Movie Review ~ The Trial of the Chicago 7

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The Facts
:

Synopsis: The story of seven people on trial stemming from various charges surrounding the uprising at the 1968 Democratic National Convention in Chicago, Illinois.

Stars: Yahya Abdul-Mateen II, Sacha Baron Cohen, Joseph Gordon-Levitt, Michael Keaton, Frank Langella, John Carroll Lynch, Eddie Redmayne, Mark Rylance, Alex Sharp, Jeremy Strong, Daniel Flaherty, Noah Robbins

Director: Aaron Sorkin

Rated: R

Running Length: 129 minutes

TMMM Score: (6/10)

Review: All of these years I knew I had a good education in high school and in college.  I keep up with the news, I read books, I watch enough Jeopardy! and movies and television to know a thing or two about a thing or two but I almost comically have to admit something.  History buffs, please put down your virtual stones and don’t hate me but I wasn’t familiar with the Chicago 7 before I fired up The Trial of the Chicago 7, now available to stream on Netflix.  Weird, right?  The names Tom Hayden, Abbie Hoffman, and Jerry Rubin were familiar to me for other reasons and I was surprised that such an event could occur that I wouldn’t have at least peripherally tied to the trial over some medium.  Hey, you learn something new everyday, though, so I guess my lesson this particular week was related to the historic court case charging seven individuals with various crimes related to demonstrations and protests at the 1968 Democratic National Convention in Chicago.

If you’re thinking this hyper-politically charged time we’re living in would be a prime time for a retelling of a landmark case brought by the government under not so honorable circumstances, you’d be correct.  Add writer/director Aaron Sorkin (Molly’s Game) to the mix and you have sparks flying with Sorkin’s traditional rapid-fire banter helping to establish mood and place, not to mention character and intent from the start.  Right off the bat we feel like these are well-formed individuals because even if they may not talk like us (Sorkin’s prose is great but, let’s face it, no one talks like he writes) they are speaking a language that instantly engages you in small ways, helping to paint a picture in your mind.

The events surrounding the 1968 Democratic National Convention in Chicago are doled out gradually once the film has introduced us to the defendants by way of brief glimpses into their preparing to head to the event.  Passing glimpses at Tom Hayden (Eddie Redmayne, The Danish Girl) & Rennie Davis (Alex Sharp, The Hustle), Bobby Seale (Yahya Abdul-Mateen II, Aquaman), David Dellinger (John Carroll Lynch, The Invitation), Jerry Rubin (Jeremy Strong, Serenity) & Abbie Hoffman (Sacha Baron Cohen, Les Misérables), Lee Weiner (Noah Robbins, The Assistant), John Froines (Danny Flaherty, Hope Springs) show all signs point to the men having fairly benign plans for the day. From there, we jump forward to Washington D.C. when a young attorney (Joseph Gordon Levitt, Premium Rush) under a new administration is prodded into the prosecution of eight men that were arrested in connection with a string of crimes the former administration had declined to prosecute.  How we get from eight men to seven is something Sorkin will illustrate as he takes us through the lengthy trial that goes on for multiple months and is governed by a tyrannical judge (Frank Langella, Robot & Frank) who may be losing his mind.  A defense attorney for the majority of the men, William Kuntsler (Mark Rylance, The BFG), struggles to make his case in the face of prosecutorial tampering and a judge that doesn’t remember some of his own rulings.

Little doubt remains that this trial was a huge miscarriage of justice and had enormous complexity given the scope of the charges and men involved.  Sorkin’s film also feels equally enormous with a lot of ground to cover and a clock ticking down to get it all in.  What I thought would be the film’s climax turned out to be the first of several false ones and it started to drag as it approached its second hour, a rare occurrence for a Sorkin film that often chugs along with the energy of a locomotive.  Perhaps it’s due to the structure of having to tell so many competing storylines that rarely converge on each other or more likely its because not all of the Chicago 7 are as interesting as the rest.  It might even come down to performance…because I think there is great acting going on here as well as some goofy attempts at faux-counterculture attitude.

For instance, I think Baron-Cohen’s Abbie Hoffman is a strong interpretation of the social activist known for his courtroom antics and outspoken public behavior.  Baron-Cohen is known for creating these larger than life roles that are often obnoxious and finally he’s playing a character that is actually obnoxious and he manages to make him a comfortable fit.  On the flip side, recent Emmy-winner Strong is completely out to sea as Jerry Rubin, giving the exact type of nuts and berries performance you’d expect when you hear the word “hippie” – no surprises here.  I think Rylance could have done this part in his sleep and he looks at half-mast for most of the film, as does Redmayne who feels more concerned about maintaining his American accent and keeping his hands in his pockets than delivering a single focused line-reading.  The best acting going on in the film is far and away Langella as the lunatic judge who terrorizes the defendants, jurors, prosecution, and probably anyone he comes in contact with.  Still one of the finest actors working, Langella should be justly rewarded for his wonderful work.

While I ultimately appreciated the history lesson and education brought on by The Trial of the Chicago 7, it’s fractured time frame and tendency to tell instead of show gets a bit oppressive after some time.  The court moments are the most energetic and where Sorkin finds the best sequences to shine.  That’s when things really pick up and a rhythm is established.  It’s when we head out of that space where The Trial of the Chicago 7 becomes, well, a trial.

Movie Review ~ The Assistant


The Facts
:

Synopsis: A searing look at a day in the life of an assistant to a powerful executive as she grows increasingly aware of the insidious abuse that threatens every aspect of her position.

Stars: Julia Garner, Matthew Macfadyen, Kristine Froseth, Makenzie Leigh, Noah Robbins, Dagmara Domińczyk, Purva Bedi

Director: Kitty Green

Rated: R

Running Length: 85 minutes

TMMM Score: (6/10)

Review: A film like The Assistant was bound to arrive eventually.  Ever since the Harvey Weinstein scandal brought to light the unspoken predatory behavior beyond Hollywood’s closed doors there have been countless news articles, think pieces, and non-fiction works that have gone deep into how things got as bad as they did.  Yet for as many of these real-life dealings in sensational exposés there was going to come a time when a fictionalized account would make it way to screens and I was bracing for a squirm-inducing bit of discomfort.  The trailer for The Assistant is cut to look like a razor sharp thriller and even the log-line promises “a searing look” at a day in the life of our titular character.

So…why isn’t The Assistant more affecting or more substantive?  Writer/director Kitty Green certainly has decent designs on her compact story told over the course of one seemingly ordinary day but whatever she’s trying to say about the current state of the Time’s Up or #MeToo movement gets lost in muddled delivery.  It’s never clear if this is an indictment on the industry at large or intended to cast a withering look on those that see troubling things happen but refuse to say anything.  Instead of being a modest yet compelling voice that adds to the proposed change the industry needs, The Assistant winds up becoming a frustrating part of the problem with its resolute adherence to staid storytelling.

Jane (Julia Garner, Grandma) works for a high-profile movie exec at an unnamed studio and seems to have gotten used to her surroundings.  She arrives before dawn and sets up for the day; organizing schedules, preparing coffee, and steeling herself for her boisterous male peers that routinely slough off the more mundane tasks to her plate.  We never see the boss, only hearing his muffled bark on the phone or through walls when he’s berating his staff but his presence hangs over the office like a dark cloud.  Aside from the occasional celebratory (Patrick Wilson pops in playing himself and seeing that his wife Dagmara Domińczyk has a smaller role you wonder if they aren’t friends of the production), a parade of women flow through the doors during business hours, with no one batting an eye if some of the more exotic beauties leave slightly disheveled, unable to make eye contact on their way out.

When a pretty but clearly unqualified girl fresh off the turnip truck shows up saying she’s been hired by the boss as a new assistant to work alongside Jane, Jane’s reaction and next steps are startling for two reasons.  The first is that she recognizes just how little importance is placed on the work she’s currently doing and it’s somehow only dawning on her now that hard work in the industry only gets you so far.  The real lesson, and best sequence of the movie, is a scene between Jane and an HR leader (Matthew Macfadyen, The Nutcracker and the Four Realms) who she has turned to with her concerns.  Garner and Macfadyen both play the dynamics of this conversation well and it takes you in directions you may not initially guess.  Green’s script may not give Garner the kind of speech you want her to have but there’s something telling in what’s not being said between the two characters.

If only the rest of The Assistant had been as finely tuned as this one scene, it may have amounted to more than a small distraction that further illustrates that men in power routinely abuse their position.  I wish Green had gone further in the forum she was given and had been able to create some more depth in the other secondary characters that fill out the rest of the cast.  Aside from Garner and Macfadyen, everyone else seems to be barely etched and, consequently, played without much grounding.  There’s something to the structure Green has created but it’s in the building of the finished product where things just fall flat.