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In 1970, a plane crash kills 75 people, including most of the Marshall University football team. The survivors include team captain Nate Ruffin (Anthonie Mackie), who missed the trip due to injury, and coach "Red" Dawson (Matthew Fox), who gave up his seat on the doomed flight at the last minute. The university's community of Huntington, West Virginia, descends into shock, including influential local business leader Paul Griffen (Ian McShane), who lost his son in the crash.
President Donald Dedmon (David Strathairn) considers shutting down the football program, but Ruffin rallies support to rebuild the team. After being turned down by all leading candidates, Dedmon hires Jack Lengyel (Matthew McConaughey) as head coach. Lengyel has no prior association with Marshall but plenty of energy, and convinces Red to join him as assistant coach. A frantic recruitment program results in a group of young and untested freshmen and walk-ons being cobbled together into a team to tackle the new season.
An undoubtedly touching story of grief and recovery afforded the full Hollywood treatment, We Are Marshall draws strength from a real-life tragedy giving birth to resilience. Director McG translates Jamie Linden's script into a polished and well-staged narrative, combining the search for meaning with the difficulty of life marching on, regardless. For all the tender emphasis on loss, the film is also unabashedly manipulative, seeking opportunities to pause and deliver rousing moments, motivational speeches, and fists-in-the-air demonstrations of togetherness, always accompanied by requisite musical flourishes.
The focus is on a small group of community members navigating numbness and fury, survivor's guilt, a father's sorrow, and overwhelming helplessness, fuelling different opinions on whether reactivating the football program benefits healing. With Matthew McConaughey in full charm-on mode, coach Lengyel becomes the outside catalyst not personally affected by the tragedy and therefore able to prod the community on the path to recovery.But grief this deep lingers, and to the film's credit, not all the characters are eager to join the rebirth process. While the overblown climax casts a long shadow, thankfully the journeys of grieving dad Paul Griffen and diner server Annie (Kate Mara), who was engaged to Paul's son, end on a more wistful note away from sports heroics. David Strathairn adds eloquent touches of hesitant humanity as the university president with no playbook on how to navigate a mammoth tragedy.
A gesture of respect by a rival school's football team asserts the unifying power of sport, and the on-field scenes are well-staged, capturing the grit, agony, and ecstasy of college football. We Are Marshall knows where the goal is, and despite bombastic tendencies, registers an assured victory.
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The industrial town of Empire, Nevada, is abandoned after the last manufacturing plant shuts down. Fern (Frances McDormand) also loses her husband to disease. She packs up her belongings in a van and sets off to live a nomadic, house-less life, picking up odd jobs where she can find them and falling in with a community of like-minded individuals living on the margins. She meets fellow nomad Dave (David Strathairn), and they start a friendship of sorts, but Fern is most comfortable on her own, in her van.
Less driven by plot and more an exercise in patient observation, Nomadland settles for capturing rugged natural beauty and unfiltered stories. McDormand and Strathairn are joined by a cast of non-actors sharing their experiences, and director ChloƩ Zhao adopts a slow pace and non-judgemental stance, finding the humanity and pride within a group functioning outside the norms.
Despite embracing solitude and a sense of individualism, moments of happiness and sadness emerge to underline common benevolence. Each in their own way the nomads are victims of circumstances and unforgiving economic or health crises, but they are united in nevertheless defining an independent road towards self-improvement and progress.Fern is crusty and has difficulty conveying friendliness, but stresses the difference between homeless and house-less. Through her sister and later with Dave, she has options to live much more comfortably, at least in a strictly physical sense. But after the trauma of losing her town and her husband, the van comes to represent a deeply ingrained attachment to a form of stubborn personal freedom and self-reliance, and Nomadland succeeds in defining the lifestyle as a form of choice.
The hardships inherent in living in a cramped space on wheels are not glossed over. In between vistas of open landscapes and close-ups of a welcoming nature, Zhao takes the time to convey the constant battle against the bitter cold, finding the next casual job, dealing with sickness, the strain of equipment failure, and mundane but essential biological functions.
Fern, David and the community of people they meet all possess private motives to embrace a different style of life. Unburdened by traditional cinematic structure, Nomadland is similarly comfortable with a lack of convention.
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It's 1919 in New York City, and tension is mounting between union organizers and wealthy industrialists, made worse by friction between Italian and Irish immigrants. Parcel bombs start appearing on door steps, claiming the life of an innocent kid. Bureau of Investigation Agent William Flynn (David Strathairn) and his partner Eugenio Ravarini (Sam Witwer) start investigating, but when prominent citizens including John D. Rockfeller are targeted with more bombs, Attorney General Mitchell Palmer (Ray Wise) and a young J. Edgar Hoover get personally involved.
Meanwhile shoemaker Nicola Sacco and labourer/writer Bartolomeo Vanzetti share anarchist tendencies inspired by radical leader Luigi Galleani and the left-wing magazine edited by Emma Goldman. Flynn finds his investigative progress stymied by Palmer and Hoover, who appear fixated on a mass immigrant deportation agenda. Meanwhile Flynn's friend and neighbour Concetta is worried her son Tony is being sucked into the unfolding chaos.
An independent production written, directed and produced by Terry Green, No God, No Master does feature pleasing visuals of New York City in the early 20th century. Green creates a beguiling sense of time and place, and the set designs and costumes are elegant. As the world-weary Flynn, a typically dependable David Strathairn is another plus.But the rest of the film is a clumsy disappointment. Early and often, Green firmly parks his sympathies with the little people to the detriment of any nuanced exploration of issues. Anarchists, immigrants and unionists are all romanticized poets, intellectuals and just cause advocates fighting the good fight against profit-thirsty capitalists and heartless government types. The blatant propaganda undermines any attempt at thought-provoking entertainment.
The ham-fisted approach may have been more tolerable with refined storytelling, but in an uncouth script several drafts away from the necessary polish, Green bites off more than he can chew. The parcel bomb investigation gets hopelessly lost, the Sacco-Vanzetti sub-plot is half-baked at best, and an action sequence featuring a kidnapping and bullet-riddled rescue unravels due to bewildering levels of incomprehension.
In an unfortunate epitaph, No God, No Master ends with several screens of small text attempting to provide context and resolution to the scattered ideas left hanging. The domestic terrorism events of the early twentieth century deserve better cinematic scrutiny than this.
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With a story, style and characters that were never going to be blessed with the gift of originality, Greengrass pushes all the elements to the edge of credibility, and sometimes beyond. With each successive brush with death Jason Bourne appears to take on indestructible qualities, shrugging off his bone rattling injuries, instantaneously losing his scars and proceeding to travel effortlessly between countries and infiltrate the most secure of secretive buildings.
Steven Spielberg gently wraps his arms around one of the most critical moments in the history of the United States: in the four month period between Abraham's Lincoln re-election and his assassination, slavery was abolished and the Civil War ended, clearing the decks for a unified country to find its footing, and a future superpower to emerge. Lincoln is the story of a dignified President leading his country out of the abyss and onto the road towards glory.
The story of television reporter Edward R. Murrow taking on Senator Joseph McCarthy in the 1950s, Good Night, And Good Luck is a reminder that unchecked power will run amok. The film stays well within itself, a relatively small slice of journalistic history used as commentary on the dangers of a nation falling asleep.