History has a way of repeating itself. And with his second directorial effort, Academy Award Winning screenwriter, Aaron Sorkin (The Social Network), transports us back in time to 1968, during the pinnacle of Vietnam protests where demonstrators and law enforcement clashed in an eruption of violence that mirrors the recorded imagery of present-day America. People were divided, political animosity had reached a boiling point, and a pivotal election was on the horizon. Ultimately, it was the result of that bitter 1968 election which set the stage for Sorkin’s latest film, The Trial of the Chicago 7, one that he demanded to be released by its distributor prior to election day 2020, with the hopes that maybe this time around history won’t repeat itself.

The Chicago 7 opens with a montage of footage regarding the assassinations of both Martin Luther King Jr. and Robert Kennedy over a mere two-month span. Advocates for peace were being buried with bullet holes in their head, leaving anti-war groups with little hope that a non-violent approach would enact change and end the bloodshed abroad. Protest leaders like Tom Hayden (Eddie Redmayne), Abbie Hoffman (Sacha Baron Cohen), Jerry Rubin (Jeremy Strong) and David Dellinger (John Carroll Lynch) attempted to obtain permits for peaceful protests in Lincoln Park, but were denied by the city’s mayor. After many days of protesting that included multiple violent encounters between law enforcement and protesters, disarray surrounding the Democratic party resulted in a loss of the election. Five months later, after Nixon took office as President of the United States, the surprising arrest of these protest organizers on federal charges of crossing state lines to incite violence sparked a controversial, months-long trial that placed the usage of America’s judicial system as a tool for political warfare under the public microscope.

The true story behind this iconic moment in United States history is unavoidably complex and detailed. Yet, the living wordsmith Aaron Sorkin delivers such a sleek and crisp script that unveils key components of these event in a purposeful and periodic non-chronological manner. Sorkin wastes very little time placing the audience inside the courtroom, where a majority of the film occurs and a setting that is a true comfort zone for the writer-director. And while The Chicago 7 never quite reaches the same heights as Sorkin’s legendary 1992 screenplay for A Few Good Men, there is still plenty to appreciate in this newest work. Humor and heaviness do a delicate dance between the pages of this script. The silliness of Sacha Baron Cohen’s and Jeremy Strong’s hippie figureheads make for exceptional comic relief when it’s so desperately needed. However, their hilarious quips and antics clearly take the backseat to a more serious and ominous tone that addresses themes of racism, politicizing our criminal justice system and violence at the hands of law enforcement.

The Chicago 7 is not only a brilliantly-penned screenplay, Sorkin also steps-up his game behind the camera as the direction here represents a stark and noticeable improvement over his debut film, Molly’s Game. Furthermore, it would be a grave injustice to avoid mentioning this star-studded cast and the outstanding onscreen performances given by this ensemble. Outside of the stellar and obvious lead performances from Redmayne, Strong and Sacha Baron Cohen, Oscar Winner Mark Rylance (Bridge of Spies) brings to life such a noble and naïve character as defense attorney William Kunstler, and Frank Langella will crawl under your skin as Judge Julius Hoffman, an unfair ruler of law. These performances, in conjunction with Sorkin’s writing, create a handful of unforgettable onscreen moments. Yet, the constant busyness of having to provide an abundance of details occasionally leaves the film feeling flat in between these masterful scenes. The Chicago 7 may not be Sorkin at his best, but Sorkin not at his best is still extremely worthwhile. You can catch this bona fide Best Picture contender streaming on Netflix right now.

Stars: 4/5

The long-awaited Queen biopic Bohemian Rhapsody has finally reached the big screen after being in development for the better part of a decade. It felt like eons ago when Sacha Baron Cohen agreed to star as rangy vocalist Freddie Mercury in what was believed to be an outrageously edgy and risqué examination of the controversial frontman. However, three years after Sacha Baron Cohen’s announcement in 2010, and significantly further into the film’s push to production, creative differences between the living band members and the film’s star finally reached a boiling point. Sacha Baron Cohen walked away from the project after refusing to settle for a PG-13 version of Mercury’s life told against the backdrop of Queen’s legendary rise to stardom, but the producing band members ultimately won out as that’s exactly what we’re given with Bryan Singer’s frustratingly tame and wildly inaccurate musical biopic.

It’s the early 1970s and a young Farrokh Bulsara (Rami Malek) escapes from his faith-driven household by attending local rock shows. And upon crossing paths with a talented group of musicians who ironically lose their singer, Farrokh steps out from the shadows and offers a generational voice to their musical abilities. From there, Queen quickly climbs up the rock and roll ranks lending its hand to Farrokh’s name change (to Freddie Mercury) and a host of reckless inhibitions that ultimately lead to the singer’s sad and tragic demise.

Artistic freedom is at a premium as Bohemian Rhapsody completely rewrites historical fact in this soulless cycle through Queen’s greatest hits. Everything from the film’s portrayal of the band’s epic reunion to perform at 1985’s Live Aid concert to when Freddie discovers his terminal diagnosis couldn’t be further from the truth. Instead, Anthony McCarten’s hollow screenplay navigates through Queen’s formation and explosion onto the rock scene with amateurish nuance and half-hearted dramatics. Yet, leading star Rami Malek does build an interesting main character while adequately handling his role as the flamboyant singer. I do believe the hype is reasonably overblown, though. Malek is fine but far from sensational, and I legitimately question his odds of earning an Oscar Nomination at this point. Malek certainly isn’t aided by his co-stars or script, as both are instantly forgettable. Bohemian Rhapsody struggles with giving in to tired clichés. And every time you begin to hope that the film will turn a corner and offer some semblance of originality, you’re instantly reminded that every scene is masquerading as an artificial checkpoint rather than serving as an organic vessel into the unpredictable mind of vocal icon Freddie Mercury and those around him. On a brighter note, I will say that Bryan Singer’s phenomenal shot leading into Wembley Stadium as Queen prepares for its 20-minute set at Live Aid is absolutely remarkable. In fact, Rami Malek perfectly imitates Mercury’s mannerisms from that iconic performance and it helps close out the film with a strong, much-needed finish. There are moments of promise scattered throughout Bohemian Rhapsody, yet Bryan Singer’s work mostly remains a dull and overtly mild depiction of an anything-but-docile superstar.

GRADE: 2.5/5

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It’s been 5 years since our last foray with Alice In Wonderland and today the first full trailer for the sequel debuted online. ‘Alice Through The Looking Glass’ returns with most of the cast — among them Johnny Depp, Anne Hathaway, Mia Wasikowska and Helena Bonham Carter and the voices of Stephen Fry, Alan Rickman and Michael Sheen. This time Tim Burton is not directing, and James Bobin (Muppets) will have that honor.

Newcomer Sacha Baron Cohen plays Time, who is part-human, part-clock. When Alice returns to Wonderland, she must go on a quest to borrow the Chronosphere, a metallic globe inside the Grand Clock’s chamber. This sends her into the past, where she comes across friends and enemies at different points in their lives, and a race to save Depp’s Hatter before time runs out.

Disney’s ‘Alice Through The Looking Glass’ is in theaters May 27!

https://www.youtube.com/watch?v=OiEG3Zr_Jxs

Sacha Baron Cohen thrives on every ounce of controversial attention that he receives. The multi-talented actor, among other things, ingenuously helped re-spawn the mockumentary genre with his 2006 hit Borat. As a spinoff to a character from his HBO television show Da Ali G Show, Cohen constructed one of the funniest satirical comedies in recent memory. After a far less applauded follow up with his 2009 dud Bruno, Cohen and his joint-at-the-hip director, Larry Charles, have teamed up for a third attempt. And this time, they hope to restore their glory with The Dictator.

The Dictator follows Admiral General Aladeen (played by Cohen), the dictator from a North African country called Wadiya, during his travels to the United States. While in the U.S., Aladeen plans to address worldwide rumors that he is developing nuclear weapons. However, during his slumber in a New York City hotel room, Aladeen becomes the target of a ploy and is kidnapped by a U.S. government official. In the midst of his interrogation, the dictator has his signature beard cut off. Therefore, when he escapes from his kidnapper, Aladeen is left alone and unrecognizable while trying to survive in NYC. With the aid of a store clerk named Zoey (played by Faris), Aladeen attempts to restore himself to power.

With The Dictator, director Larry Charles and creator Sacha Baron Cohen once again dive head first into the realm of absurdity. In usual form, the pair continue their pursuit of stirring up controversy and habitual line crossing. Hence, The Dictator provides plenty of “guilty” laughs and cheap thrills that seem all too familiar. Far from the greatness attained by their debut collaboration Borat, the duo’s most recent effort falls short of their obvious potential. Incorporating a highly outlandish and barren plot with large amounts of shock value, the film’s comedic tone feels all too unimpressive. The Dictator, at its core, is nothing more than rehashed ideas thrown together in a jumbled, nonsensical script. It becomes clearly evident that Cohen cares more about stunning the audience than genuine filmmaking.

Although The Dictator is a far less successful attempt than their 2006 masterpiece Borat, the movie does manage to offer a constant source of laughs. Its cleverness is surely inferior to its predecessor, but the jokes still run rampant and some are undeniably hysterical. To its benefit, the feature succeeds in forcing the audience to laugh at scenes that they know they shouldn’t find funny. Much like Borat, this infectious guilt almost becomes addictive and serves as the movie’s brightest aspect. Furthermore, the film uses a minimal 83 minute runtime to its advantage. Never feeling abundantly dull or drawn out, Cohen and Charles seemingly recognize their limitations and take the safe approach by keeping the story simple.

As a comedy, The Dictator is a serviceable addition to the genre. On the other hand, as a movie in general, The Dictator lacks any real substance or fortitude. If you’re interested in seeing another typical Sacha Baron Cohen film at work, then you’ll probably find it amusing. However, level your expectations because The Dictator is far from the groundbreaking effort that Cohen once offered.

Stars: 1 and a half stars out of 4

Grade: C-

 

Staff writer MCDave can also be found spewing nonsense at Movie Reviews By Dave

This week the big news was that the Oscars have taken away Sacha Baron Cohen’s tickets out of fear he’d pull a major stunt to promote his new film The Dictator. In an act of proving them right and also not making the film he’s promoting look nearly as funny as it probably is. Sacha Baron Cohen has posted this video on his youtube in character of The Dictator’s Admiral General Aladeen.