Panel on “Worth” with Ken Feinberg, Michael Keaton, Laura Benanti, Max Max Borenstein, Camille Biros, and Caroline Kennedy
Posted on September 2, 2021 at 9:30 pm
It was an honor to serve as moderator for a panel discussion of the Netflix film “Worth,” with Michael Keaton as Ken Feinberg, whose pioneering work on allocating compensation following major national tragedies led to his appointment as Special Master for the fund set up for the victims of 9/11 and their families. The film is a powerful story of the importance and the limitations of justice as Feinberg learns that it is as important for the people he is trying to help to be able to tell their stories as it is to pay their bills. He also learns about the limitations of the law as he has to find a way to compensate undocumented workers and then-not-legally-recognized same sex partners. Our discussion was sponsored by the John F. Kennedy Library, where Feinberg served as board chairman, and we were introduced by Ambassador Caroline Kennedy. The discussion included ethics, empathy, acting, and opera.
Rated PG-13 for some strong language and thematic elements
Profanity:
Some strong language
Alcohol/ Drugs:
None
Violence/ Scariness:
Terrorist attack, tragic loss of life and injury, tense and emotional confrontations
Diversity Issues:
Class issues are a theme in the movie
Date Released to Theaters:
August 27, 2021
Copyright 2021 NetflixWhat is life worth? Who gets to decide? Most of us prefer not to think about it. For a few of us, mostly lawyers, insurers, and those in government, it is their job. I had that job for a while when I was in the government, looking at questions like: “Should we prohibit a particular pesticide if it will reduce the incidence of cancer by two people every year but increase the price of a bushel of berries by $1.00?” Law and society have been very inconsistent, spending far more in emergencies than on prevention.
Lawyer Ken Feinberg has made the job of assigning monetary value to human life his career. He comes into the most traumatic and tragic cases of incalculable loss, Agent Orange, asbestos, the financial meltdown, and tries to decide how much money to pay to compensate the injured and the survivors. Twenty years ago, it was Feinberg and his colleague Camille Biros who were called upon to determine how much money would be paid by the taxpayers to the families of those killed or injured on 9/11. Feinberg’s book about these cases has been turned into a film, with Michael Keaton as Feinberg, Amy Ryan as Biros, and Stanley Tucci as Charles G. Wolf, who challenged the original settlement proposal.
The film takes some dramatic license with the real story but it is all in service of making the abstract issues real, concrete, and meaningful, as well as protecting the privacy of some of the people involved. We first see Feinberg as a man of integrity and culture (he really loves opera, but not the new-fangled stuff), a bit formal and old-fashioned. He does not use a computer and he dictates a note to one of his children, emphasizing the importance of being on time, that until the “love, Dad” signature could be a letter to opposing counsel. But he skillfully negotiates himself into the position of Special Master with three disarming points. He foregoes any payment. He mentions that no one else wants the job. And he points out that if he fails, the Republicans can blame him for being a Democrat.
The dollar amount is not intended to compensate the families for their grief or for their loss. There is not enough money in the world to do that, and no way to value one individual more than another. It is based only on the value (“present value” in economic terms) of their future earnings. On that basis, a clerical worker’s family would get less than a stockbroker’s family.
Most of the survivors understand that. But Fienberg and Biros learn that for these shocked, grieving families, being heard is as important as being paid. And they learn that an algorithm based on the age and earning potential of the person who died and the applicable lows of inheritance may reach a result that does not meet anyone’s standards for fairness. Broadway star Laura Benanti makes an indelible impression as the widow of a fire fighter who went back into the building because he wanted to save people. Ryan is brilliant as always in a role of quiet power. She can say more by listening than many actors can by talking. And Keaton, who has constantly surprised us with his range, gives one of his best performances.
The eternal conundrum of the law is finding a balance between the fairness of a clear, consistent rule and the fairness of individual, discretionary judgment. This movie illustrates that wrenching dilemma in the most compelling terms, with much of the focus on the shell-shocked survivors whose grief is only eased by being given a chance to talk about them, to make sure that the people they loved for their very individual characteristics is not seen by those in charge of estimating the value of their lives see them as more than data points to plug into a formula. Money to pay the bills provides some comfort. But being heard provides solace, and this film is as much a tribute to those we lost as to those who tried to give them some small element of restorative justice.
Parents should know that this film includes very sad stories from the families and survivors of a terrorist attack and some footage of the aftermath. There is some strong language.
Family discussion: Who should decide what a life is worth? What was wrong with the way Ken Feinberg conducted the original meeting? Is it possible to create just rules that allow for all legitimate exceptions? Were the fund’s payments “fair?”
If you like this, try: Feinberg’s book and movies like “Metal of Honor” and “United 93” and read articles like this one and this one.
Rated R for some sexual references, language, brief nudity, strong and bloody violence
Profanity:
Very strong language
Alcohol/ Drugs:
Alcohol
Violence/ Scariness:
Constant very intense peril and violence with many disturbing and gory images, guns, knives, fights, bombs, waterboarding and torture, characters injured and killed, attempted rape of a child
Diversity Issues:
Diverse characters
Date Released to Theaters:
August 20, 2021
Date Released to DVD:
October 18, 2021
Copyright Lionsgate 2021I do not expect narrative coherence from movies that fall into the category of don’t-pay-attention-to-the-plot-just-enjoy-the-action, just that they don’t distract the audience with too many “huh?” moments. “The Protege” teeters on the “huh” brink, with enough for three episodes of Pitch Meeting, the YouTube series hilariously dissecting movie plot holes. Plus, the intensity of the gore becomes another distraction from the reason we are all there, which is to marvel at the very impressive stunts and fight scenes.
The always-great Maggie Q plays the title character, taken in as a child by Moody (Samuel L. Jackson), the world’s greatest paid assassin, after her family is killed. He cares for her like any loving parent who happens to be a paid assassin, supporting her passion for her bookstore specializing in rare and precious volumes, and teaching her how to take over the family business. She supports his passion for the finer things, too, including a birthday gift of an ultra-rare guitar he has always wanted, a Gibson ’58 Flying V. It’s just your typical loving father and daughter who happen to be, you know, paid assassins.
After we get a chance to see how good Anna is at her job, including “how to find things that don’t want to be found,” with the help of a friendly hacker who has an office behind a dry cleaner (just like “The Man From UNCLE!”). But even assassins may be vulnerable, and Moody has a bad cough and some very powerful enemies. He is killed, and Anna wants revenge. Say it with me, everyone: This time, it’s personal. There will be an old friend (the always-welcome Robert Patrick as a biker dude) who tries to persuade her that “You owe it to Maody to stay alive.” But Anna has to find out why Moody was killed and kill whoever was responsible.
There may be a connection to a customer who came to her bookstore. His name, improbably even in the context of a film that left probability behind about 3 minutes after the opening credits, is Rembrandt and he is played by Michael Keaton. In classic movie fashion, they flirt by knowing the same poem. Rembrandt is a fixer for a very bad guy with many minions. And unlike many fixers, he is not above getting messy. Are Rembrandt and Anna going to fight each other or have a more intimate tussle? What do you think?
It wants to be as stylish as “John Wick,” but it is not. Director Martin Campbell wants to replicate the sexy sword fight as romantic foreplay of “The Mask of Zorro,” but with these characters and this level of hand-to-hand combat, it does not work as intended. The mystery isn’t much of a mystery and you will not need a quirky hacker to figure it out. This is a good thing as he isn’t around for long. Let’s face it; this movie is just an excuse for a lot of action, from extended stunts to out-of-the-blue murders. For me, the gore and the weird vibe between Anna and Rembrandt were so extreme they took me out of the film; for some others that will be the point.
Parents should know that this is an extremely violent and gory movie with many characters injured and killed and many graphic and disturbing images. There are fights, explosions, guns, and knives, torture tactics, and a lot of gushing blood. Characters use strong language and there are sexual references, some nudity, and a non-explicit situation.
Family discussion: Do you agree that it is a gift to have a friend who won’t offer help unless asked? How are Moody and Anna different from the people who hire them?
If you like this, try: “The Professional,” “Gunpowder Milkshake,” and “The Transporter”
McDonald’s began as a hamburger stand in San Bernardino, California, the idea of two brothers, Dick and Mac McDonald, who brought to food what Henry Ford brought to cars: ultra-efficient assembly-line production: consistent, reliable, and scalable. But McDonald’s, the worldwide “billions and billions served” fast food franchise phenomenon with the iconic golden arches was the creation of the man who put “founder” on his business cards, Ray Kroc.
Balzac famously said that behind every great fortune there is a crime, and this story of one of the great disruptive forces in 20th century business shows us the vision, the passion, the triumph and the heartbreak behind it. Michael Keaton is well cast as Kroc, a struggling salesman who listens to motivational tapes about the importance of persistence — a more significant factor, according to the lectures, than ability or resources.
Kroc is on the road trying to sell milkshake machines to restaurants. He calls his secretary for messages. A prospect says no. A bill collector wants to be paid. And some hamburger stand in California wants to buy six. Kroc is sure that is a mistake. No one has ever wanted more than one. He calls and speaks to one of the McDonald brothers. He can hear the activity in the background. And the order gets upped to eight. Kroc has to go see it for himself.
The McDonald brothers (John Carroll Lynch and Nick Offerman) welcome Kroc warmly, proud to tell their story and show off their innovations. In one of the movie’s highlights, they explain the trial and error and meticulous planning that led to their operational and conceptual innovation. They had three brilliant insights. First, they got rid of the inessentials: no wait staff, no plates to wash or break, and they limited the menu offerings to the items that were most often ordered. You want chicken — go somewhere else. They got rid of the cigarette machine and jukebox and thus got rid of the undesirable customers, teenagers and others who come to hang around instead of those who eat and leave. That left busy families, who appreciated the wholesome atmosphere and utter consistency and reliability. Second, they streamlined production, again reinforcing consistency and reliability and attracting families. One more difference to appeal to families: no waiting. Food was delivered almost instantly. Indeed, when on his first visit Kroc received his food neatly packed in a bag seconds after placing the order, he looked at it confused and asked, “What’s that?” The McDonald brothers realized they were not just providing customers with food; they were providing them with something even more precious: time.
The third brilliant insight created some conflict with their new partner after Kroc persuaded them to put him in charge of franchising. For the McDonald’s, money was not the top priority. They valued, well, values.
It is instructive that there are several points throughout the film where someone explains that McDonald’s is not about hamburgers. All of the other answers are right in their own way, along with many others. This is a rare film that looks at what it takes to create a globally dominant business, and what it costs as well.
Parents should know that this film includes one f-word, some predatory business behavior, illness, and marital strain and divorces.
Family discussion: How many things other than hamburgers did people say the business of McDonald’s really was? Why did Kroc call himself “founder?” Who was right, the brothers or Kroc, and why?
If you like this, try: “Tucker: The Man and his Dream” and “Joy”
Happy 2017! Here’s What’s Coming to Theaters This Month
Posted on January 1, 2017 at 7:00 am
Happy new year! Happy January! Here’s what’s coming to theaters this month, with a little bit about what else we’ll be seeing in 2017.
FRIDAY, JANUARY 6
Silence
Andrew Garfield and Adam Driver star in Martin Scorsese’s epic about faith and culture in 17th century Japan.
A Monster Calls
Liam Neeson won the DC film critics first-ever award for a voice performance for the title role in this story of a boy coming to terms with his mother’s terminal illness.
FRIDAY, JANUARY 13
Live By Night
Ben Affleck wrote and directed this film about 1930’s gangsters, co-starring Elle Fanning.
Patriots Day
Mark Wahlberg stars in the story of the Boston Marathon terrorist attack and the hunt for the bombers.
20th Century Women
Set in the late 1970’s, this story of women trying to find their place stars Annette Bening, Greta Gerwig, and Elle Fanning and is loosely based on the memories of writer/director Mike Mills (“Beginners”).
Monster Trucks
They are trucks and they are also monsters. What else do you need to know?
FRIDAY, JANUARY 20
The Founder
Ray Kroc was a milkshake machine salesman who wanted to know why the McDonald brothers’ hamburger stand was buying so many of his products. He ended up joining the company and making McDonald’s into the most successful fast food operation in the world. Michael Keaton stars as Kroc, with Laura Dern as his wife.
XXX: The Return of Xander Cage
Well, Vin Diesel has to have something to do between “Fast and Furious” movies, right?
FRIDAY, JANUARY 27
Gold
Matthew McConaughey stars in the story of a literal gold-digger, inspired by the rise and fall of John Felderhof.
A Dog’s Purpose
Just try to watch the trailer without tearing up. Just try.
And coming for the rest of 2017:
Justice League, Power Rangers, Guardians of the Galaxy 2, Star Wars VIII, Kong: Skull Island, John Wick 2, Despicable Me 3, Cars 3, The Dark Tower, World War Z 2, Valerian and the City of a Thousand Planets, The Fate of the Furious, Table 19, Coco, and, best of all, the movies that we don’t expect to fall in love with that change our lives.