The Night Of (2016)

The word that immediately comes to mind is harrowing. It's just absolutely devastating. The first episode is especially tense. My fists were clenched the whole episode in dread and anticipation. The brilliance of The Night Of is that despite the mood of impending doom that pervades the whole series, there are moments of levity. Morgan drew a good comparison to the Good Wife, with its eccentric cast of recurring lawyers and judges (John Turturro is great fun).  I think the obvious comparison is to When They See Us, also about the false accusation of a young man of color in the murder of a white woman and an ensuing look at the New York criminal justice system. He is first prosecuted in the media, and then he is forced to learn to adapt to prison life. Riz Ahmed is transformative as Nasir. He's one of the most exciting young actors today. The standard of proof in a criminal case is beyond a reasonable doubt. To me, there was plenty of room for doubt, but I was sure the jury wouldn't see it (Though the mystery is resolved by the end, it's never really about who did it. It's about whether the system will punish him anyways). I was expecting that kind of devastating ending. I was so relieved when the jury declared a mistrial and the prosecutor did the right thing. Her closing statement was rife with tension, unsure if she'd follow through on what she knew to be wrong. That said, the trial seemed unrealistic, but better for TV. It seemed like a lot of the discovery was unreasonably late, and the direct examinations sounded more like cross.
 

The Queen's Gambit (2020)

The Queen's Gambit is a very watchable limited series that manages to make chess engaging. That's no small feat. This will be the cause of a whole new generation of chess fans. Funnily enough, it succeeds by not explaining any of the chess whatsoever. That way, novices who don't know the first thing about chess aren't left out. But people that do understand some chess don't have anything to follow either. The drama is not in the tactics of chess. They discuss strategy without explaining the strategy. She moves a piece but it doesn't mean anything to us. She just looks good doing it. I do feel like there was a missed opportunity to contextualize the movie more in the Cold War. The final episode sets up Chekov's gun that never goes off; Borgov makes two unexpected moves in the game, potentially a signal that he wants to defect, as the State Department official had warned Beth to be on the lookout for, but they never play that out.

Anya Taylor-Joy is magnetic. The whole show does have an amazing look. The Sixties set pieces and costumes are luscious. Beth criss-crosses the globe like she's in a spy movie (but again the Cold War spies don't really factor in). I love the visual of the imaginary chess pieces on the ceiling. The camera sometimes sits right behind the upside-down piece so you get something like an over-the-shoulder shot where you see a fraction of the rook or knight in the foreground--it's an interesting choice.

Wildlife (2018)

Man, Wildlife is boring. I acknowledge that it is well composed and Carey Mulligan is divine. But Montana is really uninteresting. And the movie is quiet and slow and wholly depressing. This poor kid is trying to hold his family together and he gets zero help. It's hard to appreciate the great performances through the depression.

Molly's Game (2017)

Aaron Sorkin's directorial debut is very Aaron Sorkin. It runs 140 minutes, and that's with Sorkin-speed speech. Acting in a Sorkin film requires skill. You must memorize your lines by heart so you can spit them back at rapid speed without thinking. That's acting. And it's never easy dialogue. It's brainy. There are unfamiliar words. You gotta become familiar with poker terms and American law. Even for a generally educated person, it can be a little difficult to follow at that pace. But that's what's so great about Aaron Sorkin. He doesn't talk down to you. He pulls you up. He's a smart guy that makes the audience keep up with him. The narrative structure in this movie is a little weird, with Chastain narrating her story in her book being read by her lawyer preparing for court. But it works. Jessica Chastain and Idris Elba are both great Sorkin-actors. Everything comes around full circle. Nothing is forgotten, everything is deliberate. I appreciate that Elba is cast as her lawyer, an smart and articulate and influential black man--the only black man in a story almost exclusively populated by powerful white men. It's tight writing about a strong female lead that doesn't require sex to tell an interesting and intense story. I have a feeling Sorkin will be doing more directing in the future.