The Banker

Posted on April 2, 2020 at 9:51 am

B +

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for some strong language including a sexual reference and racial epithets, and smoking throughout
Profanity:	Some strong and racist language
Alcohol/ Drugs:	Drinking and smoking
Violence/ Scariness:	Some peril
Diversity Issues:	A theme of the movie
Date Released to Theaters:	April 3, 2020

“The Banker,” now available on Apple TV+, is three movies in one, all of them vivid, engaging, and compelling.

First, it’s a heist in plain sight movie, and all, or pretty much all, strictly legal. Two black men, Bernard Garrett (Anthony Mackie) and Joe Morris (Samuel L. Jackson) start a business in the pre-Civil Rights Act era when it was not only legal but the universal practice to keep people of color not just out of the neighborhoods where white people lived and worked but out of the places that make property ownership possible, the business that sell homes and office buildings and the people who provide the financing for those purchases.

Second, it is a “My Fair Lady”-style Cinderella makeover fairy tale movie, about taking someone who has the heart to be more than he is and teaching him the language, manners, and skills necessary to have credibility in the highest levels of society, or, in this case, business and finance. Garrett and Morris need a white man to pretend to be the president of their enterprise, so they recruit Matt Steiner (Nicholas Hoult), a genial construction worker, and teach him their version of “the rain in Spain stays mainly on the plain,” how to do (or pretend to do) complex valuation computations in seconds and how to play golf, so he can display the (apparently) effortless credibility needed to do big-money deals.

Third, it is a very personal underdog story of heroes to cheer for, two very different men, both played with exquisite precision, working together against near-insurmountable odds to overturn a virulently oppressive system.

Garrett has a head for numbers even as a young boy, where he listens in on the conversations of men of business as he shines their shoes. As a young man, he understands that the ability to own property is as critical to financial stability, social parity, and equal opportunity as the kind of political organizing that is getting started at the same time. Morris is already a savvy businessman with clubs and real estate holdings. Their personalities are very different — one a quiet, devoted family man, the other a good-time guy. But they both know how things work. They know how to make themselves invisible, pretending to be limo drivers or janitors to get access to the places of power while their front-man pretends to know what he’s doing. (One problem with the film is its failure to give Nia Long more of a role than the ever-supportive wife, though this ever-talented actress lends the character some dimension.)

We know from the beginning, opening on a Senate hearing with some harsh questioning, that powerful people are going to try to stop Garrett and Morris from taking some of their power. This movie, with MCU star-power portraying real-life superheroes, gives some of it back to them.

Parents should know that this film has some strong and racist language, some sexual references, scenes in clubs and bars, and some historical depictions of racism.

Family discussion: What did Morris and Garrett have in common? Who is most like them today? What should they have done about Steiner?

If you like this, try: “Hidden Figures” and “Self Made,” and read more about Bernard Garrett and Joe Morris.

Trailer for the New Captain America Movie — Coming May 2016

Posted on November 25, 2015 at 6:41 am

It’s called “Captain America: Civil War” and I can’t wait!

The Night Before

Posted on November 19, 2015 at 5:57 pm

Seth Rogen. Not very surprising guest stars. Many mind-altering substances. Many bodily fluids and functions. Many bad choices. No ability to allow women to be funny, even with some of the best comic actresses of our time in the cast. Haven’t we been here before?

That’s the question the characters in this film are asking, too. Isaac (Rogen), Chris (Anthony Mackie), and Ethan (Joseph Gordon-Levitt) are friends who get together each year on Christmas Eve for a series of traditions, from visiting the tree at Rockefeller Center to a karaoke bar and a toy store to play on the giant piano keyboard from “Big.” Plus donning ceremonial holiday sweaters and getting wasted. Ethan’s parents were killed just before Christmas by a drunk driver 14 years ago, and Isaac and Chris promised him they would be his family for the holidays. More than a decade later, they’ve agreed this will be the last time. Chris is getting to be a big time athletic star in the NFL, and that means endorsement money and extending his personal brand via social media. He’s a spokesman for Red Bull, which has provided a limo for the evening. And he is hiding the secret of his recent jump in performance.

Isaac is married to Betsy (criminally underused Jillian Bell), and they are about to have a baby. She is refreshingly on board with his going out for a wild night with the boys that she gives him an early Christmas gift — a box of drugs, a sort of Whitman’s Sampler with everything from ‘shrooms to Molly, with some weed and cocaine thrown in for good measure (though, as Isaac points out with a tolerant chuckle, she does not know enough to get the proportions right). Ethan is drifting professionally and personally, never following through on his music and mourning a recent breakup with Diana (criminally underused Lizzy Caplan) because he could not commit to meeting her parents or moving in together.

Many years before, on one of their Christmas eve outings, they heard about a legendary party. I mean a PARTY. I mean THE PARTY, Platonic perfection of party-dom. It has always been their fondest wish to be there. Ethan, working as a coat check elf (his elf face really is very impressive), finds three tickets to the party in a guest’s coat pocket, steals them, and walks out. The party location won’t be announced until 10, so the trio has a few hours for their traditional activities, and plan to limo over to THE PARTY to cap off the evening.

This means encounters with old friends (Diana and her friend, played by the criminally underused Mindy Kaling, plus Michael Shannon as their weed dealer back in high school, Mr. Green), and odd substances (Rogen is actually quite funny as someone going through many different effects from many different drugs). There are cheap jokes about other Christmas movies and changes in technology over the past 14 years. A pay phone. A flashback with people amazed that an iPod can like hold “like 100 songs!” A revisit to Goldeneye on Nintendo 64 at Chris’ mother’s apartment.

There are some new friends, too. “Broad City’s” Ilana Glazer is a Christmas-hating fan who has sex with Chris in a club bathroom and then turns out to be Grinch-y. Various items and people are lost and must be searched for. Isaac’s bad trip is long, strange, and barf-y. And then there is a party with some not-so-surprising guest stars and some even less surprising Christmas-y confessions, apologies, and reconciliations.

“It’s hard to stay friends when you’re older,” Isaac says. It’s also hard to translate “Superbad”-style humor into something for actors in their 30’s. It should not be so hard to find a role for female characters that goes beyond infinite understanding and adoration. There are some enjoyably silly laughs here, and not all of them are in the “oh, no, you didn’t” category. There is a sense of groping toward something more — director Jonathan Levine worked with Rogen and Gordon-Levitt in the excellent fact-based “50/50,” and there are flickers that indicate a wish for something behind drug and barf jokes. One of my Christmas wishes is that the people making this movie learn something from the characters they put on the screen and give us something better next time.

Parents should know that this film is an extremely raunchy comedy with drinking, extensive and varied drug use, constant strong and crude language, some violence, explicit sexual references and situations, and very graphic nudity.

Family discussion: How do you decide which traditions to continue and which to give up? What did Mr. Green teach Ethan, Isaac, and Chris? Is it hard to stay friends as you get older?

If you like this, try: “The Hangover,” “Pineapple Express,” and “Ted”

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Comedy

Captain America: The Winter Soldier

Posted on April 3, 2014 at 6:00 pm

This is how you make a superhero movie. Director brothers Joe and Anthony Russo are best known for sitcoms with few but passionate fans (“Community,” “Happy Endings,” “Arrested Development”) and the underrated crime comedy “Welcome to Collinwood.” That is not the kind of credential that usually leads to a big budget comic book movie. But they prove to be just what the doctor ordered, funny where it should be, exciting where it should be, smarter than it needs to be, and just plain fun. Plus, I may be late to the party, but now I totally get the shield thing now as offensive and defensive weapons and it is very cool.

This is the sequel to the WWII-era origin story, where Steve Rogers (Chris Evans) a 98-pound weakling, volunteered for a government experiment that turned him into a super-strong super-soldier. But he got frozen in a block of ice and was thawed out more than sixty years later in time to join “The Avengers.” the storyline continues Captain America’s adjustment to the 21st century. We first see him running around Washington D.C.’s monuments neighborhood, repeatedly lapping vet Sam Wilson (Anthony Mackie). Pretty soon, they’re talking some mild smack and Wilson is telling Rogers what he has to add to his catch-up list of cultural touchstones: Marvin Gaye’s Trouble Man. Also on the list “Star Trek/Wars” and Steve Jobs. Evans and Mackie have a natural chemistry that makes that scene very funny but also shows us how much both of them need a friend who understands what it’s like to be a soldier home from the war.

But then Captain is called into action again. Alongside the Black Widow, played by Scarlett Johansson, tough, smart, funny, and just a touch flirtatious, as she chats with Rogers about girls he might want to ask out while they trade blows with the bad guys. There’s a mission, a hijacked cargo ship (I kept looking for a captain-esque crossover from Captain Phillips). Straight-ahead Captain America, used to fighting Nazis and other incontrovertibly bad guys who dress the part, expects that the people on his side will treat him with the same trust and respect and integrity he gives them in return. But this is the 21st century, and it’s complicated.

Rogers knows how to follow orders and he knows how to fight. Now he must learn to understand who he is fighting and what he is fighting for. It’s one thing when the bad guy has a Red Skull and wants total world domination because he is a fascist. It is another when both the good guys and the bad guys wear suits and speak in tempered, diplomatic tones, and want total world domination because it is best for everyone. “Don’t trust anyone,” Nick Fury tells Rogers. And Rogers, used to trusting everyone (how many people today would allow the government to inject them with an experimental serum?), has to learn what that means.

And it is one thing to take on a dozen bad guys at a time, knowing none of them have superpowers. But here Rogers must face an assassin called The Winter Soldier, someone as strong as he is, someone without any of the second-guessing that comes from understanding the complexities of the situation, someone who cannot be reasoned with or argued with or appealed to. And someone Rogers knew and trusted in the past.

The easy chemistry between Cap, Sam, and Natasha/Black Widow adds depth and heart to the story. Natasha needs to learn to trust as Cap needs to learn when not to trust. “How do we know who the bad guys are?” Sam asks as they race into battle. “The ones who are shooting at us,” Cap tells him.

There is just enough depth and gloss and humor and heart to set off the action, gorgeously staged in and around Washington, D.C. The elevated Whitehurst Freeway along the Potomac River gets the super-fight it was built for and it is a beaut. Wait until you see what’s been going on under the Potomac. It was a whole other level of pleasure to see a movie that gets Washington’s geography right. Most important, this is a film that respects the genre and the audience. Captain America and his fans get the movie they deserve.

Parents should know that this film includes constant comic book, action-style, superhero violence with many characters injured and killed, guns, bombs, chases, crashes, explosions, weapons of mass destruction, discussion of genocide, torture, fights, and brief strong language.

Family discussion: If you were advising Captain America on cultural developments while he was gone, what would you suggest? What is the biggest problem he faces in trying to adjust to modern times? How do the plans under consideration here relate to current discussions on world affairs?

If you like this, try: “The Avengers” and the other Marvel superhero movies

Pain & Gain

Posted on April 25, 2013 at 6:00 pm

“Unfortunately, based on a true story,” we are warned as this film opens. In case we forget, or, more likely, in case we assume the usual Hollywood embellishments, we are reminded, when things get really bizarre and really, really, really disturbing, that it is, indeed, still true.

Director Michael Bay is known for big movies with big explosions, big special effects, and big, big budgets, including “Armageddon” and the Transformers series. So “Pain & Gain,” a passion project he planned for seven years with only a $40 million budget, is his version of a quirky little indie. Quirky, it is, and his feeling for the material, the too-bizarre-to-be-fictional story of three body builders who got involved with kidnapping and murder is palpable. Bay’s ability to give the audience the same sense of connection to the story is less effective.

Daniel Lugo (Mark Wahlberg, who will be on screen in Bay’s next blockbuster, the fourth installment of the Transformers series) is a body builder who believes in the American Dream. No, not the dream of freedom and democracy; the dream of getting rich without earning it. With two pumped-up compadres, the just out-of-the-clink born-again Paul Doyle (Dwayne “The Rock” Johnson) and steroid-injecting Adrian Doorbal (Anthony Mackie), they create a sort of Dumbfellas posse so they can kidnap a prosperous South American immigrant named Victor Kershaw (Tony Shaloub, playing a composite character based in part on Florida businessman Marc Schiller) and torture him until he signs over all of his assets to them. “I’ve watched a lot of movies, Paul,” Lugo says with assurance. “I know what I’m doing.” He figures if they dress up like Ninjas, Kershaw will never know that he is being robbed by the people who spot him at the gym. But after it all goes down, Kershaw immediately, and literally, smells something funny.

The movie is darker than the marketing makes it seem, with very graphic scenes of torture and dismemberment, but it does include some very funny moments as our hapless anti-heroes continually overestimate their own abilities and underestimate those around them. All of the performances are excellent, but Ed Harris steals the film as a former cop-turned detective and Emily Rutherford is a stand-out as his wife, by far the movie’s most appealing character. Bay, with screenwriters Christopher Markus and Stephen McFeely (the next “Thor” and two “Captain America” films) and cinematographer Ben Seresin (the upcoming “World War Z”) skillfully evoke the world of protein shakes, motivational platitudes, and a deep wellspring of resentment. “If I believe I deserve it, the universe will serve it,” Lugo says like a mantra. He also talks about eating a “shame sandwich,” and, in his most revealing moment, tells Kershaw, “I don’t just want everything you have. I want you not to have it.”

Bay is less successful in tying all of this to larger themes worthy of its more than two-hour running time. It feels like a very personal story about his own struggles with ambition and dignity, but a struggle he still does not understand well enough to convey in more than superficial terms. Like its main characters, it has a lot of muscle but not much upstairs.

Parents should know that this film is based on a true story of crimes that include kidnapping, torture, murder, dismemberment, fraud, and drug use. The movie also includes crime and law enforcement violence, graphic wounds, very explicit and crude sexual references and situations, nudity, and constant strong language.

Family discussion: More than one character in the movie talks about what being an American means — which do you agree with and why? What took the police so long to realize what was going on? Do you agree with the punishment ordered by the court?

If you like this, try: “Fargo” and “Welcome to Collinwood” and read the story of the real-life case by Pete Collins