Sinners Wins In Michigan


The Michigan Movie Critics Guild has announced it picks for the best of 2025.  The winners are listed in bold!

Best Picture
Frankenstein
Hamnet
Marty Supreme
One Battle After Another
Sinners

Best Director
Paul Thomas Anderson – One Battle After Another
Ryan Coogler – Sinners
Guillermo del Toro – Frankenstein
Josh Safdie – Marty Supreme
Chloé Zhao – Hamnet

Best Actor
Timothée Chalamet – Marty Supreme
Joel Edgerton – Train Dreams
Leonardo DiCaprio – One Battle After Another
Brendan Fraser – Rental Family
Michael B. Jordan – Sinners

Best Actress
Rose Byrne – If I Had Legs I’d Kick You
Chase Infiniti – One Battle After Another
Cynthia Erivo – Wicked: For Good
Jessie Buckley – Hamnet
Emma Stone – Bugonia

Best Supporting Actor
Miles Caton – Sinners
Jacob Elordi – Frankenstein
Benicio del Toro – One Battle After Another
Paul Mescal – Hamnet
Sean Penn – One Battle After Another

Best Supporting Actress
Ariana Grande – Wicked: For Good
Inga Ibsdotter Lilleaas – Sentimental Value
Wunmi Mosaku – Sinners
Hailee Steinfeld – Sinners
Teyana Taylor – One Battle After Another

Best Animated Film
Arco
Dog Man
K-Pop Demon Hunters
Little Amélie or the Character of Rain
Zootopia 2

Best Documentary
Orwell: 2+2=5
Pee-Wee as Himself
Put Your Soul on Your Hand and Walk
The Perfect Neighbor
The Tale of Silyan

Best Ensemble
Avatar: Fire And Ash
Marty Supreme
One Battle After Another
Sinners
Wake Up Dead Man
Wicked: For Good

Best Screenplay
Hamnet
Marty Supreme
One Battle After Another
Sorry, Baby
Sinners

Best Cinematography
Avatar: Fire And Ash
Frankenstein
One Battle After Another
Sinners
Train Dreams

Breakthrough
Miles Caton – (Actor) Sinners
Chase Infiniti – (Actress) One Battle After Another
Jacob Elordi – (Actor) Frankenstein
Jacobi Jupe – (Actor) Hamnet
Eva Victor – (Writer, Director, Actor) Sorry, Baby

Best Stunts
Avatar: Fire And Ash
Ballerina
Mission: Impossible – The Final Reckoning
Nobody 2
One Battle After Another

The MMCG Award for Film Excellence
Paul Feig – (Director) The Housemaid / Another Simple Favor
Judy Greer – (Actress) The Long Walk
Paul Walter Hauser – (Actor) The Naked Gun / Fantastic Four: First Steps
Tim Robinson – (Actor/Writer) Friendship
J.K. Simmons – (Actor) The Accountant 2

Review: The Accountant (dir. by Gavin O’Connor)


“What I do is not against the law. What I don’t do… is.” — Christian Wolff

The Accountant is a 2016 action thriller that mixes elements of character drama, crime mystery, and family dynamics into a unique storyline. The movie follows Christian Wolff, a man with autism and exceptional math and accounting skills, who works as a freelance accountant for criminal organizations. Raised by a strict military father who pushed him to develop precision and discipline, Christian has a rigid moral code that guides his actions. As Christian unravels financial fraud within a robotics company, he finds himself hunted by a Treasury agent. The film blends intellectual mystery with high-stakes action, presenting a different take on the typical thriller formula.

Ben Affleck leads as Christian Wolff, bringing a quiet intensity that captures the character’s inner complexities and unique worldview. Anna Kendrick plays Dana Cummings, the robotics company accountant whose discovery of financial irregularities kicks off the central conflict, offering a relatable and warm counterpoint. J.K. Simmons portrays Raymond King, the sharp Treasury agent on Christian’s trail, adding layers of tension and moral ambiguity. Jon Bernthal embodies Braxton Wolff, Christian’s estranged brother and a rugged former military operative, whose presence heightens the family drama. The brothers’ strict and demanding father is portrayed by Rob Treveiler, who appears mainly in flashbacks that showcase the rigorous military-style training and discipline shaping Christian’s development. These performances ground the film’s ambitious mix of genres, making the characters feel lived-in and believable.

Christian Wolff stands out as a well-rounded character whose autism shapes his personality without becoming a mere plot device. The film shows his struggles alongside his strengths, like sensory sensitivities, social awkwardness, and laser focus on details. He relies on strict routines and coping tools to handle his surroundings, mirroring real experiences on the autism spectrum. Affleck’s portrayal draws from this backstory—those intense father-son training montages with Treveiler—to explain Christian’s discipline and guarded emotions, giving audiences a clear window into what drives him.

At the movie’s core sits Christian’s personal moral compass. He might balance the books for shady clients, but he draws a hard line at true ethical breaches, stepping in with his own form of justice. This anti-hero vibe keeps things gray and intriguing. His bond with Dana, played by Kendrick, offers rare moments of connection amid the chaos, though it stays somewhat surface-level and misses chances for deeper emotional pull.

The plot tracks Christian’s dive into massive fraud at the robotics firm, all while dodging Simmons’ relentless agent. The accounting scenes impress with their detail—Christian pores over ledgers, spotting irregularities that expose embezzlement on a grand scale. This cerebral side contrasts sharply with the brutal action, like the raw fights between Affleck’s Christian and Bernthal’s Braxton, which mix physical showdowns with buried family pain. Those brotherly clashes tie back to their shared traumatic past, ramping up the stakes beyond just numbers and guns.

The Accountant handles autism with real care, steering clear of clichés. It spotlights Christian’s sensitivities, routine needs, and social hurdles while celebrating his smarts and toughness. Affleck makes these traits feel authentic, turning what could be quirky into profoundly human. This approach avoids stereotypes, letting viewers connect with Christian on a deeper level and appreciate how his mind works in high-pressure situations.

The film has room for refinement in a few spots. It crams in crime plots, sibling secrets, and shadowy ops, which can jumble the pace as it bounces from fights to feels to financial deep dives. Relationships like Christian and Dana’s, or the Wolff brothers’, might hit harder with extra screen time to build that emotional core and make the risks feel more intimate.

Tonally, The Accountant strikes a balance—serious stakes lightened by Christian’s offbeat interactions and fresh outlook. Autism never turns into a joke; instead, it builds empathy. The ethical murk in his world—cooking books for crooks one day, punishing them the next—flips hero tropes on their head, keeping you guessing.

Overall, The Accountant shines by fusing brainpower and brawn in its lead and narrative, transcending standard shoot-’em-ups as a thoughtful character piece that honors its hero’s nuances. It probes unconventional strengths and ethics in a murky reality while illustrating thriving with distinct abilities and hurdles in a harsh landscape, all while clinging to personal principles—delivering thrills with substance on neurodiversity and payback. Fans of smart action will dig this blend of suspense, puzzles, and character depth, even if the threads tangle at times, making it a solid pick for thriller seekers wanting more than explosions.

Here Are The Michigan Movie Critic Guild Nominations For 2025


The 2025 nominations of the Michigan Movie Critics Guild were announced on Friday.  And here they are:

Best Picture
Frankenstein
Hamnet
Marty Supreme
One Battle After Another
Sinners

Best Director
Paul Thomas Anderson – One Battle After Another
Ryan Coogler – Sinners
Guillermo del Toro – Frankenstein
Josh Safdie – Marty Supreme
Chloé Zhao – Hamnet

Best Actor
Timothée Chalamet – Marty Supreme
Joel Edgerton – Train Dreams
Leonardo DiCaprio – One Battle After Another
Brendan Fraser – Rental Family
Michael B. Jordan – Sinners

Best Actress
Rose Byrne – If I Had Legs I’d Kick You
Chase Infiniti – One Battle After Another
Cynthia Erivo – Wicked: For Good
Jessie Buckley – Hamnet
Emma Stone – Bugonia

Best Supporting Actor
Miles Caton – Sinners
Jacob Elordi – Frankenstein
Benicio del Toro – One Battle After Another
Paul Mescal – Hamnet
Sean Penn – One Battle After Another

Best Supporting Actress
Ariana Grande – Wicked: For Good
Inga Ibsdotter Lilleaas – Sentimental Value
Wunmi Mosaku – Sinners
Hailee Steinfeld – Sinners
Teyana Taylor – One Battle After Another

Best Animated Film
Arco
Dog Man
K-Pop Demon Hunters
Little Amélie or the Character of Rain
Zootopia 2

Best Documentary
Orwell: 2+2=5
Pee-Wee as Himself
Put Your Soul on Your Hand and Walk
The Perfect Neighbor
The Tale of Silyan

Best Ensemble
Avatar: Fire And Ash
Marty Supreme
One Battle After Another
Sinners
Wake Up Dead Man
Wicked: For Good

Best Screenplay
Hamnet
Marty Supreme
One Battle After Another
Sorry, Baby
Sinners

Best Cinematography
Avatar: Fire And Ash
Frankenstein
One Battle After Another
Sinners
Train Dreams

Breakthrough
Miles Caton – (Actor) Sinners
Chase Infiniti – (Actress) One Battle After Another
Jacob Elordi – (Actor) Frankenstein
Jacobi Jupe – (Actor) Hamnet
Eva Victor – (Writer, Director, Actor) Sorry, Baby

Best Stunts
Avatar: Fire And Ash
Ballerina
Mission: Impossible – The Final Reckoning
Nobody 2
One Battle After Another

The MMCG Award for Film Excellence
Paul Feig – (Director) The Housemaid / Another Simple Favor
Judy Greer – (Actress) The Long Walk
Paul Walter Hauser – (Actor) The Naked Gun / Fantastic Four: First Steps
Tim Robinson – (Actor/Writer) Friendship
J.K. Simmons – (Actor) The Accountant 2

Retro Television Review: Law and Order 6.13 “Charm City” and Homicide 4.11 “For God And Country”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Sundays, I will be reviewing Homicide: Life On The Street, which aired from 1993 to 1999, on NBC!  It  can be viewed on Peacock.

This week, Homicide crosses over with Law & Order.

Law & Order 6.13 “Charm City”

(Dir by Ed Sherin, originally aired on February 7th, 1996)

Homicide 4.11 “For God and Country”

(Dir by Ed Sherin, originally aired on February 9th, 1996)

This week, we have a two-part cross-over between Law & Order and Homicide.

On Law & Order, things start in New York City.  A chemical attack on a subway train leaves 20 people dead.  Because the train was specifically heading into Harlem and all of the victims were black, it is suspected that the attack was racially motivated.  In Baltimore, Frank Pembleton and Tim Bayliss hear about the attack and are reminded of a similar attack on a black church, which occurred five years prior.  Pembleton was the primary on the church attack.  He and Bayliss head to New York City, where they meet and quickly get on the nerves of Detectives Lennie Briscoe (Jerry Orbach) and Rey Curtis (Benjamin Bratt).

Pembleton’s investigation uncovers that a man from Baltimore, Brian Egan (Kevin Geer), not only had access to the chemicals used in both attacks but also that’s he currently in New York.  When Briscoe and Curtis arrest Egan and fail to get him to confess, Pembleton asks for permission to interrogate him.  Pembleton, being Pembleton, rather easily gets Egan to confess to having committed the church bombing.  However, before getting the confession, Pembleton pretends not to hear Egan say that he no longer wants to continue talking.  In typical Law & Order (if not Homicide) fashion, the confession is tossed out.

Jack McCoy (Sam Waterston) and Claire Kincaid (Jill Hennessy) still get their conviction.  (And Claire gets an admirer in the form of Tim Bayliss.)  However, it’s obvious that Egan was not working alone.  Egan says that he will never name names.

That changes when his wife is murdered and his teenage son goes missing.  Homicide opens with Bayliss investigating the poisoning of Egan’s wife.  He and Pembleton eventually track down Egan’s son and they get him to admit that he saw his uncle, former NSA agent Col. Alexander Rausch (J.K. Simmons), murder his mother.  Because Brian Egan has said that he’ll only reveal the truth of the conspiracy if his son is brought to New York, Briscoe and Curtis show up in Baltimore.

While Curtis, Bayliss, and Pembleton track down Colonel Rausch, Briscoe hangs out with Munch.  Their friendly banter goes south as soon as Briscoe mentions that he once knew a Gwen Munch in New York.  Gwen is John Munch’s ex-wife and John is not happy when he finds out that Briscoe slept with Gwen.  John Munch spends the rest of the episode drinking heavily.  Stanley Bolander would not approve.

As for Col. Rausch, he is captured and he turns out to be a smug snake.  (He’s played by J.K. Simmons, after all.)  Pembleton wants to see Rausch prosecuted for the church bombing and he especially wants to see racist Rausch publicly humiliated.  New York, however, wants to prosecute him for the subway attack.  Claire comes down to Baltimore and gets a judge to agree that Rausch should first be sent to New York.

Rausch doesn’t care.  He has a heart condition so he simply stops taking his heart pills and then drops dead while waiting for the train to take him to the Big Apple.  The episodes ends with Pembleton sobbing as he realizes Rausch will never be humiliated at a trial.  The New York cops shrug and say, “Sorry, Frank.”

I enjoyed this crossover quite a bit.  It was interesting to see two police dramas, each with a very different style, come together to tell one big story.  As Homicide always celebrated the lengths that Pembleton would go to get a confession in the Box, it was amusing to see what would actually happen to one of those confessions if it was brought to court.  Jack McCoy is not at all amused by Pembleton’s tactics.  Meanwhile, Briscoe, Curtis, and Claire was allowed to loosen up a bit when they went to Homicide and I enjoyed watching them shed their “just-the-facts” personas.  If the Law & Order episode was ultimately superior to the the Homicide episode, that’s just because the Law & Order episode featured an actual mystery to be solved whereas the Homicide episode occasionally felt as if it was padded out a bit.  On Homicide, it was obvious that Colonel Rausch was guilty and, from the minute he started to cough during the interrogation, it was easy to guess what his ultimate fate would be.

(I also have to say that it was interesting to compare this episode of Law & Order to watch Law & Order has become today.  How this show went from featuring McCoy confidently doing his job to Nolan Price essentially begging his co-counsel, on a weekly basis, to actually do her job is something that is worth considering.)

Overall, this was a good crossover.  For those who want to watch it, the Law & Order episode is available on Hulu and Disney+ while Homicide can be found on Peacock and Tubi.

Film Review: Patriots Day (dir by Peter Berg)


On April 15th, 2013, a terrible crime was committed.

Two brothers, Tamerlan and Dzokhar Tsarnaev, bombed the Boston Marathon.  I can remember the exact moment when I looked up at the television and I saw the footage of the bomb going off as a group of runners ran across the finish line.  Instinctively, I found myself hoping that the explosion looked worse than it actually was and that no one had been seriously injured.  However, I was then flooded with images of people running in fear while other lay injured and bleeding on the ground.  A photograph of  man who had lost his both his legs was seared into my mind, the nightmarish image of those exposed and shattered bones coming to represent the pure evil that was unleashed on that day.

At first, there was a lot of speculation about who was responsible for the bombing.  Despite the fact that it had all the earmarks of an al-Qaeda operation, many people on the news insisted that the bomb had been set by their favorite boogeymen, the right-wing militias.  (The initial theory was that it was a tax day protest, which is one of the dumbest things I’ve ever heard.)  Three days after the bombing, the first photographs of the Tsarnaev Brothers were released.  Looking at the security footage of Tamerlan placing a bomb on the ground right next to a child who was subsequently killed in the blast, I started to rethink my opposition to the death penalty.

Boston was shut down until the Tsarnaev brothers were tracked down and, along with hating the Tsarnaevs, I found myself fearing that the search for them would normalize the idea of suspending civil liberties.  Tamerlan was gunned down in a fight with police and hopefully, he felt each bullet.  Dzokhar was captured after he attempted to hide in a homeowner’s boat while whining like a little bitch.  Dzokhar is one of three people on the Federal Death Row.  He also has a truly creepy fan club online, though they haven’t been as active as they were in the past.

2016’s Patriots Day is about that tragic day and the subsequent manhunt for the Tsarnaev brothers.  This is another one of Peter Berg’s films about professional, no-nonsense men who have a job to do and who do it well.  Mark Wahlberg plays a cop.  Kevin Bacon plays the FBI agent who heads up the investigation.  John Goodman plays the Boston police commission while Michael Beach makes an appearance as Deval Patrick, the then-governor of Massachusetts who ran a bizarrely overlooked presidential campaign in 2020.  Just as he did with Deepwater Horizon, Berg emphasizes the human cost of the tragedy along with the official efforts to track down the men responsible.  The ensemble comes together impressively, recreating those scary few days and also paying tribute to a city that refused to allow itself to be defeated.  Patriots Day follows the common, blue collar citizens of Boston as they deal with a horrific act of evil.  Even though we all know how the story turned out, the film manages to create a decent amount of suspense as the authorities search for the Tsarnaevs.  As for the brothers themselves, the film portrays them as being initially cocky and eventually pathetic.  To the film’s credit, it doesn’t ask us to consider things from the point of view of the terrorists.  There’s no moral relativism here.  The film knows who deserves to be heard.

Patriots Day is a tribute to the first responders and the citizens of Boston who refused to allow the Tsarnaevs to win.  With so many people now making excuses for terrorism, Patriots Day is a powerful reminder of the human cost of such actions.  The Tsarnaevs through they were striking a blow for their ideology.  Instead, they just reminded us how strong people can be.

 

#MondayMuggers presents THE ACCOUNTANT (2016) starring Ben Affleck!


Every Monday night at 9:00 Central Time, my wife Sierra and I host a “Live Movie Tweet” event on X using the hashtag #MondayMuggers. We rotate movie picks each week, and our tastes are quite different. Tonight, Monday April 21st, we celebrate the end of my tax season by watching THE ACCOUNTANT (2016) starring Ben Affleck, Anna Kendrick, J.K. Simmons, Jon Bernthal, Jeffrey Tambor, Cynthia Addai-Robinson, John Lithgow, and Jean Smart. 

Contrary to popular belief, THE ACCOUNTANT is not based on the life of Little Rock-based CPA Bradley Crain, although there are many obvious similarities. Rather, it’s the story of Christian Wolff, a math savant who often plies his trade for some of the world’s most dangerous criminal organizations. When he takes on a legitimate client and discovers discrepancies in the company’s books involving millions of dollars, a group of hitmen try to kill him and the company’s accountant Dana Cummings (Anna Kendrick). Will they live long enough to discover the person behind the embezzlement, or will they just become another set of death statistics? I don’t want to give too much away, but I will go ahead and address the elephant in the room… THE ACCOUNTANT 2 opens on Friday night, April 25th.

So, join us tonight for #MondayMuggers and watch THE ACCOUNTANT! It’s on Amazon Prime. The trailer for THE ACCOUNTANT is included below:

Shattered Politics: The Front Runner (dir by Jason Reitman)


Based (loosely, I assume) on a true story, 2018’s The Front Runner tells the story of a politician named Gary Hart (played by Hugh Jackman).

The year is 1987 and former U.S. Sen. Gary Hart is preparing to announce that he will be seeking the Democratic nomination for the Presidency of the greatest nation of all time, the United States!  (YAY!)  Hart is widely seen as the front runner, for both the nomination and the general election.  He’s got the youth vote sewn up.  He’s energetic.  He’s supposed to be intelligent.  We are told that he is handsome and charismatic.  (I say “told” because, in this film, they seem to be informed attributes as Hugh Jackman is given a truly terrible haircut and his performance here is a bit on the dull side.)  Hart announced his candidacy while standing in the Rocky Mountains.  His wife (Vera Farmiga) is behind him, even if she chooses not to join him on the campaign trail.  His campaign manager (J.K. Simmons) is welcoming new and idealistic volunteers to the campaign headquarters and encouraging them to remember that all of the difficulties of the campaign will be worth it after Gary Hart is elected president.  As for the press, they’re investigating long-standing rumors that Hart is a womanizer.  “Follow me around, you’ll get bored,” Hart says.  So, two reporters from the Miami Herald (Bill Burr and Steve Zissis) do just that they catch a young woman named Donna Rice (Sara Paxton) apparently staying over at Gary Hart’s Florida townhouse.

“It’s nobody’s business!” Hart snaps, when asked about his private life and it’s obvious that the film expects us to take Hart’s side.  The problem, as Hart’s campaign manager points out, is that a lot of people are volunteering for Hart’s campaign and have sacrificed a lot to help him out and now, if Hart doesn’t figure out some way to deal with the story, it looks like it was all for nothing.  Even if Hart didn’t cheat with Rice, he still showed remarkably poor judgment in spending time alone with her in Florida while his wife was back in Colorado.  The film argues that the press went overboard pursuing the story and perhaps they did.  The press tends to do that and really, no politician has any excuse not to realize that.  But, even if we accept the argument that the press acted unethically, that doesn’t exactly exonerate Gary Hart, though this film certainly seems to think that it does.  To a certain extent, this film reminded me a bit of James Vanderbilt’s Truth, in which it was assumed we would be so outraged that Cate Blanchett’s Mary Mapes was fired for producing a story about George W. Bush’s time in the National Guard that we would overlook that Mapes and CBS news tried to build a major story around a bunch of obviously forged documents.

(Of course, if Hart had been running today, I doubt the scandal would have ended his campaign.  If anything, Donald Trump’s personal scandals seemed to play to his advantage when he ran in 2016 and 2024.  To a find a 21st Century equivalent to Hart’s scandal, you’d probably have to go all the way back to John Edwards in 2008.  Of course, Edwards was cheating on his wife while she was dying of breast cancer, which makes Edwards a special type of sleaze.)

As for the film itself, director Jason Reitman tries to take a Altmanesque approach, full of overlapping dialogue and deceptively casual camera moments.  There are a few moments when Reitman’s approach work.  The start of the film, in which the camera glided over hundreds of journalists reporting from outside the 1984 Democratic Convention, was so well-handled that I briefly had hope for the rest of the film.  Reitman gets good performances from dependable veterans like J.K. Simmons and Alfred Molina.  But, at the heart of the film, there’s a massive blank as Hugh Jackman gives an oddly listless performance as Hart.  The film expects us to take it for granted that Gary Hart would have been a good President but there’s nothing about Jackman’s performance to back that up.  It’s odd because, typically, Hugh Jackman is one of the most charismatic actors around.  But, as Gary Hart, he comes across as being petulant and a bit whiny.

It’s an interesting story but ultimately, The Front Runner doesn’t do it justice.

 

Trailer: The Accountant 2


The Accountant, released in 2016, was an action-thriller that came out of nowhere and surprised a lot of people. The film had come out a two years since the release of John Wick and it would help usher in what I consider a new age of Western action films.

There was instant talk of a sequel after the success of the first film, but with Ben Affleck busy doing his Batman and Justice League bit over at DC Films the sequel had been put on the back-burner. Well, with the crash and burn of the DCEU it looked like Affleck had some time on his hands now and this meant the sequel to The Accountant was back to cooking.

On April 25, 2025, we will see just what Gavin O’Connor, Ben Affleck and Jon Bernthal have cooked up as a follow-up to the first film with The Accountant 2.

Catching Up With The Films of 2024: Saturday Night (dir by Jason Reitman)


Saturday Night, which presents what I assume to be a highly fictionalized account of the 90 minutes before the 1975 premiere of Saturday Night Live, did the impossible.  It made me feel sorry for Chevy Chase.

Don’t get me wrong.  As played by Cory Michael Smith, Chevy Chase is not presented as being a sympathetic character in Saturday Night.  The film acknowledges his talent as a comedian and that he was the first star to come out of Saturday Night Live.  But he’s still presented as being arrogant, self-centered, rude, and often deliberately self-destructive.  The film portrays Chevy Chase in much the same way that most people describe him in real life.  Chevy Chase has apparently always been a difficult person to work with and, I suppose to his credit, it doesn’t appear that Chevy himself has ever claimed anything different.  But Saturday Night so piles on Chevy that even I felt it went a bit overboard.  It’s one thing to present Chevy as being the arrogant jerk that he’s admitted to being.  It’s another thing to fill the movie with moments in which people stop what they’re doing to tell Chevy that his career is going to start strong and then fade due to his bad behavior.  At one point, the NBC executive played by Willem DaFoe comments that Chevy could host his own late night talk show.  We’re all meant to laugh because eventually, Chevy Chase did host a late night talk show and it was such a disaster that it’s still, decades after its cancellation, held up as a prime example of a bad career move.  But, in the context of the film, it feels a bit like overkill.  It’s one thing to be honest about someone being a pain in the ass.  It’s another thing to repeatedly kick someone while they’re down.  Chevy, much like the NBC censor who is chanted down in the film’s cringiest moment, simply feels like too easy of a target.

Of course, Saturday Night is full of moments that are meant to comment more on the future than on whatever was going on in 1975.  The whole point of the film is that Saturday Night Live, a show that the network has little faith in and which is being produced by a hyperactive visionary (Gabriel LaBelle as Lorne Michaels) who seems to be making it up as he goes along, is eventually going to become a cultural phenomenon.  Every time someone tries to convince Lorne Michaels to cancel the premiere or to miss with the format, we’re meant to think to ourselves, “Little do they know that this show is going to be huge for several decades before eventually just becoming another predictable part of the media landscape.” The scenes of Garrett Morris (Lamorne Morris) wandering around the set and asking, “What is my purpose?  Why am I here?” may not feel like something that would have happened in 1975 but they’re there because it’s something that people were asking about in 2024.  Watching the film, it helps if you know something about the history of Saturday Night Live.  It helps to know that Dan Aykryod (Dylan O’Brien), John Belushi (Matt Wood), and Gilda Radner (Ella Hunt) are going to carry the show after Chevy Chase leaves.  It helps to know that Billy Crystal (Nicholas Podany) is going to become a Hollywood mainstay even after he gets dumped from the premiere for refusing to cut any material out of his act.  It helps to know that the mellow, pot-smoking band leader is actually Paul Shaffer (Paul Rust).  It helps to know that Lorne Michael and Dick Ebersol (Cooper Hoffman, giving one of the best performances in the film) are going to become powerful names in American television.  The film may be set in 1975 but it’s actually about all the years to come.

It’s still an entertaining and well-made film, one that I enjoyed watching.  Saturday Night manages to create the illusion of playing out in real time and director Jason Reitman captures the excitement of being backstage before opening night.  It’s an excitement that everyone can relate to, whether their opening night was on television, Broadway, or just a community theater in their small college town.  The backstage chaos of Saturday Night is wonderfully choreographed and, most importantly, it captures the feeling of being young, idealistic, and convinced that you can change the world.  Reitman also gets good performances from his cast, with Cooper Hoffman, Dylan O’Brien, and Rachel Sennott (playing writer Rosie Shuster) as stand-outs.  That said, the film is pretty much stolen by J.K. Simmons, who has a memorably lecherous cameo as Milton Berle and who provides Chevy Chase with a look at what waits for him in the future.  If the film is never quite as poignant as it wants to be, that’s because Saturday Night Live is no longer the cultural powerhouse that it once was.  If Saturday Night had been released just 18 years ago, before SNL became best-known as the place where Alec Baldwin hides out from bad publicity, it would probably be an Oscar front runner right now.  Released today, it’s just makes one feel a little bit sad.  The show that was built on never selling out eventually sold out.

JUROR #2 (2024) – Another Gift from Clint Eastwood


I’ve really been looking forward to seeing JUROR #2, Clint Eastwood’s most recent directorial effort, since I first read about it a year or two ago. Any film from the aging icon is a gift to his fans at this point, so it seems appropriate that I watched it for the first time on Christmas Eve. I still don’t understand the release strategy for the film, considering it was released in a few theaters and then pushed out to streaming platforms a little over a month later. That seems strange for a movie with this kind of pedigree, but I guess that doesn’t really matter at this point. 

The plot revolves around Justin Kemp (Nicholas Hoult), a seemingly nice guy who’s going to be a dad any day now. I know that because his wife Allison (Zoey Deutch) looks like she could pop at any moment. He tries to use that pregnancy to get out of jury duty, but to no avail. Of course he gets selected to serve. As District Attorney Faith Killebrew (Toni Collette) begins laying out the facts of a horrific murder case against James Michael Sythe (Gabriel Basso), Justin begins to immediately realize that the wrong guy may have been arrested for the crime. How does he know they’ve got the wrong guy? Because Justin now thinks that he may be the one responsible for an accidental hit and run killing of the victim, Kendall Carter (Francesca Eastwood). The remainder of the film deals with Justin’s moral dilemma as he attempts to serve on the jury, protect his own freedom, and not send an innocent man to jail. This plot does require a pretty big suspension of disbelief, but if you’ll just go along with it, the movie does present some interesting ideas.

I’ll say right off the bat that I like JUROR #2. This was a relief to me because as much as I wanted to like Eastwood’s prior film CRY MACHO, at the end of the day it just wasn’t a very good movie. I’ve always enjoyed courtroom thrillers, and it doesn’t seem we get to see many of them anymore. Our main character Justin Kemp has a troubled past, but he’s truly turned his life around. The fact that he now finds himself in a seemingly impossible moral position is a strong hook that pulled me in. Director Eastwood takes his time here and tightens the grip on Justin, leaving him with few options, as he tries to figure out what to do. I’ve never served on a jury, and I’ve never really wanted to. I’m not sure I want the responsibility of deciding a person’s guilt or innocence. Eastwood’s film doesn’t change my mind in this area. It shows us some jurors who have made up their minds based on pre-conceived notions, regardless of the evidence. It shows us other jurors who want to convict just so the trial can be over and they can get on with their lives. It shows us witnesses who are willing to identity people just to please the prosecution. Considering what we know as the audience, these are glaring but realistic weaknesses of our nation’s system of justice. 

Eastwood assembled a good cast with Nicholas Hoult, Toni Collette, J.K. Simmons, and Kiefer Sutherland, actors that I always find worth watching. Hoult and Collette do most of the heavy lifting. JUROR #2 is set in Georgia, and I appreciate that Hoult, who’s from England, and Collette, who’s from Australia, don’t overdo the southern accents. J.K. Simmons is very impressive as an ex-cop who’s serving on the jury who is convinced of the defendant’s innocence. Unfortunately, his character exits the film fairly early, and he’s sorely missed. I’ve been a big fan of Kiefer Sutherland since I was a teenager, and I consider “24” one of my all time favorite shows. His role is pretty small here. He’s good, but from what I’ve read, he really just wanted to work with Eastwood. I also enjoyed seeing Gabriel Basso (Hillbilly Elegy) and Francesca Eastwood (Clint’s daughter) in the film. 

Clint Eastwood amazes me. In his legendary six decade career, he has been a part of some of the best films of all time. DIRTY HARRY, THE OUTLAW JOSEY WALES, and UNFORGIVEN are included in my list of all-time favorites. JUROR #2 is not in their league, and it’s certainly not a perfect film. But it is an entertaining film that tells an interesting story and even makes you think a little bit. And with that I say, thanks for another gift, Clint!