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    Running Down a Dream

    Charismatic Costner coaches McFarland, USA out of sports-movie mold

    Alex Bentley
    Feb 20, 2015 | 12:00 am
    Charismatic Costner coaches McFarland, USA out of sports-movie mold
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    If you’re watching a sports movie, especially one made by Disney, you can usually count on several things: a person or team overcoming seemingly insurmountable odds; resistance to said person or team, often for peculiar reasons; and the wringing out of emotions, whether warranted or not.

    The refreshing thing about McFarland, USA is that it plays into all of those clichés but does not get dragged down by them. Jim White (Kevin Costner) is a combustible coach on the verge of losing his career when he comes to McFarland, California, a small town populated mostly by Mexican laborers working at nearby farms.

    The refreshing thing about McFarland, USA is that it plays into those sports-movie clichés but does not get dragged down by them.

    Noticing the boundless energy some boys display running to and from the fields, White recruits them to start a new cross country running team. To get to the elite status required to compete at the state level, the team must not only conquer other schools, but also bigger obstacles, like being torn between practicing or picking in the fields to make money for their families.

    Unlike many movies of this kind, McFarland, USA is about more than just the sport that binds everything together. Director Niki Caro and a trio of writers examine the realities of living in a town like McFarland, from its inherent poverty to the community and culture that comes out of so many similarly minded people living in proximity to one another.

    Almost from the start, the idea of family is front-and-center in the film, and it remains in play whether dealing with someone’s actual blood or the connection that comes with pursuing a team goal. The running scenes take on extra meaning not just because the team continues to improve as time goes along, but also because of the support they give one another.

    That’s not to say that the film is without faults. The set-ups to various opponents’ making snide or racist comments toward the McFarland team feel obvious and clunky, as do a handful of other sequences. But the predictable ending turns out to be not so predictable, thanks to the early definition of key characters. The film also earns bonus points for respecting the Mexican people and not falling into stereotypes.

    Even if he’s a bit old to be playing this particular part, Costner is at his charismatic best as White. The actors playing the runners, especially Carlos Pratts and Hector Duran, do a great job of bringing out their characters’ joy, pain and frustration. And complementary actors like Maria Bello, Morgan Saylor and Diana Mara Riva round out an interesting cast.

    Go ahead and give in to the charms of McFarland, USA. It inspires both with the success of its team and by what a community can do when the odds are stacked against it.

    Kevin Costner and Carlos Pratts in McFarland, USA.

    Kevin Costner and Carlos Pratts in McFarland, USA
    Photo courtesy of Walt Disney Studios Motion Pictures
    Kevin Costner and Carlos Pratts in McFarland, USA.
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    Movie Review

    Great acting and directing drive The Christophers to artistic heights

    Alex Bentley
    Apr 17, 2026 | 1:59 pm
    Michaela Coel and Ian McKellen in The Christophers
    Photo by Claudette Barius
    Michaela Coel and Ian McKellen in The Christophers.

    Director Steven Soderbergh is one of those filmmakers who — aside from the Ocean’s series — never seems to make the same kind of movie twice. He is somehow able to adapt his abilities to all sorts of different stories, making each of them as compelling as any other. His latest masterclass is in the London-set film, The Christophers.

    Lori Butler (Michaela Coel), who restores art for a living, is approached by brother and sister Sallie and Barnaby Sklar (Jessica Gunning and James Corden) with a scheme. They want her to become the new assistant for their aging father, Julian (Ian McKellen), a famous artist known for a series called “The Christophers,” in order to gain access to unfinished paintings from the series and complete them herself.

    Lori accepts the deal despite having some uneasy feelings about Julian, with whom she had a bad interaction years ago. Julian is just as wary, both because he knows of his children’s interest in the unfinished works, and because he would prefer to be left in peace. Although the trepidation on both sides continues for the bulk of the story, a grudging respect arises between two artists who know skill when they see it.

    Directed by Soderbergh and written by Ed Solomon, who last collaborated on No Sudden Move, the film is astonishing in its ability to be compelling with such a small story. Much of the film is spent inside Julian’s multi-story home as Julian and Lori have low-level confrontations about a variety of things, including the meaning of his art, her abilities, the fate of the remaining “Christophers,” and more. Each conversation brings out more detail about their worldviews and their thoughts about their lot in life.

    Much of the success of the film lies in the performances of McKellen and Coel. The 86-year-old McKellen has not lost his ability to astonish with the spoken word, and the monologues he delivers are engrossing even when they’re about mundane things. Coel, best known for the 2020 HBO show I May Destroy You, is a great foil for McKellen, never backing down from his challenges and giving her own unique takes on her lines.

    While the film can be enjoyable for non-art lovers, those who appreciate the vagaries of the art world will have a lot to chew on. Soderbergh and Solomon debate a lot of aspects of art, including whether it’s possible to separate the art from the person making it, why some art is valued more than others, the ethics of forgery, and more. Because the film is about a fictional artist, it gives the filmmakers a bit more freedom in their criticisms.

    Aside from McKellen and Coel, Gunning (Baby Reindeer) and Corden are the only other two people who get significant screen time in the film. Both of them are, let’s say, acquired tastes, and each gives an elevated performance that matches the energy of their respective characters. Tilly Botsford makes a nice impression in a small role as Julian’s masseuse.

    Soderbergh’s last three films — Presence, Black Bag, and now The Christophers — have nothing in common other than the expert filmmaker helming all of them. When you can make a ghost story, a spy film, and a small film about artists equally interesting, you know you’re doing something right.

    ---

    The Christophers is now playing in theaters.

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