The creation stories of the three biggest DC heroes all have a notable amount of injustice behind them. “Superman’s” Siegel and Shuster and “Batman’s” Bill Finger were denied credit for decades. But the story behind “Wonder Woman” – where there has never been debate that William Moulton Marston created her – is the weirdest, as chronicled in the biopic “Professor Marston & the Wonder Women” (2017).
Superheroes Decoded,” a two-episode History Channel documentary from 2017, isn’t what I thought it would be. But it turns out to something good: The definitive analysis of the history of superheroes and how they bob and weave with American history over the past century. Adults will learn a little something – even if a lot of it is a fun refresher — and brainy younger viewers should be enthralled too. Its only major problem is that if you’ve just watched PBS’ “Superheroes: A Never-Ending Battle” (2013), the first episode will be redundant – although it does go deeper.
I’m not a huge connoisseur of courtroom dramas about wrongfully accused defendants, similar to why I don’t like war movies. I already know war is hell, and that the U.S. justice system is rotted by corruption. When convinced by my friends that I have to see a movie – such as Netflix’s “The Trial of the Chicago 7” – I just hope there’s comic relief and other layers amid the messaging about how horribly unjust everything is.
Aside from its wonderful locations and car designs that capture the 1960s, director James Mangold’s “Ford v Ferrari” (2019) is a sober re-creation of a niche slice of history. He trusts that 24-hour racing at Le Mans and Daytona will be exciting enough to capture and hold the layperson’s attention. He pushes it with the 2-hour, 32-minute run time, but ultimately he’s right. While non-racing-fan moviegoers aren’t likely to tune in to TV coverage of the next 24-race, this sport plays tremendously well in movie form.
When TV scholars look back years from now at trends in storytelling structure, I suspect “Unbelievable” (Netflix) will be seen as a pivotal show. The approach of releasing whole seasons at once was pioneered by Netflix several years ago, but most shows still operate as if they are airing weekly in hour-long segments. “Unbelievable” is a rare show that totally embraces the fact that all eight of its episodes will be immediately available.
Scrolling through options under a “David Mamet” search on my Roku, “Deceptive Practice: The Mysteries and Mentors of Ricky Jay” (2012) comes up a lot. (It’s currently available for free with ads on Vudu.) It’s only tangential to Mamet, who is one of the interview subjects in the documentary. But Jay (1946-2018), like Mamet, is fascinating to listen to when he talks about his craft, so this will likely be of interest to both Mamet fans and magic fans.
The Amazon Prime description for “Lansky” (1999) includes “notorious,” “gambling,” “bootlegging,” “racketeering” and “murder,” but the film – written by David Mamet and directed by John McNaughton for HBO – paints a warm picture of mob boss Meyer Lansky (1902-83). Along with a treasure of a performance by Richard Dreyfuss, “Lansky” is driven by the intrinsic fascination of someone who is a normal family man and skilled businessman, but who is targeted by the U.S. federal government and hated by a percentage of the populace.
Fighting with My Family” doesn’t redefine the sports biopic genre, which in a way is too bad because professional wrestling is such an unusual thing, sitting on the border between athletics and entertainment. It might be fascinating to dig further into the mechanisms of how participants – and ultimately, champions — are chosen and how their narratives are written. As it stands, “Fighting” is a standard biopic in structure, but the story of Paige is so genuinely inspiring, and actress Florence Pugh (“The Little Drummer Girl”) is such a natural star, that the film is totally engaging.
With “The Winslow Boy” (1999), writer-director David Mamet is as much using his name recognition as he is using his skill to bring an important story to the public’s attention. Based on a real legal case, the film is adapted from Terence Rattigan’s 1946 play, which was made into a film two years later, co-written by Rattigan. The 1948 film rates a few percentage points higher (7.7 to 7.4) on IMDB than Mamet’s version. Yet this adaptation is important because it brings a crucial story to a wider audience, and it’s also impeccably directed in Mamet’s no-moment-wasted 105-minute style without sacrificing any turn-of-the-20th-century British affectations.
Writer-director Peter Farrelly smooths out the excesses of his filmmaking traits for the surprisingly mainstream and easy-to-like “Green Book” (2018), now back in theaters and also available for home viewing. It’s not as funny as his best films like “Dumb and Dumber” and not as high-concept as the likes of “Stuck on You” and “Shallow Hal.” It’s possibly a crass grab at mainstream and critical acceptance, but it’s hard to quibble with the finished product.