Review: "Radioactive"

There’s little crackle of original energy in “Radioactive.” This by-the-numbers biopic of scientist Marie Curie holds few surprises and insights, and feels like it’s just checking off boxes on somebody’s clipboard.

Rosamund Pike plays Curie, the famed French – actually, born in Poland as Maria Sklodowska – scientist who along with her husband Pierre Curie (Sam Riley) pioneered the research of radioactivity, i.e. the process by which unstable matter decays and gives off energy.

Directed by Marjane Satrapi (“Persepolis”) from a screenplay by Jack Thorne (based on a book by Lauren Redniss), “Radioactive” plays out as a standard “great man/woman” film. We are astounded at the massive accomplishments of one person while learning about the personal challenges that nearly kept them from historic achievement.

Certainly, Curie’s bona fides for notoriety are indisputable: first woman to win the Nobel Prize, shared with her husband and fellow physicist, she matched that a few years later by becoming the first person to win a second Nobel in a different field, chemistry. She was the first female professor at the University of Paris, discovered two new elements for the Periodic Table and pioneered the use of X-ray machines on the battlefield of World War I, saving countless lives and limbs.

Curie is, quite literally, in the Panthéon of greatness.

The story starts with Curie’s death – likely due to radiation poisoning, as thousands of chucklers have loved to joke. Both Curies unwittingly received massive doses of harmful energy during their years of experimentation. Only later did they learn about people who had partaken of the benefits of their research who were developing tumors or anemia.

This is the sort of movie where the star is wheeled into the hospital in copious stippling makeup to make her look older, and the head physician loudly exclaims: “But this is Madame Curie!!” Everything in the story feels twice underlined as if we were missing how this is all Much Importance.

The portrait that emerges is of a headstrong woman who put her science first, but nevertheless found true love with Pierre. Early on she loses her place in the university laboratory due to sexist pig-headedness, and he offers Marie a spot in his. Despite their promise not to share experiments or beds, they soon do.

Pierre died in 1906 in a street accident, and for a time Curie found herself buffeted by oppressive forces from French society – especially when she took up with her younger, married colleague, Paul Langevin (Aneurin Barnard). She was even accused of being a foreign collaborator and a Jew to boot.

The film loses juice in the second half after being sustained by Curie’s relationship with Pierre. It is interesting to see a portrait of historical marriage in which the woman is clearly the dominant force. At one point she even coldly informs him, “My mind is finer.”

Once that cycle of magnetic attraction and repulsion is over, though, the story seems to bleed energy with an astonishingly short half-life. Anya Taylor-Joy briefly shows up too late as Curie’s now-adult daughter, Irene. (Who would later go on to win her own Nobel in conjunction with her husband/collaborator.)

There are a few dream-like sequences set in the future where we see the consequences of Curie’s discoveries, such as a crippled boy receiving radiation treatment or an atomic bomb test in 1960s America. The movie tries too hard to convince us of the monumental consequence of this life, as if Marie Curie were a name wholly unknown.

Pity that “Radioactive” didn’t better take to heart the lessons of its subject, and shown a little more enthusiasm for experimentation.

Video review: "Hostiles"

“Hostiles” was probably the best movie of 2017 that you never heard of, despite featuring some big names. It barely got a theatrical release, earning $29 million -- short of its $39 million production budget. But it’s a spare, bleak gem.

It’s a throwback-style Western that very much has Things to Say about this day and age.

Christian Bale plays Joseph Blocker, a famous Indian hunter who’s about to retire when he’s given the proverbial one last job. And it’s a doozy: escort his longtime enemy, a Comanche war chief named Yellow Hawk (Wes Studi), back to his ancestral home in Montana so he can die in piece.

Blocker is racist, alcoholic and prone to violence. Yellow Hawk is proud and reserved. His son, Black Hawk (Adam Beach), tries to broach a peace between them, but old enmities die hard.

Along the winding journey they pick up other forlorn figures. Rosamund Pike plays a frontier woman who’s just had her entire family wiped out by native warriors. Yellow Hawk and his family take her in like an adopted daughter. Seeing this, Blocker recognizes human warmth in his old enemy, possibly for the first time in his life.

The inimitable character actor Ben Foster plays a disgraced former soldier, a former comrade of Blocker’s, who’s been sentenced to die. In him, Blocker sees a reflection of himself that isn’t easy to look at.

Writer/director Scott Cooper also made the wonderful “Crazy Heart” a few years ago. He’s a filmmaker who refuses to cram his characters into neat stereotypical holes, letting each person travel their own journey in a way that feels organic.

In a time when so many movies put service to the plot above building believable characters, “Hostiles” is the sturdy exception that sees the horizon beyond.

Bonus features are limited to a single item, a comprehensive making-of documentary, “A Journey to the Soul: The Making of Hostiles.” It includes three parts: “Provenance,” “Removing the Binds” and “Don’t Look Back.”

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Review: "7 Days in Entebbe"

It is a strange truism of history that we better remember the disasters than the victories. At least, on a smaller scale. The really huge successes like, say, the evacuation of Dunkirk spawn reams of books and even an Oscar-nominated film.

But the rescue of a hundred mostly Jewish hostages from terrorist hijackers? That sort of thing of thing tends to recede into the ocean of the collective consciousness.

I’ll admit I was not very aware of the Air France flight hijacking of 1976. True, I was a small child at the time. But it’s inarguable that it doesn’t have the sort of profile in the public record that the Munich Olympics kidnappings or the United Airlines Flight 93 hijacking on 9/11 do.

(Both examples got their own major motion picture adaptation, by the way.)

But Operation Thunderbolt, in which Israeli special forces mounted a daring rescue at Uganda’s largest airport, is one of those quiet watershed moments that deserves its own cinematic commemoration. It arrives in the form of the thoughtful and suspenseful “7 Days in Entebbe.”

The rescue became the model for the militaries of other nations, including the U.S., to study for successful operations of this type. It marked the moment when Prime Minister Yitzhak Rabin and other senior Israeli officials started to back away from their policy of never negotiating with their enemies.

The operation was also notable for the single Israeli soldier who was killed being the older brother of Benjamin Netanyahu, the current hard-line leader of Israel.

Director José Padilha and screenwriter Gregory Burke approach the historical events at eye level, showing us how the week transpired from the sides of the hostages, the airline pilots, the Israeli leaders mulling over whether to give into demands and the soldiers tasked with planning and executing a bold solution.

Perhaps controversially, they also include the terrorists in the equation, depicting them not as killing automatons, but human beings with doubts, convictions and complexities.

Daniel Brühl and Rosamund Pike are, in fact, the main characters as Wilfried Böse and Brigitte Kuhlmann, two German revolutionaries responsible for leading the actual hijacking of the flight from Tel Aviv, diverting it to Entebbe, Uganda.

They are doing this out of solidarity with Palestinians, and in fact the major demand of the terrorists was the release of 50 or so mostly PLO prisoners held by Israel. They fret about being viewed as Nazis, since roughly a third of the passengers are Jew -- especially if it becomes necessary to kill the hostages.

They wrestle with their conscious, especially after they arrive in Uganda and the Arabs take over, separating the Jews from the rest of the hostages, some of whom are released at the urging of Ugandan leader Idi Amin (a terrific Nonso Anozie), who collaborated with the terrorists.

In the Israeli corridors of power, Prime Minister Rabin (Lior Ashkenazi) vies with Defense Minister Shimon Peres (Eddie Marsan) over whether to negotiate with terrorists or attempt a rescue. It’s an interesting power play, as Peres urges the attack not only because he believes it’s the right thing to do, but also because its failure would likely push Rabin out of office.

“7 Days in Entebbe” is an often gripping movie that tells about a pivotal moment in time that’s been largely forgotten, and the very real people caught up in it -- both the tragedy and the triumph.

Review: "Hostiles"

There is dour. Then there is grim. Then there is bleak. Then there is despair. Then there is "Hostiles."

Last year's film slate (of which this is technically part) was noted for its raft of downbeat, depressing movies. Even against that yardstick, though, "Hostiles" still must be assessed as one of the most intensely melancholic. If it's possible to have an uplifting cinematic experience while mired in tragedy, then here it is.

Christian Bale plays Captain Joseph Blocker, a weary cavalry soldier and legendary Indian hunter who is about to retire. He's virulently racist, alcoholic, burnt out. Absent circumstances presented in the course of the story, he'd probably drink himself into a lonely, hateful death within a year or two.

But his commander orders him to perform one last service: escorting Yellow Hawk (Wes Studi), a Comanche war chief who is now dying of cancer, and has received permission to take his family to their ancestral home in Montana to be at final piece. The kicker: Blocker and Yellow Hawk were bitter enemies during the Indian wars, and each can count many friends and loved ones who perished at the other's hand.

Their journey begins in silence and defiance. Others are picked up along the way. Ben Foster plays Charles Wills, a disgraced soldier who has been sentenced to be hanged for his crimes. Blocker knows him, too, from the old days.

More affecting is the presence of Rosalie Quaid (Rosamund Pike), a frontier woman whose husband and children were just slaughtered in front of her eyes. When the group first encounters her, Rosalie is squatting in the burned-out wreckage of her home, the cold corpse of her baby clutched to her chest. Slowly-- very slowly -- she comes out of her shell of despair, and starts to make meaningful new connections.

Adam Beach shines as Black Hawk, son of Yellow Hawk, who is always his father's son but also reaches out to the bitter white man who hates his kind. The rest of the background players fill their places with conviction and purity, among them Jesse Plemons and Timothee Chalamet.

Writer/director Scott Cooper ("Crazy Heart") has given us a beautiful, spare vision of the American West on the cusp of the 20th century. Though it is a story of specific people, they are dealing with many of the issues we still face today: tribal conflict, racial enmity, gendered roles, etc.

In many ways, "Hostiles" is a portrait of all the capacities America holds, both for greatness and for wretchedness. This story, of two men who have every reason to hate each other, finally grants us a tiny nugget of hope.

Review: "A United Kingdom"

“A United Kingdom” is less a story of romantic love than love of country. Patriotism seems out of favor these days, or at least a little frightening in some of its recent incarnations. But this film, based on the real marriage between an African king and an English woman, shows us the noblest side of devotion to one’s people.

David Oyelowo gives a powerful, emotionally layered performance as Seretse Khama, the crown prince of Botswana, known in 1947 as Bechuanaland, a British protectorate. His father died when he was a small child, so his uncle Tshekedi (Vusi Kunene) has ruled as regent for the past two decades.

He’s all set to return home after completing his education studying the law in England, and take his rightful place on the throne. But then he falls for Ruth Williams (Rosamund Pike), a humble clerk, and they determine to marry. This sets off an international brouhaha, as various forces react harshly to the wedding of a white woman and a black man.

Most notably, the South Africans are in the process of instituting apartheid, i.e. total separation of the races with the whites as the unquestioned masters. It wouldn’t do to have an interracial couple ruling the fragile nation on their northern border, and the British are too badly in need of their gold and uranium to risk upsetting the balance.

Director Amma Asante (“Belle”) and screenwriter Guy Hibbert (“Eye in the Sky”) rush us somewhat through the courtship and wedding. But that’s fine, because the film really kicks into high gear when they return to Africa. They’d counted on some resistance and even hatred, but are surprised when seemingly every party is moving against them.

A pair of British bureaucrats, played by Jack Davenport and Tom Felton in full pomp-and-snobbery mode, frustrate them at every turn while presenting a genteel face and even the façade of friendship. Meanwhile, Ruth must deal with the other women of the royal family, notably Seretse’s sister Naledi (Terry Pheto), who are offended that this lily-white woman has presented herself for the role as mother to their country.

The story follows the historical record, with some omissions and condensing of timelines. We move between the houses of British Parliament and the more democratically pure kgotlas of Bechuanaland, as men gather in the open air to hear the appeals of their leaders and vote their will.

Ultimately this is Seretse Khama’s story, a great man whose name is probably unknown to many on these shores. He was an early voice for equality between the races and independence for burgeoning countries.

Oyelowo also shows him to be a shrewd man who knew he had little real power other than what his tongue and example could bring. He and his wife are separated for long stretches as a ruse brings him to London so an exile can be imposed, then teased at being rescinded, just to keep the South Africans pacified.

“A United Kingdom” perhaps tugs a little too hard at the heartstrings at times -- Patrick Doyle’s syrupy musical score lends no favors. But it has the majesty of a true story told with conviction by a fine cast.

Review: "Jack Reacher"

From what I understand, "Jack Reacher" is based on a series of books by Lee Child about a wandering ex-military badass who roams the countryside meting out justice with only the clothes on his back and a toothbrush to his name. Tom Cruise, handsome as ever after recently turning 50, looks like Reacher also has a small army of makeup artists and stylists to give him just the right zhuzh before every fight scene.

He's so smiley and smirky, he practically twinkles. It's one of those movies where whenever the hero walks into a room, every female stops what she's doing to stare at him, like a ribeye being waggled at the pack of solves from "The Grey."

It's a nice action star vehicle for Cruise, though the storytelling is often stolid to the point of stiffness. It plays out like a TV crime procedural with regular interruptions for combat, gradually ratcheting upward from hand-to-hand to assault rifles.

Christopher McQuarrie, who wrote and directed the adaptation, takes his own good time getting things rolling. But once the action gets pushed into high gear roughly midway through, it's a fast-paced thrill ride the rest of the way.

The story's a little zany and not particularly coherent. An ex-Army sniper named James Barr (Joseph Sikora) appears to suddenly snap one day and randomly shoot five strangers in front of the Pittsburgh Pirates stadium. A sharp local police detective named Emerson (David Oyelowo) manages to put the pieces together, including recovering a quarter with Barr's fingerprint out of a parking meter, and makes the arrest.

Before he's attacked by other prisoners and conveniently put into a coma, Barr scribbles "Find Jack Reacher" as his supposed confession.

Reacher, we soon learn, is a ghost. A top military policeman, he suddenly resigned after 20 years in the Army to roam the land, like Caine sans kung fu. He has no fixed address, owns no possessions other than his clothes and a few incidentals, and apparently gets by using his military pension for bus tickets and cheap hotel rooms.

There's a great scene where Emerson and his boss, District Attorney Rodin (Richard Jenkins), are discussing the mystery of Reacher. Usually in these sorts of movies we would immediately cut to a cool intro where we meet the guy they've been talking about doing something astonishingly cool. Instead, Reacher himself walks in the door right at that moment, offering his services.

He gets the brush-off, but Rodin's daughter Helen (Rosamund Pike), who's been appointed as the shooter's attorney, lures him in. It turns out Reacher investigated Barr a few years ago when they were both in the service, but couldn't quite pin the crime on him.

Now he wants a second crack ... until events reveal that Barr may not have been the assassin after all.

It's all confusing and uneven, having something to do with a mercenary corporation that moves from town to town, sucking up government contracts via bribes and intimidation. Soon you learn to stop worrying about the story and just enjoy watching Reacher dispatch his foes with cool, collected aplomb.

Werner Herzog, the great German movie director, turns up as an enigmatic baddy with only a single eye and only slightly more fingers. Herzog is a hoot relating the story of how he lost them, managing to be both goofy and chilling at the same moment. It's like a parody of an action-movie villain, and yet totally effective.

The action scenes are crisply edited, particularly a standout car chase sequence where Reacher is pursuing the bad guys, while in turn the police are pursuing him. As is obligatory in movies of this ilk, Reacher acquires a classic muscle car and then proceeds to slowly destroy it.

The final showdown at a mine pit is similarly well-executed, where Reacher gets an assist from an old Marine sergeant played by Robert Duvall. He and Cruise have a giddy repartee, and the pairing is winning.

I wish I could say the same for Pike, who spends the entire movie wearing a slightly startled expression, as if she can't believe she's starring in a movie with Tom Cruise.

"Jack Reacher" is kind of a trashy movie with A-list stars and production values. It ain't any great shakes, but for what it is, it does it effectively.

2.5 stars out of four

Review: "Wrath of the Titans"

"Wrath of the Titans" has such an obligatory feel to its, starting with that title. "Wrath" kind of sounds like "Clash," and could reasonably be interpreted as an escalation of it. First you clash, then you get mad about it.

 The 2010 reboot of the '80s ham classic wasn't great filmmaking, but it at least was fun and breezy and action-filled. The quick-and-dirty sequel also boats plenty of fights, but it gets bogged down by too much existential angst and father-son conflicts.

Perseus, proud half-god son of Zeus, has spent the years since defeating the Kraken as a humble fisherman, teaching his own son to follow in his decidedly un-divine footsteps. He resents Zeus for foisting his gifts upon him.

But then Zeus' full-god son Ares joins leagues with banished uncle Hades to capture Zeus and suck him of all his power. It seems Ares, the god of war, is jealous of all the attention daddy has been giving to his half-brother. Their plan is to use Zeus' god juice to release Cronos, the titan all-father of both Zeus and Hades, whom they defeated long ago and imprisoned in the underworld.

Perseus joins forces with Agenor, the smirky half-god prince of Poseidon, to head down to Hades to save Zeus. So basically, every single guy in the movie has daddy issues.

Louis Leterrier, who ably helmed the last movie, is given the boot in favor of Jonathan Liebesman, who like a lot of directors these days doesn't seem to know which end is up when it comes to filming fight scenes. He falls back on the tried-and-true tricks: quick flash editing, jumpy camerawork and a tendency to leave all the special effects shots with a fuzzy, indistinct feel.

At least the 3-D is better, though probably not worth the $3-4 ticket upgrade. Andromeda doesn't look like half her head is heading down the hallway, like in the last movie.

The movie can boast a few cool moments. I liked Cronos' demon warriors, who look like two molten men strapped back-to-back, who whirl around in a devastating cyclone of sword strikes. Cronos himself is pretty badass, resembling a mountain of lava and smoke that has come alive.

Sam Worthington gets to be a little more soulful this go-round, and he brings what few emotive moments the movie has.

At a little over 1½ hours, "Wrath of the Titans" isn't a very long movie, but it still manages to drag at times. Altogether it's an unnecessary sequel to a remake that we didn't really need, either, but at least it was less Freudian and more fun.

2 stars out of four

Review: "Made in Dagenham"

Sort of a British "Norma Rae," "Made in Dagenham" is a well-acted tale about female auto workers demanding equal pay in the late 1960s. It's a classic underdog story whose outcome is never in doubt, where the lines between the good guys and the bad are practically marked onscreen in highlighter pen.

Sally Hawkins plays the Sally Field role of the low-key worker who rises up to become a respected leader of the union. As Rita O'Grady, Hawkins has a slightly awkward sort of beauty, the sort of woman who has to be told what a gem she is before she believes it herself. Hawkins used this quality to full effect in "Happy-Go-Lucky" a couple of years ago.

Director Nigel Cole brings the same sort of energy he did to 2003's "Calendar Girls" about another group of plucky women who discover they're a lot more capable than anyone gave them credit for. William Ivory's script, though, follows the diagram of a screenwriting class to a T, so we know the progression of the gals' struggle before it happens.

For example, Rita's husband Eddie (Daniel Mays) will be fully supportive at first, getting a kick out of seeing his wife photographed in newspapers and on the telly. But then there will be growing discord as he's forced to take up more of the cooking and cleaning at home, followed by a big spat when his own job is imperiled, culminating in rapprochement where he tells her how proud he is.

The story also tends to treat the other women as scenery rather than distinct individuals. There's the slutty one (Andrea Riseborough), the cute one who wants to be a model (Jaime Winstone), and so forth. Only Connie (Geraldine James), the steadfast older shop steward, is given anything like another dimension, including some trouble on the home front.

I didn't care for the wife of one of the company managers (Rosamund Pike), who befriends Rita without even realizing they live in separate camps. An educated, smart woman who resents having to bury her talents beneath her husband's, she secretly eggs the working girls on. The whole thing is a little too pat.

The history lesson aspect of the film is certainly engaging, though. In the 1960s Ford was the largest auto manufacturer in Europe, employing some 40,000 workers in England alone. The gals of the machinists union in Dagenham, some 187 of them, were classified as unskilled laborers and paid considerably less than their male counterparts -- quite often, their own husbands and brothers.

Bob Hoskins plays Albert, a union organizer impressed by the gumption of the women during a relatively minor disagreement with management. He encourages Rita to strike for equal pay -- much to the consternation of the union bosses.

Miranda Richardson plays Barbara Castle, the first (and still only) female British secretary of state, who was tasked with tamping down the machinist strike and keeping Ford happy.

Richard Schiff shows up as a Ford exec sent over from the States to twist some arms. He bellows and rants: We can't pay these women the same as men, because then women all over the world will want the same thing!

Of course, Ford eventually acquiesced and become something of a pioneer on gender equality, and even cooperated with the making of this film. So even the bad guys turn out to be decent blokes.

Sally Hawkins is eminently watchable, but it's too bad "Made in Dagenham" feels like it rolled off another kind of assembly line.

2 stars out of four

Review: "An Education"

I had never heard of Carey Mulligan before seeing "An Education." But I'm quite sure many people will know her name after her breakthrough performance in this film, one of the finest onscreen portrayals of 2009.

Mulligan has been in a few things, most notably one of the younger sisters in 2005's "Pride & Prejudice." But in her role as Jenny, a British teen girl who finds herself unexpectedly romanced by an older man, Mulligan blooms like a flower opening its petals to newfound light.

It's like watching Julia Roberts in "Pretty Woman," or Angelina Jolie in "Girl, Interrupted" -- you know you're witnessing the arrival of a major new acting talent.

I'm not quite over the moon about the movie as a whole, however.

It's based on the autobiographical novel by Lynn Barber, adapted for the screen by Nick Hornby and directed by Danish director Lone Sherfig. It's the sort of movie that's enjoyable for the excellent execution by the cast and filmmakers, and not because of the freshness of an innovative story.

As much as I was thrilled by Mulligan's performance, the film suffers for the predictability of its conclusion. Think of it as a well-worn path, expertly navigated.

It's 1961, and Jenny is a hard-working, smart girl of working-class origins whose entire life is ordered around getting into Oxford to study English. Her parents (Alfred Molina and Cara Seymour) follow her grades and extracurricular activities as if they have no other interests in life.

One rainy day she bumps into David (Peter Sarsgaard), a suave man about 20 years older who drives a sleek sports car and gives her a ride. He's intrigued by the witty girl so eager to discover the world -- especially France -- and arranges to bump into her again. Soon they're dating.

It's really interesting how David slyly ingratiates himself with Jenny's parents. If you just presented them with the idea of their beloved girl dating a man twice her years (and a Jew to boot), they would probably react with horror. But because David presents himself as smart, well-connected, affluent -- in other words, the epitome of their aspirations for Jenny -- they practically glom onto him.

The teachers (notably Olivia Williams) and headmistress (Emma Thompson) at Jenny's school assail her with warnings about throwing away her future, but she's enraptured by the opportunity to travel, wear fancy dresses and hobnob with David's chic friends (Dominic Cooper and Rosamund Pike).

There's a great scene where Jenny demands her instructors tell why she must spend the next few years doing something "hard and boring," if her only reward is a job like theirs that continues the drudgery. It's a rebel yell in lilting British tones, an outcry against Jenny's own situation and the societal limitations placed on mid-century women with brains and gumption.

Inevitably, Jenny's fling with David replaces her textbooks as her crucible of learning. She gets a hint of dark tidings when he and his pal steal a painting, revealing themselves as rogues who appreciate art for its monetary rather than spiritual value.

And without overtly giving away the ending ... well, think of the most obvious outcome possible, and you've got it.

Still, "An Education" is a worthwhile film because it will be remembered as Carey Mulligan's coming-out party. Audiences, like teachers, always revel when a star pupil announces herself.

3 stars