Molly’s Game (2017)

What’s the worst thing that can happen in sports? That’s the question voiced by the title character as the curtain goes up on Molly’s Game, Aaron Sorkin’s directorial debut and latest produced screenplay since 2015’s Steve Jobs. The wording immediately conjures another Sorkin sports project, Moneyball, which followed Billy Beane’s seemingly-miraculous turnaround of the flailing Oakland A’s baseball club. That film was directed by Bennett Miller (sidebar: where’d Bennett Miller disappear to?) and contained a brilliant sequence dubbed The Streak: a quick-cut montage of the A’s unprecedented run of winning, winning, winning. We may never lose again, reads a poster in the stadium stands. Winning, you may have heard, is basically the best thing that can happen in sports.

The worst thing is more varied, more subjective, and far more interesting, at least as a concept for a narrative feature. It’s easy to see why Sorkin thought so, and easy to see why the writer was drawn to Molly Bloom’s account of her time hosting high-stakes underground poker games in L.A. and New York. Molly’s Game allows Sorkin to tap into the fast-paced verve of a sport (poker being “a game of skill,” as Molly asserts) that just so happens to require players to gather, seated, around a tense table. Molly herself is a quintessential Sorkin character in that she talks fast, has daddy issues, and is often the smartest person in the room by a longshot. Above all, the fact that Molly’s Game is a true story makes it all the more fitting for this writer’s wheelhouse.

Continue reading Molly’s Game (2017)

Advertisements

Shazam! (2019)

Is the DCEU still a thing? Conceived as the answer to Marvel’s unfathomably successful Cinematic Universe, DC’s interconnected supertales never quite coalesced the way they were intended to. You could point to any number of reasons for this derailment: a lack of a Kevin Feige-type visionary at the helm, or a violent shift in tone from one movie to the next, or poor casting in crucial roles, or the general cart-before-the-horse nature in which this series was rushed into existence. Those are all blameworthy when considering the ineffectiveness of a franchise. But because each individual film in the DCEU — Man of Steel, Suicide Squad, Batman v. Superman, Wonder Woman, Justice League, Aquaman — is mighty flawed in a vacuum, I’m inclined to point to crappy, one-note villains as an unfortunate recurring theme which, if given proper TLC, might just right the DCEU ship.

Well, you’re saying, that sounds like a massive oversimplification. It is, probably, considering we’re now in an era so dominated by superhero movies that the more experimental outings are the most interesting ones. Deadpool, Logan and Into the Spider-Verse all have villain types we’ve seen before, but they still manage to break the mold. Exactly, you’re saying, and besides, I happen to like General Zod and some of the other DC villains. Granted, ascribing a matter of opinion as the sole reason for the failure of a billion-dollar film franchise could be a stretch. Definitely, you’re saying, and besides, aren’t you supposed to be talking about the new one instead of whining about the old ones?

Continue reading Shazam! (2019)