt in the second half with one endless song after another and that godawful finale. And why is the bartender from Tarzana dancing at the wedding in Indianapolis? The band making the trip is silly enough, but the fucking Ricki superfan bartender? Was Demme shooting the movie and realized Cody only had 50 minutes of script, so he decided to wing it the rest of the way? (PG-13, 101 mins) AMERICAN ULTRA (US/Switzerland - 2015)
A one-joke comedy that plays like a mash-up of screenwriter Max Landis' DVD collection, AMERICAN ULTRA initially seems like one of those movies that's trying too hard to be an instant cult classic until you realize it isn't trying to be much of anything at all. A splattery, stoner take on THE BOURNE IDENTITY, AMERICAN ULTRA takes place in the fictional West Virginia town of Liman, where pot-addled slacker Mike Howell (Jesse Eisenberg) works at a carryout and spends his free time getting baked with his live-in girlfriend Phoebe (Kristen Stewart). But it turns out Mike is a CIA sleeper agent in the top-secret Ultra program and only becomes aware of his abilities as an unstoppable killing machine when he's activated by Agent Lasseter (Connie Britton), who's trying to save him from the machinations of Yates (Topher Grace), an ass-kissing agency douchebag hellbent on eliminating all traces of the Ultra program. As CIA agents and covert assassins converge on Liman, with the media being fed a story about the town being quarantined, Mike and Phoebe try to stay alive, with Mike instinctively--though he's too perpetually high to figure out how--using anything at his disposal to kill the assets sent to make him vanish.
I'm not sure anyone was demanding a BOURNE movie filtered through HALF-BAKED, but the results are neither as goofy as you'd expect nor as funny as Landis (son of John and writer of the overrated CHRONICLE) thinks. The weed angle is eventually abandoned altogether as ULTRA becomes a lot like a conventional thriller with only the cartoonish, PUNISHER; WAR ZONE-level splatter and would-be CRANK-style gonzo attitude to indicate that it's supposed to be played for laughs. Eisenberg and Stewart fared much better together in ADVENTURELAND, and director Nima Nourizadeh (the found-footage teen comedy PROJECT X) has a great supporting cast at his disposal but doesn't do much with them: Grace, not the most plausible casting for the head of a secret division of the CIA, can play this kind of unctuous turd in his sleep, Bill Pullman has a few scenes as a CIA big shot, John Leguizamo pops up as a strip club owner who's also Mike's dealer, Tony Hale does his umpteenth variation on Buster Bluth as a needy, nervous Lasseter underling, and only Walton Goggins makes a memorable impression as a constantly-laughing assassin named (wait for it) Laugher, whose comedic demeanor masks a depressed cognizance of his autonomy and individuality being stripped from him by his CIA brainwashers. That's as close as AMERICAN ULTRA comes to making a statement about anything. In the end, it's a lot of noise, a lot of CGI (even the exhaled pot smoke is CGI'd!), and not much funny. THE BOURNE LEBOWSKI, it ain't. (R, 96 mins)
