I have to say, I’m really enjoying the last few years of Matt Damon‘s career. You could easily slot Air into an entertaining double-feature with either The Martian or Ford v Ferrari. Using a well-worn Hollywood trope of an underdog fighting the odds, Air stars Damon as Nike salesman Sonny Vaccaro who in the mid-1980s pushed the running shoe company into an unlikely deal by signing rookie basketball star Michael Jordan to an industry-changing contract.
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Inspired by true events, The Woman King examines the life of the general (Viola Davis) of an all-female army of the African kingdom of Dahomey during a period where a crop of new recruits, including the opinionated young Nawi (Thuso Mbedu), and rivalries with their neighbors, will reawaken ghosts from her past.
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Perhaps not surprisingly, Black Adam is a mess. Now, not unlike the first Suicide Squad film, that doesn’t mean at times it isn’t a fun mess, but it is a mess nevertheless. And the film has more than a few things in common with the first Suicide Squad film including messy magical characters and a problematic final act.
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Writer/director James Gunn‘s sequel to 2016’s Suicide Squad is bonkers. If Legends of Tomorrow ever makes it to the big screen, I’d expect it would look something like this (with a far smaller body count, to be sure). Bringing back a handful of the stars from the first film, with some notable absences, the story this time follows a more straightforward Task Force X plot of the criminals turned black ops soldiers by Amanda Waller (Viola Davis) sent overseas to a foreign country to cause some mayhem under the radar. Oh, and then the movie throws in Starro. Starro!? Did I mention this movie is bonkers?
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Adapted from August Wilson’s play, Ma Rainey’s Black Bottom is most notable for the performance of Chadwick Boseman who earns the plum role of Levee, a dissatisfied horn player in Ma Rainey’s (Viola Davis) band. The role was the last of Boseman’s career, who died during postproduction, and it’s one of his best as both of the script’s most memorable scenes center around his character. The film definitely feels like a stage adaptation, even claustrophobic at times, with the band rehearsing in a small room prior to recording a new album.
Colman Domingo, Glynn Turman, and Michael Potts complete the remainder of the band with Jeremy Shamos and Jonny Coyne rounding out the cast as the white producers desperate to get the recordings who Ma continues to fuck with over the course of the film by arriving late, insisting on doing the songs her way, and even including her stuttering nephew (Dusan Brown) on the recordings. As with the play, the film touches on themes of racism, art, power struggle, and the exploitation of black recording artists (the last of which is never more clear than in the film’s final scene).
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