Armageddon Time, James Gray’s (Ad Astra, The Lost City of Z) 1980 take on the pursuit of the American Dream, is a film with good intentions, but one that felt plagued by a plot that we’ve seen hundreds of times in cinema before. Even more detrimental to its predictable story was its attempt to impart wisdom to its audience, almost all of which we are already keenly aware of, especially in its release year of 2022. Unfortunately, The United States of America has been notorious for its class privileges, inequalities, and injustices. While we all have the opportunity to pursue the American Dream, specific paths often have far more obstacles to overcome than others. Gray successfully showcases this, but it’s hardly a discovery, and its overarching story has become quite a cliche.
Category Archives: Jeremy Strong
The Trial of the Chicago 7 (2020)
Just because a film has the revered Aaron Sorkin (The Social Network, Steve Jobs, The American President, Charlie Wilson’s War, Moneyball) attached to it as a screenwriter doesn’t mean we should automatically assume it will be a hit. The screenwriter has hit some home runs on the big screen. He’s the mastermind behind a few of the most revered television shows (The West Wing, Sports Night, The Newsroom) of the last 25 years. But that doesn’t mean that everything he touches will turn to pure gold. Venturing into just his second movie as a director (Molly’s Game), The Trial of the Chicago 7 is far from a film that should receive a Best Picture nomination. Sadly, it could very well win the top prize for 2020. Of the eight Best Picture nominated movies for 2020, only three finished in my top ten. In other years, I don’t think any of the three would have found a spot in my end-of-the-year list. 2020 was not a great year in the history of the world. The year in film was no exception.
Molly’s Game (2017)
I’ve mentioned many times that I am so glad I am not addicted to gambling. I have other vices, and the added temptation of a big payday by sacrificing my own hard-earned money with less than successful odds sounds absolutely miserable.
In Aaron Sorkin’s directorial debut, he tells the story of Molly Bloom (Jessica Chastain – A Most Violent Year, Take Shelter), an Olympic level skier who once ran one of the most exclusive high-stakes poker games for more than a decade, two years before her arrest that saw FBI agents surrounding her house with automatic guns in the middle of the night. It’s a legitimate directorial debut and one that is worthy of its high praise. But despite how well made the movie is, I believe it to be a much more enjoyable and educational film if you are familiar with poker. I have no idea how to play the game, so while I was fascinated by the movie, there were definitely many parts where I felt like the odd one sitting around a kitchen table because there were many terms thrown around that I did not understand as well as actions, motives, dialogue, and even purposes that felt very foreign to me. As a result, the movie didn’t hook me like it did many of the other films that Sorkin also wrote (The Social Network, Moneyball, Steve Jobs, Charlie Wilson’s War, not to mention his credits as a lead writer on television’s The West Wing and Newsroom). That’s not to say Sorkin should stick to screenwriting. He absolutely should not. It’s just that I will look forward to seeing him direct a movie revolving around a different theme in the future rather than revisiting Molly’s Game, a film that, frankly, will be one that I will forever forget about soon after I write this review.
The Judge (2014)
The Judge was exactly what I thought it would be: an average fictional movie released in the heart of better films based on true stories. There was a lot of hype around this movie, but I felt it would do nothing for me. And that was what happened. Audiences seemed to like this movie while critics slammed it. I’m in favor of the critics. At best, this was an average movie. At worst, it was a movie that tried every trick to get you to think it was a great movie. The fact that Robert Duvall (Apocalypse Now, The Apostle) got a Best Supporting Actor Academy Award nomination is a bit of a joke. His performance is a bit of an embarrassment when you compare it to the four other nominees. The highlight of this movie is not the story. Nor is it Duvall. If you are going to see this movie at all (which I would recommend you don’t), you would see it for Robert Downey Jr.’s (Iron Man, Chaplin) outstanding performance.
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