Movie Review: Woman Walks Ahead

Woman Walks Ahead (2018)

Directed by Susanna White 

Written by Steven Knight 

Starring Jessica Chastain, Michael Greyeyes, Sam Rockwell

Release Date June 29th, 2018 

Published October 5th, 2018

Jessica Chastain is, arguably, the best actress working in Hollywood today. She’s a magnetic force, she draws you toward her character effortlessly. She’s tough yet wildly charismatic and even in a lesser movie like Woman Walks Ahead, she maintains a level of excellence that exceeds the limitations of a weak script or soft direction. In Woman Walks Ahead Chastain manages to overcome historical inaccuracy to craft the essence of a true story infused with a faux romance.

In Woman Walks Ahead Jessica Chastain portrays Caroline Weldon, a painter from New York City whose husband has passed away. With him gone, she’s free to pursue her passion which is portrait painting with a specialty in portraiture. Caroline has had Senators and Governors sit for her portraits but her next famous painting is unquestionably her most ambitious. Caroline wishes to travel west to paint a portrait of the Native American Chief Sitting Bull (Michael Greyeyes).

Caroline is met with resistance to her plan almost immediately. On the train to the Dakota territories she’s met by an army Colonel (Sam Rockwell) who assumes she’s a liberal agitator out to stir up an already tense political dispute over a new Native American treaty. The Colonel warns Catherine to stay on the train and go back to New York and when she doesn’t he makes sure she is left at the station.

Not about to give up, Carole walked the several mile distance from the train to Standing Rock where the Calvary and the Indians live next door to one another in a tense state of détente. In town Caroline is once again told to go home, this time by the Mayor (Ciarin Hinds) who orders her locked in a cabin to be forcibly taken to the train station the following day. This doesn’t happen however as Caroline is taken to meet Sitting Bull the following day and unusual friendship begins.

Woman Walks Ahead is loosely based on a true story. Caroline Weldon was a painter but also a Native American ally and activist, something left out of the movie. Weldon went to Standing Rock as much to protest the Dawes Act as to paint Sitting Bull’s portrait. She did befriend Sitting Bull but when Sitting Bull committed to fighting against the Dawes Act with violent resistance, he and Weldon disagreed vehemently and the division drove the two apart before Sitting Bull’s murder.

The movie builds a romance between Chastain’s Catherine and Michael Greyeyes’ Sitting Bull that is pure invention and arguably, not a needed invention. The romance would be purely filler if Chastain and Greyeyes didn’t have explosive chemistry. There is a smolder between these two actors that turns a perfunctory, tacked-on romantic plot and it makes it feel vital and alive. There may not be any sex in Woman Walks Ahead but there are enough longing stares to fill a lifetime.

Woman Walks Ahead was directed by television veteran Susanna White. White takes quickly to feature filmmaking with good instinct for pace and tone and a few risky scenes of violence, one of which really turned my stomach with it’s severity and yet the film still held me in place because of my investment in these characters and this sort of true story. It’s the truth dressed up with a little melodrama to make it go down easy and that’s likely where White’s TV training came in handy.

Woman Walks Ahead works because Jessica Chastain is a great movie star and an even better actress. She’s charismatic and fierce throughout capturing just the kind of tenacity it must have taken for a single, 44 year old New Yorker to board a train for Standing Rock amidst one of the most tense moments in the history of our relationship with American Indians. It took guts to do what Caroline Weldon did and Jessica Chastain exemplifies gutty in Woman Walks Ahead.

One last thing I want to mention, the score of Woman Walks Ahead is superb. George Fenton was responsible for the score and the mournful, melancholy plucking of a guitar has rarely been so moving. It's a sublime listening experience on top of being perfectly in line with the tone of the film which isn't entirely melancholy but has a certain foresight of sadness to come that lingers in the air and the score perpetuates that air brilliantly. 

Movie Review: The Eyes of Tammy Faye

The Eyes of Tammy Faye (2021) 

Directed by Michael Showalter 

Written by Abe Sylvia 

Starring Jessica Chastain, Andrew Garfield, Vincent D'Onofrio, Cherry Jones 

Release Date September 17th, 2021 

Published December 24th, 2021 

A trope that has become overused in biopics is the necessity to provide a literal explanation for something that becomes part of the life of a famous person after they become famous. With that in mind, I was prepared with a heavy sigh and an eye roll while watching the biopic, The Eyes of Tammy Faye, all about the life of Tammy Faye Bakker, played by Jessica Chastain. As I started the movie, I girded myself for a very literal explanation of why Tammy Faye began wearing garish clown-like makeup. 

What a surprise then to see that the main explanation of Tammy’s love for makeup was simply because she liked makeup. The backstory of Tammy Faye’s makeup gets a very brief scene at the very start of the movie and is mostly left behind as Tammy’s true obsession is revealed to be religion and being completely oblivious. Credit goes to director Michael Showalter who makes many smart choices in how to bring the unusual life of Tammy Faye Bakker to the big screen. 

The Eyes of Tammy Faye stars Jessica Chastain in the role of Tammy Faye Bakker and Andrew Garfield as her husband, con-man conservative Christian talk show host, Jim Bakker. The two met at a bible college in Minnesota. Here, Jim preached prosperity gospel, much to the dismay of his professors but to the great delight of his classmate, Tammy Faye. It was, and likely remains, Jim Bakker’s belief that God wants certain people to have great wealth and anyone with great wealth is therefore blessed by God. 

Never mind all of that stuff Jesus said about the poor, Jim Bakker was not one who believed that there was divinity in poverty. Thus he set out to be rich by any means necessary. After marrying Tammy Faye, Jim took Tammy Faye on the road where they preached the gospel and Jim took out loans and raised money for their personal needs via the many church congregations that accepted him as a guest preacher. 

Meanwhile, Tammy Faye also had her eyes on the horizon, searching for her big break. That break comes when Tammy Faye incorporates a puppet show into their preaching and singing and it gets seen by leaders of the Christian Broadcast Network, owned and operated by Pat Robertson (Gabriel Olds) and Jerry Falwell (Vincent D’Onofrio). They jump at the chance to bring the young and talented Jim and Tammy Faye aboard for a kids show but Jim has bigger plans. 

After finding success with children, Jim pitches himself as the host of a late night religious talk show that would be called The 700 Club. This comes at a cost however, to his marriage as a pregnant Tammy Faye is left off of the show and sulks at home. Before long Tammy Faye is demanding that Jim spend time with her while also getting in his ear about how they should be making more money. It’s Tammy Faye who plants the seeds that would become their crowning achievement, PTL, Praise the Lord the cable channel. 

Here is where Jim and Tammy Faye would find multi-million dollar success but also eventually find their grave downfall. As successful as the PTL was, Jim’s dedication to prosperity gospel drove him to constantly spending more than the PTL was bringing, especially spending it on himself while allowing Tammy Faye to shop to her heart’s content. While Jim desperately chases every dollar, Tammy Faye quickly comes to recognize the emptiness of their lives and the conflict between Jim and Tammy Faye eventually spills into their very public downfall. 

It’s a good story but not one that translates easily to a film narrative. Despite what The Eyes of Tammy Faye might want you to believe, Tammy Faye is not an entirely sympathetic character. Some might be able to buy Tammy Faye as a naïve innocent, as Jessica Chastain plays her, but reality also indicates that Tammy Faye was as or even more ambitious than her husband. Even as she may have been a victim of her husband's duplicitousness, she very much indulged and enjoyed the lifestyle trappings that his scheming made possible. 

The Eyes of Tammy Faye quite often tips into hagiography, as if the filmmakers and star Jessica Chastain were striving to make Tammy Faye a martyr and a counterpoint to her con-man husband. I say that but I don't say it with a great deal of confidence, especially after a final scene that appears to push the film into an area of camp that seems to both deify and deflate the legacy the film had been building for Tammy Faye. The final moments highlight a problem with The Eyes of Tammy Faye that's difficult to explain. 

For most of the movie, it doesn't appear that the film has a sense of humor regarding Tammy Faye, she's not being pitied or parodied. The final act, and especially the final scene of the movie, are the first time we get a sense of what I know I was looking for in the film, a slightly more savage and unrelenting look at Tammy Faye. In the final scene, the film reaches a remarkable climax that is both high camp and genuinely emotional. It's a moment where the potential of The Eyes of Tammy Faye emerges. Sadly, it emerges to late to rescue the movie and instead serves to highlight the tone that was missing from the first two acts of The Eyes of Tammy Faye. 

Ultimately, I am mixed on The Eyes of Tammy Faye. I adored the ending and I loved elements of Jessica Chastain's full bodied performance as Tammy Faye. The problem, for me, appears to be that Chastain started to like Tammy Faye and feel protective of her. That appears at times to be at odds with the tone that director Michael Showalter is going for. The disconnect between her desire to do justice to Tammy Faye and Showalter's high wire act attempt to bridge Chastain's performance into his more savage send up of Tammy Faye, ultimately short circuits both Chastain and Showalter's efforts. 

Movie Review The Help

The Help (2011) 

Directed by Tate Taylor

Written by Tate Taylor 

Starring Viola Davis, Emma Stone, Octavia Spencer, Bryce Dallas Howard, Jessica Chastain

Release Date August 10th, 2011 

Published August 9th

"The Help" catches you off guard with warmth and humor in the midst of great turmoil. A tremendous cast of extraordinary women will move you to laugh and to cry within the space of moments. This story of racism, civil rights and dignity in the face of undignified circumstances finds glorious moments of grace and humor amidst a story that invites anger and sadness.

Emma Stone stands at the center of "The Help" as Eugenia 'Skeeter' Phelan, a budding journalist who returns to her family home in Jackson, Mississippi in 1963. Things haven't changed much since she left but they are about to. Skeeter's writing career is about to take off after she gets the idea to write a scathing novel that exposes the ugly, racist side of Jackson's high society.

Bryce Dallas Howard plays Hilly, a high strung ex-classmate who touches off Skeeter's controversial idea by angrily insisting that her African American maid, Mini (Octavia Spencer), not use her bathroom. Hilly is convinced that Black people carry different diseases than white people and she intends to start a trend in Jackson of building separate bathrooms in everyone's home for the Help.

Mini is soon fired after she refuses to use the outdoor bathroom in the midst of a hurricane. Eventually, Mini will tell her stories about Hilly to Skeeter for her book which will for the first time tell a story from the perspective of The Help. First to aid Skeeter however, is Aibileen (Viola Davis) who decides that telling her story is necessary after seeing another maid arrested for doing something desperate to take care of her kids.

Soon other maids are talking and Skeeter has a remarkable book that is more than just juicy gossip; it may be an article for change. In the time of the story of The Help Medgar Evers and President Kennedy are assassinated and Dr. Martin Luther King is risking his life to lead the fight for Civil Rights. This historic context lends seriousness to The Help that underlines the film's poignancies.

This remarkable cast has the power to move audiences with just a word or a glance. The emotional strength of Viola Davis is matched by the fearlessness and attitude of Octavia Spencer and each creates a bond with Emma Stone that allows the book writing scenes to crackle with unexpected life and wit.

Bryce Dallas Howard has the most difficult role in The Help and pulls it off with remarkable ease. Howard is the focus of our hatred as the virulently racist Hilly and while it would have been easy to make Hilly a racist punch line, Howard invests Hilly with truth and life.

The revelation of "The Help," however, is not Stone or Davis or Howard but Jessica Chastain. In a role that really doesn't need to be in this movie in terms of plot, Jessica Chastain plays Celia Foote, a reputed gold digger who is desperate to be accepted into high society. Celia begins as a caricature of Southern flightiness but as the film goes on her pluck and spirit become so delightful that you wish she had a movie of her own to show off in.

This is Jessica Chastain's second Oscar worthy performance of 2011 following her stunning turn in the Terence Malick epic "Tree of Life." Chastain's work in "The Help" is such a transformation from "Tree of Life" that I didn't know it was her until I checked the credits after the movie; a demonstration of Chastain's amazing range.

"The Help" is one of my favorite movies of 2011; a smart, moving, funny and warm movie that features one of the most talented casts we've seen assembled in a long while. Emma Stone is about to be a huge star and Jessica Chastain is the next big thing while Viola Davis is the pillar of strength on whom the performances of others are built and find firm foundation.

Movie Review The Debt

The Debt (2011) 

Directed by John Madden 

Written by Matthew Vaughn, Jane Goldman, Peter Straughan 

Starring Jessica Chastain, Helen Mirren, Sam Worthington, Martin Csokas, Ciaran Hinds, Tom Wilkinson

Release Date August 31st, 2011 

Published August 30th, 2011 

"The Debt" is one of the bigger disappointments of 2010. A phenomenal cast, including Helen Mirren, Tom Wilkinson and Jessica Chastain, led by Oscar nominated director John Madden deliver a movie that is truly riveting until the final 15 minutes when the film flies so far off the rails that it trashes all that came before it.

"The Debt" tells the story of three Mossad agents who travel to East Germany at the height of the Cold War in an attempt to capture a Nazi war criminal (Jesper Christensen). This particular criminal is hiding out as a gynecologist thus creating the need for a female agent to join a pair of male agents already in place.

Rachel Singer (Jessica Chastain) is just 25 years old and working as a translator when she is drafted for this dangerous mission. She joins mission commander Stephan Gold (Martin Csokas) and the man who will pose as her husband, David Peretz (Sam Worthington), in East Germany where she will pose as a patient for the Nazi and get close enough to render him unconscious.

The mission is undoubtedly the most exciting sequence in "The Debt." Director John Madden brings an arm rest, squeezing tension to the scene where Rachel takes down the doctor and her fellow agents sneak the doctor out the side door. What happens next I will leave you to discover.

"The Debt" employs a shifting timeline that allows us a glimpse 30 years into the future. In the future Rachel's daughter has written a book about her mother's heroic actions in the capture of the butchering Nazi criminal. Rachel, now played by Helen Mirren, however, indicates by her lack of cooperation with her own daughter's book that something happened on the mission that we aren't entirely aware of.

Tom Wilkinson and Ciaran Hinds play the elder versions of Stephan and David and while Stephan has parlayed the results of the mission into a highly successful political career, David disappeared for a very long time before emerging on the eve of the release of Rachel's daughter's book.

What drove David underground and has Rachel feeling intense guilt? I will leave that for you to discover should you decide to see "The Debt." Sadly, I don't recommend that you do see "The Debt." Despite a few terrific scenes, another terrific performance from It-Girl Jessica Chastain, brilliant in both "The Help" and "The Tree of Life" earlier this year, and a very compelling turn by Helen Mirren, "The Debt" has a massive flaw that it cannot overcome.

The massive flaw, which I will not reveal, is in the film's ending. It's one of those endings that, if you're like me, will leave you shaking your head and wanting to say to director John Madden: Really? In an apoplectic fashion reminiscent of the SNL Weekend Update snark.

I cannot stress enough how wildly disappointing this ending is. The end of "The Debt" reduces the film to a message so juvenile and parochial that you just can't believe the filmmakers wasted their time with it. More importantly, you can't believe they wasted your time and that of this brilliant cast who deserved so much more.

"The Debt" is among the biggest disappointments of the year. There is so much good in this movie that only an ending as wildly ludicrous as this could take the movie from potential Oscar contender to a movie that I cannot recommend because of its massively, wildly flawed final minutes.

Movie Review: Captain Marvel

Captain Marvel (2019) 

Directed by Anna Boden and Ryan Fleck 

Written by Anna Boden, Ryan Fleck, Geneva Robertson Dworet 

Starring Brie Larson, Samuel L. Jackson, Jude Law, Lashana Lynch, Gemma Chan, Annette Bening, Scarlett Johansson

Release Date March 8th, 2019 

Published November 9th, 2023

When Captain Marvel was released in 2019 it managed to beat the hype of being just the latest entry in the smoking hot Marvel Cinematic Universe. Brie Larson came into full movie star form playing Carol Danvers aka Captain Marvel. Larson’s chemistry with the cast was off the charts, the direction was kinetic and exciting and as a puzzle piece in the long term planning in the Marvel Cinematic Universe, it was an incredibly satisfying fit. On top of all of that, it was just a great action movie.

Now, with The Marvels debuting and Captain Marvel back on the big screen as part of her own superhero team, it's the perfect time to reflect back on Carol's unique introduction to the MCU. With the Marvel Universe in flux, a lot bad press surrounding the most recent movies in that cinematic universe, it's nice to be reminded just how good Carol's introduction to the MCU really was.

Brie Larson stars as Captain Marvel, aka Carol Danvers, aka Vers to her fellow Kree Warriors. When we meet Carol she has been training as a Kree Warrior with a mysterious and forgotten past for several years. Flashes of memory keep popping up in her dreams but the pieces don’t fit. With the aid of her mentor and commander, Yon-Rogg (Jude Law), Vers attempts to keep her memories at bay while focusing on her training and managing her remarkable abilities.

After meeting for the first time with the Kree ‘Great Intelligence,’ Vers gets her very first mission. Under the command of Yon-Rogg, Vers will go to an alien planet and rescue a Kree spy in the midst of a Skrull controlled planet. The Skrulls are a race of dangerous aliens, the greatest foes of the Kree, who have the disturbing ability to morph their features into those of anyone they see down to a DNA level of mimicry.

In her first mission, Vers is captured and her memories are accessed and she is forced to confront her past. When she eventually makes her escape, her only way out is a Skrull escape pod programmed to go to Earth. Here, Carol will be forced to confront her true identity as she battles the Skrull leader Thalos to keep him from retrieving technology created by a figure from Carol’s past, Dr Lawson (Annette Bening), tech that could change the course of the war between Kree and Skrull forever.

Along for the ride, and discovering aliens for the first time in his career is Nick Fury (Samuel L Jackson). Captain Marvel may be the origin story for Carol Danvers but it also provides a little more of the origin story for the future leader of Shield and the man behind the Avengers’ initiative. Captain Marvel is set in 1996 and the picture we get of a young-ish Nick Fury is pretty great. Baby-faced rookie Agent Phil Coulson is another standout treat.

The chemistry between Brie Larson as Carol and Sam Jackson’s Nick Fury is off the charts fantastic. These two actors have a comfort, familiarity and ease that would be more expected of actors who had worked together for years rather than having never met before. Larson and Jackson have a comic connection that never fails to charm and when it comes time to fight that same natural chemistry increases the fun and excitement in that arena as well.

Captain Marvel was the first major big screen release for the indie darling director duo of Anna Boden and Ryan Fleck and they proved themselves more than ready for the spotlight. The action is exceptionally captured and exciting, the special effects are flawless, the script is tight and focused and the character work is some of the best in the MCU. Much of this can be traced to the steady creative hands of Boden and Fleck.

Find my full length review at Geeks.Media 

Movie Review Iron Man 2

Iron Man 2 (2010)

Directed by Jon Favreau 

Written by Justin Theroux 

Starring Robert Downey Jr., Gwyneth Paltrow, Mickey Rourke, Don Cheadle, Scarlett Johansson, Sam Rockwell, Samuel L. Jackson

Release Date May 7th, 2010

Published May 6th, 2010 

Star power is that intangible quality that can turn even a bad movie into a brilliant one. Imagine Pirates of the Caribbean without Johnny Depp, Independence Day without Will Smith or any of the Ocean's 11 sequels. Star power can drive any movie to brilliance without the audience ever realizing that what surrounds the star is mostly a giant mess.

Iron Man 2 is not exactly a giant mess, but imagining it working without the incalculable star power of Robert Downey Jr is impossible.

When last we saw Tony Stark he was revealing himself to be the superhero Iron Man in his usual ostentatious fashion. Since then, Tony has run about the world privatizing world peace in our time. And boy is he ever aware of his power. Called to testify before Congress, Stark has no trouble humiliating Senators with his ever present wit and tech.

Even as his pal Major Rhodes (Don Cheadle in the military garb once worn by Terrence Howard) is called to testify against him, Stark flips, dodges and eventually walks out to cheers and applause.

Watching on TV in Russia is Ivan Vanko (Mickey Rourke), a man that Tony Stark is not aware has a connection to his father. Vanko's own father was in business with Tony's late father, together they invented the very arc reactor that Tony now uses on a smaller scale to keep him alive. Vanko's father was banished before he could reap any rewards and Ivan wants payback.

As for Tony, while he seems to be having a great time, he is growing ever weaker. The arc reactor is slowly killing him and if he cannot find a new power source he and Iron Man are finished. Keeping this fact from his longtime assistant Pepper Potts (Gwyneth Paltrow) and his new assistant Natalie (Scarlett Johannson) is only a minor subplot meant to keep the ladies busy.

Plot aside, Iron Man 2 is about attitude, it's about cool and it's about big time action. Taken on these terms it is impossible not to enjoy. Robert Downey Jr has perfected the swagger of Tony Stark and found the sweet spot between ego and hero. Arrogance is his stock and trade but Downey's ability to make us part of the joke and not the subject of his arrogance is the paper thin difference between charisma and just being a jerk.

Jon Favreau's direction is mechanical and somewhat perfunctory but he knows how to keep his massive special effects under control while allowing RDJ to carry the weight of the movie with his persona. It may not be anything remotely related to artfulness but Favreau knows how to make Iron Man 2 what it is supposed to be, Robert Downey Jr’s magnum ego opus.

Iron Man 2 is not a work of art, it's not major cinema, its hardcore popcorn entertainment in the most joyous sense. Downey and Favreau and their cohorts deliver what fans want of Iron Man's big swinging ego, massive explosions, and inside baseball allusions to the planned Avengers movie, by the way, stay through the credits.

Movie Review: The Spirit

The Spirit (2008) 

Directed by Frank Miller 

Written by Frank Miller 

Starring Gabriel Macht, Samuel L. Jackson, Scarlett Johansson, Eva Mendes, Sarah Paulson

Release Date December 25th, 2008 

Published December 24th, 2008 

The Spirit began as an insert in the Des Moines Register newspaper. Noticing the popularity of comic book superheroes the newspaper syndicate behind the Register and several other papers across the country launched their own comic book hero. They turned to in house artist Will Eisner who quickly turned out The Spirit. Fifty some years later The Spirit has been turned into a post-modern comic book movie in the hands of comics master Frank Miller. The adaptation is nearly as slipshod as the original creation was rushed.

Gabriel Macht plays The Spirit, a dead cop returned to life by his arch enemy as an experiment. The Octopus (Samuel L. Jackson) invented a potion and used the dead cop's body as a guinea pig. It worked, turning the cop into an unkillable but still human, crime fighting hero. Of course the Octopus dosed himself with his creation as well and as we join the story the two are in a futile, unwinnable battle of knives, guns and other such murderous implements that only serve to slow each other down. The Octopus however, has a plan.

He seeks an ancient vase that contains the blood of a human god. That blood will make him all powerful and finally able to kill the Spirit. Complicating his plan is a woman from The Spirit's past named Sand Serif (Eva Mendes). She is seeking a different ancient box with a different treasure when she comes to possess the vase. Will she give it to the Octopus or will she reunite with the Spirit? It's not as dramatic question as you might think.

The Spirit is filmed in the exact same black and white with color elements style as Sin City. In fact, it is fair to say that The Spirit is entirely derivative of Sin City. From the look to the hard-boiled dialogue to the timeless setting, The Spirit apes almost every aspect of Sin City minus the skilled direction of Robert Rodriguez. Before you try and correct me comment section, I am aware that Frank Miller's comics work inspired the look of Sin City, but that doesn't change how Miller brings nothing new or fresh to The Spirit.

Frank Miller learned direction at the side of Robert Rodriguez and you can definitely see Rodriguez's influence in The Spirit. Unfortunately, that's all you see. Miller brings no innovation, no new wrinkles whatsoever to The Spirit. Miller phones in the look of The Spirit, copying every aspect of Sin City. Without the cool of Sin City we are left with a pretty lame story of a bland undead cop and an over-acting Sam Jackson that wears through the camp appeal really quick. Gabriel Macht is so non-descript that his name is nearly forgotten before the credits roll.

The sight of Sam Jackson in ninja garb and a Nazi uniform loses its humor fast, choking under the weight of Jackson's scene chewing. Jackson has chewed the furniture before but never with such vigor as this. It could be campy fun but Jackson is far too earnestly snarling that the camp factor goes out the window and the just plain bad quickly takes over.

If you can figure out why Scarlett Johannson is in this movie you are a better man than I. Johannson is the biggest star in the cast and yet she is at best the fourth lead in the movie; playing second fiddle Jackson and his bellowing and gesticulating. Johannson remains the most appealing element of The Spirit but her choice of roles is monumentally puzzling.

The Spirit is a lame knockoff of Sin City with all of the style and none of the appeal of that modern classic.