Roman J. Israel, Esq. - 2 smiles

It's a credit to Denzel Washington's acting ability that we care at all for Roman J. Israel, Esq., the person because "Roman J. Israel, Esq.," the movie, is unfocused and hard to follow. Writer-director Dan Gilroy has created a story that's part character study, part legal thriller and part morality tale. Roman J. Israel is a lawyer inspired by the great heroes of the civil rights ear. With an full Afro and an iPod full of soul music, Israel writes the legal briefs for his partner who fights the cases in court. When his small firm suddenly closes, Israel goes to work for a high-priced attorney George Pierce (Colin Farrell), whose morals take a back seat to money. And the ethical Israel must survive in a materialistic world. Initially, Washington is quite likable as a crusading malcontent with the mind of a legal savant. We feel for Israel when the young activists at a nonprofit run by Maya Alston (Carmen Ejogo) snicker at his fusty tweed suit and respond to his old-fashioned chivalry with cries of sexism. But by movie's end, Israel seems like the villain and the slippery Pierce turns out to be - gasp - a fairly decent guy with a hidden noble streak. Huh? How did this happen? And how are we supposed to respond? The movie just doesn't hold together.

Darkest Hour - 4 smiles

In"Darkest Hour," screenwriter Anthony McCarten's story takes place over a short couple of weeks - from right before Winston Churchill is installed as prime minister to his first major political and wartime victory, the evacuation of 300,000 troops from Dunkirk. It's a short amount of time to get to know him, but with Gary Oldman's performance, by the end we know him very well. He's a day drinker, a heavy smoker, a captivating orator. He's unpredictable, often scaring people, but he's principled and passionate and can hold his own in his war cabinet meetings. There's an especially inspiring and emotional scene, when he finally shakes loose the shackles of a politician and speaks to some of the real people on the London Underground. It's clear to see he is compassionate and motivated to serve all people.

Oldman is aided by remarkably realistic makeup. (Woody Harrelson's makeup in LBJ was so distracting that I had trouble following the dialogue.) But Oldman's physicality (the way he walks, moves his hands, holds a cigar) and the way he speaks, brings Churchill to life. He is so immersed in the role that the actor disappears. The supporting cast is strong, including Lily James as Churchill's personal secretary, Elizabeth Layton; Kristin Scott Thomas as his wife, Clementine; Ronald Pickup as Neville 'Appeasement' Chamberlain; Ben Mendelssohn as the stuttering King George VI; Stephen Dilate as Viscount Halifax, the man waiting to step in when Churchill fails. Although "Darkest Hour" features no war scenes, there are battles as the House of Commons pushes for peace talks with Hitler. But Churchill knows that would be a mistake and his greatest weapon is his oratorical skills, which he deploys on more than one occasion. Director Joe Wright gives us a portrait that's rich with details and reveals how close the world came to disaster even before the blitz began. However, the movie is overshadowed by Oldman's performance. And that's why you must see this movie.

Mudbound - 3 1/2 smiles

"Mudbound," co-adapted from Hilary Jordan's novel by director Dee Rees and Virgil Williams, takes a long, hard look at the system of racial inequality that defined the 1940s South, focusing on the relationship that forms (and the consequences of that relationship) between two World War II veterans, one white and one black. These two men, Jamie McAllan (Garett Hedlund) and Ronsel Jackson (Jason Mitchell), have much in common except the color of their skin. "Mudbound" shows racism in many forms, both large and small. There are the obvious, like the constant threats of violence, the segregation on buses and store entrances and the white hoods of the Ku Klux Klan, and the subtle ones, like the entitlement of some whites who, although seemingly respectful, expect subservience from blacks or the way sharecropping is rigged to force many black farmers into states of near-slavery. The film also shows the contrast of how black soldiers are treated overseas and what awaits them on their return.

The characters are as carefully developed as the setting.  Just about every member of this exceptional ensemble cast has a three-dimensional personality. The exception is Pappy (Jonathan Banks), who is an embodiment of the worst of racial hatred. The villain is racism and we see Pappy in this role. The land on which the two families live and work is brown and defeating, eating away at the souls of those involved. Strong performances abound: Garett Hedlund's Jamie, tortured with PTSD and self-medicating with alcohol; Jason Mitchell's Ronsel, whose quiet dignity gives testimony to the strength of his character; Mary J. Bilge's Florence, Ronsel's mother and wife to Hap (Rob Morgan), the gentle grace that holds both families together. Other key roles are filled by Carey Mulligan, Jason Clark, Rob Morgan and Jonathan Banks. "Mudbound" is available on Netflix if you can't find it in a theater. It's a difficult movie to watch, but definitely worth seeing.

Marshall - 4 smiles

"Marshall" targets a representative event from the life of 20th century icon Thurgood Marshall, and by limiting the time frame, we get a distinct snapshot not only of the main character but of the setting that resulted in his becoming historically important. The focus is the 1941 trial of 'The State of Connecticut v. Joseph Spell.' At the time, Marshall (Chadwick Boseman), one of the NAACP's star lawyers, is traveling around the country litigating questionable cases with black defendants. Most are in the South but the organization, needing an influx of donations from wealthy supporters in the North, sends Marshall to Connecticut in January 1941 to team with local (white Jewish) attorney Samuel Friedman (Josh Gad). The case is steeped in racial undertones. Wealthy socialite Eleanor Strubing (Kate Hudson) claims to have been raped multiple times and thrown over the side of a bridge by her black chauffeur, Joseph Spell 9Sterling K. Brown). The case sets off a mass hysteria that results in white fold firing black servants. After speaking with Spell, Marshall is convinced of his innocence.

The resulting trial is a media sensation. Prevented by Judge Foster (James Cromwell) from speaking in court because he's not a member of the Connecticut bar (he is only allowed to silently advise Friedman). Marshall uses written notes and facial expressions to act as Friedman's voice. He lets his voice be heard in the papers by giving daily speeches on the courtroom steps. The prosecutor, avowed bigot Loren Willis (Dan Stevens), is friendly with the judge and the jury looks as unfavorable as one can envision for a black man in 1941. But Marshall's investigative tenacity and Friedman's growing comfort with criminal litigation shine a light on a truth that's tragic from many angles. 'The State of Connecticut v. Joseph Spell' was not one of Marshall's most famous cases but it provides the filmmakers an opportunity to illustrate the characteristics that made him a respective lawyer and civil rights figure. At the time when "Marshall" is set, the title character is still a quarter-century away from being names as the first African-American Supreme Court Justice, but the seeds of what would lead Lyndon Johnson to nominate him are in evidence.

Although it's widely accepted that the South was highly racist during the 40s, the movie illustrates that racism was alive and deeply-rooted in the more progressive North. For all of its intolerance and segregationist mindset, Greenwich, Connecticut might as well have been deep in Dixie as in New England. The movie unfolds as a courtroom drama and it's as much about co-counsel Friedman as it is about Marshall. In fact, insurance lawyer Friedman goes on to become a nationally-known civil rights attorney. Chadwick Boseman's performance shows his versatility and force of personality and Josh Gad, better known for his more comedic roles, does admirably in a purely dramatic part. Marshall is a name in history books; this compelling movie brings him to life and imbues him with a hero's traits. "Marshall" is an engaging movie. It's also important.

Wonderstruck - 3 smiles

Although "Wonderstruck" has a very satisfying ending, the journey to that conclusion is disappointing. Director Todd Haynes illustrates his mastery by bringing bygone eras to the screen, but the story he tells struggles to retain our interest and emotional investment. The movie's structure is ambitious. It begins with thematically similar stories separated by 50 years and as the plot progresses, the two seemingly disconnected characters start to converge. The 1927 sequences replicate silent films, with black-and-white images and no sound. 1977 is shot using muted colors of a 70s production, but the effect is like a 1920s short spliced together with a full-length movie made in the mid-70s.

The 1927 story concerns a young deaf girl, Rose (Millicent Simmonds), who runs away from home, escaping her cold, uncaring father, who has no interest in nurturing her. She heads for New York in search of her favorite star, Lillian Mayhew (Julianne Moore), who is appearing in a play there. As it turns out, there is another element that connects them and Rose soon ends up on the run, spending time wandering around the American Museum of Natural History. Meanwhile, in 1977 rural Minnesota, 12-year-old Ben (Oakes Fegley), is trying to come to terms with the death of his mother, Elaine (Michelle Williams), who passed away before revealing the name of his father. Newly deafened as a result of a freak accident, Ben fathers clues about his father and heads for New York City. With the help of Jamie (Jaden Michael), a lonely boy he befriends, he beings his search and the storylines start to converge. While an interesting way to tell the story, the jumping back and forth between time periods hampers any attempt to develop relationships and, hence, our emotional distance. The performances are all good. Oakes Fegley is believable as a newly-deaf orphan who is desperate to find a connection. Millicent Simmonds replicates the look and mannerisms of 20s starlets. Julianne Moore has the more complex acting job, but she accomplishes it with the effectiveness of an Oscar winner. Although not without its pleasures, "Wonderstruck" isn't fully satisfying.