The Films of 2024: Reagan (dir by Sean McNamara)


In Reagan, Dennis Quaid stars at the 40th President of the United States.

Framed as a story being told by a former KGB agent (Jon Voight) who is attempting to make a younger politician understand why Russia lost the Cold War, Reagan starts with Reagan’s childhood, includes his time as an actor and as the anti-communist head of the SAG, and then gets into his political career.  Along the way, several familiar faces pop up.  Robert Davi plays a thuggish Russian leader.  Mena Suvari plays Reagan’s first wife while Penelope Ann Miller plays his second.  Xander Berekely plays George Schultz (who was just previously played by Sam Waterston in The Dropout miniseries.)  C. Thomas Howell, Kevin Dillon, Dan Lauria, and Lesley-Anne Down all have small but important roles.  And the usual suspects when it comes to conservative filmmaking — Nick Searcy, Kevin Sorbo, and Pat Boone — are there to compliment Voight and Davi.  I was a little surprised to see that Dean Cain was not present.

As usually happens to films that feature sympathetic Republicans, Reagan was slammed by critic but better-appreciated by the audience for which the film was made.  I wasn’t particularly surprised.  Movie critics tend to be liberal and Reagan is very much not that.  For a professional film critic, a film like Reagan must be met with snark and derision because otherwise, one would risk cancellation.  Don’t get me wrong.  I’m not saying that there aren’t things to criticize about Reagan the film.  I’m just saying that one should always keep in mind that critics have their own individual biases.  One reason why the Rotten Tomatoes score is such an unfortunate development is because it ignores the fact that most films have things that work and things that don’t work and that quality is often in the eye of the beholder.  Instead, it just tells us that a film is either a 90% or a 10%.

As for Reagan, it’s definitely a bit on the heavy-handed side but, then again, I think the same can be said for just about every political film that’s come out over the last few decades.  For those who claim Reagan is somehow more heavy-handed than most, I invite them to sit through Rob Reiner’s LBJ.  Indeed, the only director who has really shown a willingness to admit that a President can be both good and bad was Oliver Stone and when was the last time anyone watched NixonReagan is at its weakness when it tries to recreate Reagan’s time as an actor.  Dennis Quaid gives a good and charming performance throughout the film but he’s also 70 years old and, in the scenes where he plays the youngish Ronald Reagan, all of the soft-lighting and Vaseline on the lens ends up making him look like a wax figure.  Once Reagan gets older, Quaid is allowed to act his age and both he and the film become much more convincing.  I enjoyed the film once Reagan became President, though you should understand that I have biases of my own.  I’m a fan of low taxes and individual freedom, which is why I’m also not a fan of communism or, for that matter, any extreme ideology that attempts to tell people how to live or think.  “Tear down this wall!” Regan says while standing in front of the Berlin Wall and it’s a rousing moment, both in reality and on film.

In the end, Reagan is a film that will be best appreciated by people who already like Ronald Reagan.  Yes, the film is heavy-handed and the framing device is a bit awkward.  But Dennis Quaid’s heartfelt (and, towards the end, heartbreaking) performance carries the film.  The film is not at all subtle but you know what?  I’ve seen a countless number of mediocre films that have portrayed Reagan negatively, often with as little nuance and just as heavy-handed an approach as Reagan uses in its positive portrayal of the man.  I sat through The Butler, for God’s sake.  There’s nothing wrong with having a film that looks at the man from the other side.  Those who like Ronald Reagan will feel vindicated.  Those who don’t will say, “What was up with that Pat Boone scene?”

October Positivity: The Cross and the Switchblade (dir by Don Murray)


First released in 1970, The Cross and the Switchblade stars Pat Boone as David Wilkerson.

David is a small-town preacher who heads to Brooklyn in the late 50s.  Having read an article about the prevalence of violent gangs in New York City, David is determined to make a difference and bring some peace to the city.  Why exactly he feels that he can do that, as opposed to someone who is actually from New York and who has some actual experience dealing with gangs, is never really explained.  David starts going to drug dens and back alleys and rooftops in the poorest parts of the city.  At first, no one takes him seriously but, because he refuses to give up, he does slowly start to win the neighborhood’s respect.  He’s even given a place to live so that he’ll no longer have to spend his time sleeping in his car.

(Sleeping in his car?  David really didn’t think this out before heading up to New York, did he?)

David becomes obsessed with trying to reach Nicky Cruz (a young Erik Estrada), who is one of the most fearsome member of the Mau Maus gang.  The problem is that Nicky really doesn’t want to be reached.  He’s been betrayed too many times by the system to trust anyone who claims that they want to help.  Nicky is a lot like the character that Michael Wright played in The Principal, basically threatening to cut off any helping hand this offered to him.  When one of Nicky’s girlfriends begs for a fix of heroin, Nicky instead sends her to the local church with orders to “take care of” David.  When she instead accepts David’s offer of help and gets sober, Nicky becomes even angrier….

The Cross and the Switchblade is an early example of the type of “mainstream” religious film that, as of late, has become popular in America.  It may be about religion but it also has a lengthy fight scene and some mild cursing, as if the film wanted to make sure that everyone watching knew that it was a “real movie” as opposed to just being a religious tract.  The film was shot on location in Brooklyn, which does bring an authentically gritty feel to certain parts of the film.

Unfortunately, the film itself is done in by a slow pace and a few odd casting choices.  One would think that a young Pat Boone would be a good choice for a fresh-faced preacher from Middle America but, instead, Boone gives a rather stiff performance as David Wilkerson and certainly shows none of the charisma that would be necessary to get the film’s gangs to even momentarily put down their weapons and listen to a sermon.  If Boone doesn’t show enough emotion, Estrada shows a bit too much.  The film was Estrada’s acting debut but, even at the age of 21, Estrada had already developed the Shatneresque acting style that makes him so entertaining in films like Guns and Chupacabra Vs. The Alamo but less credible in films where he actually has to play characters who go through a change or learn a lesson.

In the end, perhaps the most interesting thing about this film is that it was directed by Don Murray, the actor who was nominated for an Oscar for Bus Stop and who played the doomed senator in Advice and Consent.  Three years after Cross and the Switchblade, Murray would make quite an impression as the evil Governor Breck in Conquest of the Planet of the Apes.  More recently, he played Dougie’s surprisingly sympathetic boss in Twin Peaks: The Return.  Murray is a great, albeit underrated actor.  But, as a director (or at least as the director of this particular film), he struggled to keep the action moving and far too often, he used gimmicks like slow motion and weird camera angles in an attempt to liven up the story.

The Cross and the Switchblade asks the viewer to choose one or the other.  Ultimately, it doesn’t make a compelling case for either.

Film Review: The Greatest Story Ever Told (dir by George Stevens)


The 1965 biblical epic, The Greatest Story Ever Told, tells the story of the life of Jesus, from the Nativity to the Ascension.  It’s probably the most complete telling of the story that you’ll ever find.  It’s hard to think of a single details that’s left out and, as a result, the film has a four hour running time.  Whether you’re a believer or not, that’s a really long time to watch a reverent film that doesn’t even feature the campy excesses of something like The Ten Commandments.

(There’s actually several different version of The Greatest Story Ever Told floating around.  There’s a version that’s a little over two hours.  There’s a version that’s close to four hours.  Reportedly, the uncut version of the film ran for four hour and 20 minutes.)

Max von Sydow plays Jesus.  On the one hand, that seems like that should work because Max von Sydow was a great actor who gave off an otherworldly air.  On the other hand, it totally doesn’t work because von Sydow gives an oddly detached performance.  The Greatest Story Ever Told was von Sydow’s first American film and, at no point, does he seem particularly happy about being involved with it.  von Sydow is a very cerebral and rather reserved Jesus, one who makes his points without a hint of passion or charisma.  When he’s being friendly, he offers up a half-smile.  When he has to rebuke his disciples for their doubt, he sounds more annoyed than anything else.  He’s Jesus if Jesus was a community college philosophy professor.

The rest of the huge cast is populated with familiar faces.  The Greatest Story Ever Told takes the all-star approach to heart and, as a result, even the minor roles are played by actors who will be familiar to anyone who has spent more than a few hours watching TCM.  Many of them are on screen for only a few seconds, which makes their presence all the more distracting.  Sidney Poitier shows up as Simon of Cyrene.  Pat Boone is an angel.  Roddy McDowall is Matthew and Sal Mineo is Uriah and John Wayne shows up as a centurion and delivers his one line in his trademark drawl.

A few of the actors do manage to stand out and make a good impression.  Telly Savalas is a credible Pilate, playing him as being neither smug nor overly sympathetic but instead as a bureaucrat who can’t understand why he’s being forced to deal with all of this.  Charlton Heston has just the right intensity for the role of John the Baptist while Jose Ferrer is properly sleazy as Herod.  In the role Judas, David McCallum looks at the world through suspicious eyes and does little to disguise his irritation with the rest of the world.  The Greatest Story Ever Told does not sentimentalize Judas or his role in Jesus’s arrest.  For the most part, he’s just a jerk.  Finally, it’s not exactly surprising when Donald Pleasence shows up as Satan but Pleasence still gives a properly evil performance, giving all of his lines a mocking and often sarcastic bite.

The Greatest Story Ever Told was directed by George Stevens, a legitimately great director who struggles to maintain any sort of narrative momentum in this film.  Watching The Greatest Story Ever Told, it occurred to me that the best biblical films are the ones like Ben-Hur and The Robe, which both largely keep Jesus off-screen and instead focus on how his life and teachings and the reports of his resurrection effected other people.  Stevens approaches the film’s subject with such reverence that the film becomes boring and that’s something that should never happen when you’re making a film set in Judea during the Roman era.

I do have to admit that, despite all of my criticism of the film, I do actually kind of like The Greatest Story Ever Told.  It’s just such a big production that it’s hard not to be a little awed by it all.  That huge cast may be distracting but it’s still a little bit fun to sit there and go, “There’s Shelley Winters!  There’s John Wayne!  There’s Robert Blake and Martin Landau!”  That said, as far as biblical films are concerned, you’re still better off sticking with Jesus Christ Superstar.

Catching Up With The Films of 2016: God’s Not Dead 2 (dir by Harold Cronk)


gods_not_dead_2_poster

Much like Warcraft and Nine Lives, God’s Not Dead 2 is one of those films that you just know is going to be mentioned on all of the “worst films of 2017” lists.  I imagine that it will get a lot of Razzie nominations and it might even win a few.

But you know what?  I watched God’s Not Dead 2 on YouTube and I enjoyed it, though probably not for the reasons that the filmmakers intended.  God’s Not Dead 2 is one of the most thoroughly over-the-top and shamelessly melodramatic films that I have ever seen.  This is one of those faith-based films where all of the Christians are practically saintly while the atheists are portrayed as being so evil that they might as well be tying people to train tracks and twirling their mustaches.  This is one of those films where the good guys discuss their plans while sitting in quaint kitchens while the bad guys gather in conference rooms and growl about how much they hate religion.  And the propaganda is just so blatant and lacking in subtlety that it becomes undeniably watchable.

God’s Not Dead 2 is, for lack of a better comparison, the Reefer Madness of Christian filmmaking.  It’s a film that makes Rock: It’s Your Decision look like a work of subtle nuance.  You may want to look away but you won’t be able to.

Essentially, God’s Not Dead 2 takes the heavy-handed sanctimonious sermonizing of the first film and then adds a healthy dash of anti-government paranoia.  (And you know how much I love anti-government paranoia.)  In this one, Melissa Joan Hart is a teacher who makes the mistake of 1) mentioning to her class that the Sermon on the Mount inspired Gandhi and Martin Luther King and 2) counseling a student who is struggling to deal with the death of her brother.  (When the student asks Melissa what gives her strength, Melissa replies, “Jesus.”)  Melissa is brought before the school board, which says that Melissa has broken the law and that they want to take away her teaching license.  Offering absolutely no support is her principal (Robin Givens).  Fortunately, a handsome lawyer (Jesse Metcalfe) is willing to help her out.  He doesn’t believe in God but how long do you think that will last?

Prosecuting Melissa is … a lawyer from the ACLU!  We know that this lawyer is evil because his name is Peter Kane and he’s played by Ray Wise.  And here’s the thing — Ray Wise gives perhaps the least subtle performance of the year.  When he talks about the importance of convincing America that there is no God, he does so with the type of evil gleam in his eye that we typically tend to associate with lower tier MCU villains.  When he cross-examines Melissa’s students, he smirks like a serial killer.  Whenever he has to say words like “God” or “Jesus,” he literally spits them out.  The only thing that trips him up is when a Christian admits to having once been an atheist and Wise looks so stunned that you half expect him to say, “But that is illogical and does not compute” before revealing that he’s actually a robot sent from the future. He’s one of the most evil characters of all time and Wise so throws himself into the role that you can’t help but enjoy watching him.

So, on the one side, you have Ray Wise spitting hellfire and, on the other side, you have a literally beatific Melissa Joan Hart.  And let’s give credit where credit is due — Melissa Joan Hart does as well as anyone could with her seriously underwritten and kinda drab character.  (Add to that, Melissa Joan Hart was Sabrina, The Teenage Witch and, therefore, I will always give her the benefit of the doubt.)

Meanwhile, there’s another subplot going on.  The local preacher — who somehow manages to get on the jury, despite the fact that there’s no way a preacher would actually be put on the jury of trial that centered around separation of church and state — is being pressured by the local authorities.  They want to see copies of his sermons.  Damn government!

Of course, what’s interesting is that this actually did happen in Houston.  In 2014, several preachers were presented with subpoenas demanding copies of their sermons, in order to determine if they had been preaching against the Houston Equal Rights Ordinance.  For that matter, there was also recently a story down here about a high school football coach who lost his job because he led his team in a prayer.  There is a basis in reality for both of the film’s main storylines but you’d never guess that from watching God’s Not Dead 2.  God’s Not Dead 2 is so melodramatic and so firmly devoted to its good-vs-evil worldview that it sacrifices whatever real world credibility it could have and probably does more harm than good to the cause that it supports.

That being said, it’s a fun movie in much the same way that the Atlas Shrugged trilogy was fun.  It’s just so silly and over-the-top that you can’t help but watch.  I imagine that believers will enjoy seeing the nonbelievers ridiculed while nonbelievers will enjoy shaking their head and saying, “How can anyone buy into this?”  By taking the side of half the audience but doing so in a way that seems to confirm every pre-conceived notion held by the other half, God’s Not Dead 2 appeals to all.

If nothing else, Ray Wise deserves some sort of award for perfecting the art of villainous overacting.  Though this year, he may have to share it with Kyle Secor.  Secor’s work in The Purge Election Year is impossible to top but Ray Wise sure does come close.

Overacting is not dead.