The Tender Bar

Release: Friday, December 17, 2021 (limited)

👀 Amazon Prime

Written by: William Monahan

Directed by: George Clooney

Starring: Ben Affleck; Tye Sheridan; Daniel Ranieri; Lily Rabe; Max Martini; Christopher Lloyd; Briana Middleton

Distributor: Amazon Studios

 

 

**/*****

Movies about aspiring writers too often come across mawkish and cheesy. It’s almost a condition, something that just comes with the territory and which the likable but cliché The Tender Bar doesn’t do enough to defend against.

Orange County set on the East Coast, more specifically Long Island, The Tender Bar is a coming-of-age drama based on the memoir written by Pulitzer-prize winning novelist and journalist J.R. Moehringer. Filtered through thick accents and an unabashedly sentimental lens, it charts his path from humble upbringings to Yale University and a bit beyond, exploring the influence that his family had on shaping his dream. Yet for all its good intentions and stretches of excellent acting, it’s a strange feeling to sit through something as banal as what we get here, considering the talent both in front of and behind the camera and the Oscar-winning pedigree of screenwriter William Monahan (The Departed).

While it’s certainly not the latter’s best effort — the dialogue is often corny, most of it unfortunately spouted by Ron Livingston in his Wonder Years-like voice-over — this is more about George Clooney phoning it in as director, failing to girder Moehringer’s memoir with a compelling cinematic treatment. If this were your introduction to the subject (as it was for me) you might come away shrugging the whole thing off as inconsequential. Moehringer is an accomplished writer but the hackneyed presentation doesn’t make him seem very interesting.

About the only distinction The Tender Bar has is a terrific performance from Ben Affleck, who becomes the role model J.R.’s biological father never was interested in playing, particularly in his childhood. He plays Uncle Charlie, a stabilizing force in the chaotic house into which young J.R. (introducing Daniel Ranieri) and his mother (Lily Rabe) are flung at the movie’s open. He’s also the bartender at The Dickens, a little hole-in-the-wall where dozens of books line the shelves alongside the booze. It’s here where J.R. spends much of his time, sipping Coca-Cola and inhaling life advice from his sleeper-genius uncle, whose own murky career goals belie the clarity of his wisdom.

The movie’s other asset is Max Martini who provides the antithesis to Affleck’s charm and warmth. As J.R.’s father, a radio deejay only referred to as “The Voice,” he doesn’t appear for long but enough to leave a bruise. The inevitable confrontation between him and his upward-trending son (now Tye Sheridan — amiable if unremarkable), although patently predictable given Clooney’s strict adherence to formula, lends tension to a story where most obstacles are cleared without effort. And if not effortlessly cleared, needlessly repeated — Briana Middleton’s appearance as a love interest does nothing to advance the story, only to remind of the elitism that swirls at the Ivy League level.

The condescension J.R. experiences here is what we feel throughout much of the story. The Tender Bar is pleasant enough but also basic. Like its subject and his needing to know what his initials stand for, it’s constantly searching for an identity of its own.

You’re the greatest inspiration in my life, bar none

Moral of the Story: Though sometimes too schmaltzy, The Tender Bar has occasional moments of affecting character work, especially between Affleck and the young Ranieri. But he gets along famously with both actors, and it’s that dynamic I’d recommend more than anything else here. Without trying to sound snobby, it’s just not a particularly deep movie. 

Rated: PG-13

Running Time: 104 mins.

Quoted: “I want to be a writer, but I suck.”

“Well, when you suck at writing, that’s when you become a journalist.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; http://www.imdb.com 

Month in Review: December ’19

Happy New Year from Thomas J! New year, new decade and a new slate of movies to take in and start complaining about immediately! 😀 Let’s do it!

I’ve come out of 2019 tripping over my own damn shoelaces. Not only did I botch the landing when it comes to finishing off the Marvelous Brie Larson actor feature within the year (that final installment is still coming by the way, it’ll just be posted in a new decade instead), I reviewed exactly none of the movies I watched in December: The Irishman; The Report; Waves; The Two Popes; Uncut Gems; Ford v Ferrari; Tennessee Walking Man.

But that’s why these monthly re-caps are handy, right? Below you’ll find a few blurbs about a select few of those titles, and while these movies absolutely deserve more expanded reviews — two of them were really best-of-year material for me — I feel like getting something out now is better than likely nothing later.

How long can you keep a movie in your head before the details start to blur? If you write reviews, are you a note-taker or a no-note-taker? 

For those who missed it, here’s what little actually did happen on Thomas J during December.


New Posts

Theatrical Releases: Jojo Rabbit

Alternative Content: When a Song Gets Bigger than the Movie: Walking on a String


Bite Sized Reviews: Three from, uhh, November 

Waves · November 15, 2019 · Directed by Trey Edward Shults · Texan-born indie director Trey Edward Shults is in the family business — all three of his films thus far have been about families in crisis. Waves is his follow-up feature to his 2017 horror/thriller It Comes at Night and in it he provides one of the most extraordinary, if not also painful film experiences of the year. Replacing the cold and lifeless backwoods of the Appalachians with the sunny and vibrant coastlines of South Florida his new film may not take place in as much literal darkness but as an exploration of guilt and grief, a testament to familial love and perseverance, it certainly goes to some deep and dark emotional places. A powerfully affecting journey that follows an African-American family through a tragedy and how they come together again in the aftermath, it’s really the authenticity of the performances you notice first. Not a single actor here registers a false note, yet it’s perhaps Kelvin Harrison Jr. (returning from It Comes at Night) who crests the highest, encapsulating both the Jekyll and the Hyde sides of his gregarious, fun-loving and athletically gifted Tyler. When he receives some medical news that’s not necessarily favorable for his plans to go to college for wrestling, he goes into a tailspin that ends up having devastating consequences for his entire family. Beyond its excruciatingly personal story Waves also has a stylistic quality that is impossible to ignore. As a movie about what’s happening on the inside, very active camerawork and the moody, evocative score — provided by Trent Reznor and Atticus Ross — work in concert to place you in the headspace of the main characters. It all adds up to an experience that’s felt more than just passively taken in, and by the end of it you’ll feel both rewarded and exhausted. (5/5)

The Report · November 15, 2019 · Directed by Scott Z. Burns · This dour-faced legal thriller (available via Amazon Prime) details the efforts of a young and ambitious White House staffer named Daniel Jones (Adam Driver) as he leads an investigation into the CIA’s use of “enhanced interrogation techniques” in the aftermath of the September 11 terrorist attacks. The five-year process would result in a 6,700-page document called The Torture Report and, ultimately, in the McCain-Feinstein Amendment being passed in November 2015. What begins as an inquiry into the destruction of  videotapes by a high-ranking CIA official — this at the behest of California Senator Dianne Feinstein (Annette Bening) — builds into the largest investigative review in Senate history, with Jones both making a name for and a nuisance of himself even after the Bush administration has left the building. Director Scott Z. Burns confidently guides us through an information-dense narrative, and Driver’s stoicism is well-matched by the gravitas provided by a very good supporting cast, which include but is not limited to the likes of Jon Hamm, Maura Tierney, Tim Blake Nelson, Jennifer Morrison, Corey Stoll and Ted Levine. Ultimately a quiet celebration of a whistleblower who’s name has already been forgotten, The Report is perfectly watchable though not exactly what I would call gripping drama. (3.5/5) 

Ford v Ferrari · November 15, 2019 · Directed by James Mangold · A pure joy ride from start to finish, James Mangold’s Ford v Ferrari does for Le Mans what Ron Howard’s Rush (2013) did for Formula 1. It alleviates the air of elitism that tends to hang over these kinds of races with a crowd-pleasing tale of triumphing over the odds. You don’t have to be a car enthusiast to feel the thrills of these movies. Ford v Ferrari is a superior racing movie because not only does it describe multiple levels of competition, the most fascinating scenes are those that take place behind closed doors at the Ford Motor Company as a clash between blue and white collars threatens to derail the company’s grand plans of besting Ferrari at the 24 Hours of Le Mans, a brutal endurance race that tests the very limits of mechanical integrity and driver performance. That’s not to say the sequences along the Circuit de La Sarthe aren’t positively thrilling themselves. But Ford v Ferrari really puts its characters first, and you have to admire Mangold because there are a lot of human components and even more technical ones to juggle. Like a finely tuned engine all those parts work in harmony with one another — and Christian Bale and Matt Damon as British racer Ken Miles and acclaimed American car builder Carrol Shelby once again prove why they’re so highly paid actors. The result is a racing movie that may just be one of the year’s best movies, period. (4.5/5)


All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: IMDb; IMP Awards