Tag Archives: John Carroll Lynch

The Trial of the Chicago 7

The trial (little t = not the movie, the trial itself) of the Chicago 7 was a clusterfuck from the start. From before the start. From before the trial, from before the election, from before the protest, from before the war…injustice is as American as apple pie and is baked right into the constitution. To say it wasn’t a fair trial assumes it was ever even a trial. By its very definition, a trial is an examination of evidence in order to determine guilt. Although the trial of the Chicago 7 was by jury, the judge on the case made it clear the evidence didn’t matter and wouldn’t be heard because their guilt was presumptive and anyone who disagreed was an idiot. Of course, not only was the trial of the Chicago 7 not a trial, there weren’t technically 7 of them either. We start with 8 and end up with 5, but more on that later.

A quick pre-trial bit history: it’s 1968. American is gearing up for a tough election amid a lot of unrest. MLK has been assassinated, and civil rights has become more dominated by the Black Panthers than by peaceful protest. The Vietnam war is increasingly unpopular but still racking up a disturbing daily body count. And so a bunch of different protest groups are descending upon Chicago, which is hosting the Democratic National Convention. Though there are many different organizations with different goals and methods of exacting them, they all pretty much agree that change starts with electing the right kind of leader. But the convention becomes secondary news to the riots and bloodshed that surrounds it. When the dust clears, “seven” men have been arrested for conspiring to start a riot. They did no such thing – some had never even met before being indicted for the crime, but like I said earlier, this was never about justice or truth. It was about politics.

The five men who wind up on trial are Tom Hayden (Eddie Redmayne), Rennie Davis (Alex Sharp), Abbie Hoffman (Sacha Baron Cohen), Jerry Rubin (Jeremy Strong), and David Dellinger (John Carroll Lynch). The bonus 8th is Black Panther Bobby Seale (Yahya Abdul-Mateen II) who was only passing through Chicago at the time but got lumped in because a group that includes an angry black man looks 90% guiltier to any jury of “their: peers. As you can see, this is already a fantastic cast and I haven’t even told you about Mark Rylance, who plays a defense attorney, and Joseph Gordon-Levitt who plays the lead prosecutor. But the man who steals the show (and this is indeed an undeniable sausage fest) is Frank Langella as Judge Julius Hoffman, a man so inept at his job, so obviously biased and painstakingly obstructive in his own courtroom that he appears to be mentally incompetent. The trial is a circus, the truth is irrelevant, the law has no part to play, and the whole thing gets so wildly out of control you simply won’t believe what is allowed to happen in a court of law. And yet it did, it’s all true.

Writer-director Aaron Sorkin is absurdly good at sifting through months worth of testimony to find the perfect exchanges to illustrate this absurd miscarriage of justice and a mind-boggling waste of resources. He’s also deft enough (un oeuf) to point us toward the inevitable conclusion; this was train wreck of a trial but an excellent diversion that dominated the news cycle, elbowing things like an unpopular war and an unpopular president off the newspaper’s front page. Sorkin’s direction keeps things simple. History has provided some outsized personalities and a court transcript so outlandish you couldn’t make it up. It’s not a flashy film but it is a memorable one.

Crazy Stupid Love

Poor Cal. He thinks he’s moments away from a creme brulee when his wife Emily hits him with a wallop: she wants a divorce. And that’s not all. On the tense car ride home, Emily (Julianne Moore) confesses that she slept with someone. Cal (Steve Carell) pulls a LadyBird out the car but it’s not going to save his marriage.

At a local bar, a very despondent Cal is attracting the wrong kind of attention. Crying in public will tend to do that. Resident lady’s man Jacob (Ryan Gosling) takes pity on him, and takes him under his wing to dress him up and teach him how to flirt. Best wing man ever? Suddenly Cal, who’s only ever been with his wife, is putting serious notches into his new, single guy Ikea bedpost. Which doesn’t sit well with Emily, but who is she to complain. Right?

Meanwhile, Jacob’s love life is going in the opposite direction. He’s met a woman he actually wants to not just sleep with, but wake up with. Hannah (Emma Stone) is the right mix of neurotic-quirky-cute and for the first time, Jacob’s falling in love.

Sure it’s a little too sweet sometimes, but Crazy Stupid Love is a legitimately funny rom-com with effervescent dialogue delivered by an A-list cast. Carell is likable as ever, making a convincing transformation both inside and out. For his part, Gosling is game for poking a little fun at his own image, punctuating some of the absurd if not ever quite crazy idiosyncrasies of dating, whether it’s the first or second time around. There’s a maturity (perhaps a pre-Tinder maturity) to it that gives it universal appeal.

The Highwaymen

In 1934, the infamous criminal duo Bonnie & Clyde were seemingly unstoppable. Their crime spree was turning more serious and their body count higher each day. Though they enjoyed almost movie-star status in certain circles, they were an embarrassment to the law enforcement they continued to evade – including Hoover’s FBI men.

The Texas Rangers have long since been disbanded – too lawless, too unsupervised. But Lee Simmons (John Carroll Lynch) manages to convince Texas governor Ma Ferguson (Kathy Bates) that since her new police force has proved ineffectual, perhaps what is needed is just a couple of highwaymen, doing things the old fashioned way.

Frank Hamer (Kevin Costner) chafes in his retirement, and though he hasn’t even held a MV5BMjM2NDg5NjQzMV5BMl5BanBnXkFtZTgwMzMyNzI5NjM@._V1_SY1000_SX1500_AL_gun in his hand in years, he doesn’t take much convincing. Maney Gault (Woody Harrelson) is a little more reluctant but pride is a tricky thing.

Following Bonnie & Clyde’s bloody trail is a complicated thing. These criminals are hailed as heroes by some, protected by family and friends. The men discuss whether they could shoot a woman, if it came to that. Neither really want it to come to that, but a job is a job is a job. It’s morally muddy ground maybe, but the script is a little shy about saying so, so it merely tiptoes around these dirty puddles, relying too heavily on the grizzled buddy-cop dynamic of Costner and Harrelson. And it’s not a bad dynamic at that: the two do a good job of seeming beaten down by their lives and their choices. But the movie plays it safe, and frankly, sometimes boring. Well, not boring, exactly, but not nearly as jittery and exciting as you might think literally any movie remotely associated with Bonnie & Clyde would be. But that’s the rub, isn’t it? Police work isn’t all car chases and whizzing bullets. Nor was Bonnie and Clyde’s life of crime nearly as glamourous as it was made out to be at the time. The actual truth is lost to us – no witnesses are alive today, and those that talked at the time tended to conflict each other’s stories quite a bit.

I imagine this movie will appeal most to a certain demographic: those inclined to beaten-up recliners and canned nuts. It’s a bit of a dad movie.

Private Life

Rachel and Richard are a couple their niece Sadie looks up to – their tiny NYC apartment has cachet because of they live and work in the arts. When she drops out of college, it is natural for her to turn to them for support and a place to crash – much cooler than her parents’ place in the suburbs.

But as Sadie’s parents know, Rachel (Kathryn Hahn) and Richard (Paul Giamatti) aren’t exactly living a carefree life. They are deep in the throes of a fertility struggle. They’ve tried everything, and they’re still trying multiple strategies at once, which requires MV5BMTUyNTMyODc4Nl5BMl5BanBnXkFtZTgwMjk5ODg1NDM@._V1_SX1500_CR0,0,1500,999_AL_careful juggling and judicious lying (the adoption people want to hear that IVF is behind you). Like any couple wanting a baby they can’t have, they’ve suffered heartbreak. As the technologies and treatments proliferate, so too does the potential for loss. These people have suffered in ways my privileged uterus hasn’t even heard of – including a catfishing scam I can only wonder at. Still, Rachel and Richard persist, even in the face of their family’s disapproval and the strain on their bank account and the stress on their marriage. But they balk when the doctor suggests an egg donor – or Rachel does, feeling cut out of the deal. But then the young woman living in their home starts to feel like an option – it’s just a delicate matter of how to ask the vulnerable, tetherless niece to do something that will affect her profoundly for the rest of her life? Is that even fair?

This is a movie about fertility, but even more so, it’s a movie expressing rage against the lie that women can have it all. Rachel has delayed kids for career and the price is high. Her husband is sympathetic but ultimately this is her worth as a woman being questioned and her body betraying them, even as she ravages it with attempt after attempt. Private Life is about the ebb and flow of hope and what it does, long-term, to a marriage.

 

Lucky

Lucky is an old man, a washed up cowboy who’s living out his remaining years in a small town where his routine means everything to him: a daily glass of milk, some exercise, coffee and crosswords at the local diner, devotion to his game shows. Just because he’s alone doesn’t mean he’s lonely. But then a brush with his mortality reminds him that death comes for all of us, and he starts reevaluating a thing or two.

We missed seeing Lucky at SXSW this year; our schedule was packed and we had to hds_photocredit_stefaniarosinichoose between several old-guy movies (we ended up seeing The Hero and The Ballad of Lefty Brown). We can’t regret seeing either of those movies, both are good, but there is one mitigating factor. Harry Dean Stanton, star of Lucky, died last month at the age of 91. And there is, I believe, a difference between watching an old man come to grips with his age and death’s proximity, and watching a man who we know was actually met his maker be confronted with his expiration date on screen and admit to us all that he is scared. Oof.

How does a 90 year old atheist feel about death’s encroachment? You’ll see it all on Stanton’s face. The years have visibly burdened him, he walks with a heavy but purposeful gait, his shoulders sloping under the effects of time and the weight of the unknown. And though he makes various connections, a surprisingly diverse variety of connections for a man of his generation, we’re very much aware that in the end, everyone dies alone. This film has moments of genuine warmth and delight, but it’ll also make you feel his emptiness, his isolation, his fear. And if that’s not enough to completely gut you, director John Carroll Lynch wrenches the very last drops of our humanity from us with the help of my favouritest favourite Johnny Cash song. So you just can’t help be hollowed out. But Lucky also fills you up. The script accounts for more than a few quirky characters, but it’s Lucky’s persistence and courage that fill us up with hope.

There aren’t enough words to say what a great performance we have here from Stanton. It’s superb. Lucky isn’t the talkiest of fellows but Stanton delivers a meditation on mortality that is the perfect legacy to his lengthy career. He’s magnetic. And we’re all a little luckier having seen this film.

 

The Founder

the-founder-movie-2016-trailer-michael-keatonI suppose it was to be expected that Ray Kroc, the “founder” of McDonald’s, was an asshole. But, wow, was he ever an asshole. He died well before this movie was made but it seems he would have agreed with that assessment and been fine with it since it got him where he wanted to be – it made him rich, eventually.

But not without some struggles. You see, he didn’t “create” McDonald’s until he was 52 years old, and the reason for the quotation marks is because he didn’t actually create it. But as we know, history is written by the victors, and that’s Ray Kroc.

Michael Keaton is extremely good as Kroc. Good to the point that he makes Kroc seem like almost a decent guy even though he’d take your last McNugget whether or not he was hungry. The great Nick Offerman and the familiar John Carroll Lynch are excellent as well as Kroc’s former partners, the McDonald brothers. Other familiar faces will pop up for a scene or two, but this movie is mainly about Kroc and the McDonalds.

The Founder’s story is an interesting and engaging one from start to finish. It skips around noticably at parts and I felt a bit disconnected from the movie as a result, but the core tale remained crisp, clear, and entertaining throughout, to the point that the lawyer side of me wanted to yell at the screen as one particularly bad decision was made.

So bring your notepad and find out how an empire can be built from practically nothing on someone else’s idea, as long as you don’t mind being an asshole about it. The Founder gets a score of seven “fries with that” out of ten.