Entertaining, engrossing, and educational, it’s hard not to leave James Mangold’s (3:10 to Yuma, Ford v Ferrari) A Complete Unknown disappointed. While many will call it a paint-by-numbers musical biopic (which is completely justified), it does three things that recent films, such as Bob Marley: One Love, Rocketman (Elton John), Back to Black (Amy Winehouse), Whitney Houston: I Wanna Dance with Somebody, and Elvis couldn’t do. It held my interest throughout its 140-minute runtime. It implored me to read Bob Dylan’s Wikipedia page. It led to an interest in looking up the songs performed in the film that I had not heard before. The musical biopic genre has been bad for nearly 20 years (Bohemian Rhapsody and Straight Outta Compton are outliers). A Complete Unknown feels like a companion piece to two fabulous turn-of-the-century musical biopics with terrific lead performances in 2004’s Ray (Jaime Foxx as Ray Charles) and Walk the Line (Joaquin Phoenix as Johnny Cash). Each film landed the lead performer an Oscar nomination, including a win for Foxx.
Category Archives: James Mangold
3:10 to Yuma (2007)
The Western genre is a dying one. Gone are the days of John Wayne, Clint Eastwood, et al., and the era of Westerns in the 1950s, 1960s, and 1970s. Once a staple in American cinema, those films are now few and far between. Years could pass before a good Western connects with critics and audiences alike. Unforgiven reset the standard in 1992, connecting with critics and audiences alike while earning nine Oscar nominations and taking home four, most notably for Best Picture. Others have followed. Appaloosa, Hostiles, True Grit, Tombstone, and Open Range were big-budget movies that hit the screen with reckless aggression. True Grit was the most successful with the critics (10 Oscar nominations, but no wins), but even the success of this film fails when compared to Unforgiven.
Ford v Ferrari (2019)
James Mangold’s (Logan, Walk the Line) Ford v Ferrari is the perfect movie to see in the theatre. It has action. It has drama. It has a clear protagonist. It makes you want to stand up and cheer for the good guys. This racing movie is much better viewed on the big screen than on a small screen at home. Likewise, a movie theater’s surround system is a better experience than any surround system you might have at home. With that said, this movie has gotten much better acclaim (91% critics, 98% audience on Rotten Tomatoes) than it probably deserved. I haven’t seen many racecar movies, but this movie fails compared to a film like Rush. However, this is a good and highly entertaining movie.
Logan (2017)
James Mangold’s (3:10 to Yuma, Walk the Line) Logan is about to set the standard for the next wave of superhero movies: the death of a significant character. In an age of film (particularly superhero ones) where we’ve seen sequels, prequels, and reboots, we have yet to see the story’s beginning, middle, and definite conclusion. We’ve seen plenty of superhero movies that COULD be a conclusion story, but we’ve all learned that we think the end isn’t the end unless we see that character killed off. And even then, we don’t know. When there is the potential for hundreds of millions of dollars to be made, who are we to believe that the end is the end? Often, the end is determined by a crappy movie in a series that doesn’t resonate with audiences or critics. Sometimes, that movie can be a concluding story, but often it is not. But (spoiler, but not really) based on what happens at the end of the film, I don’t expect to see him back. I probably will in another fashion, but that can be an argument for a different day. Until then, I’ll continue to sing the praises of Logan. At the time of this review, I have it as one of the top five Marvel movies ever.