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Movie Review

Stronger is a weak excuse for an inspirational movie

Alex Bentley
Sep 21, 2017 | 9:01 am
Stronger is a weak excuse for an inspirational movie
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Less than five years removed from the Boston Marathon bombing in 2013, Hollywood has decided that now is the time to relive the event and/or honor the people who were affected by it. Patriots Day, released earlier this year, overreached, trying to tell the story of the entire city. Stronger goes in the opposite direction, telling the story of one specific survivor, Jeff Bauman.

As presented in the film, Bauman (played by Jake Gyllenhaal) is a rough-around-the edges kind of guy, someone who screws up at work, drinks way too much, and is never really there for his on-again, off-again girlfriend, Erin (Tatiana Maslany). The one time he does show up for her just so happens to be when she runs the Boston Marathon. And he happens to stand next to one of the two bombs detonated near the finish line that fateful day.

The bomb obliterates the lower half of both of his legs, leaving him to face months of recovery with help from Erin and from his family. However, his family members, including his mom, Patti (Miranda Richardson), had been kind of a mess before he lost his legs, and they don’t improve much after the incident. Their relative lack of support puts Erin on an island with Bauman, who, as one could imagine, has a lot of trouble dealing with the aftermath of the bombing.

The traditional trajectory of a movie like this is that we meet our hero, who then gets knocked down a time or three, only to rise up due to sheer perseverance and possibly the help of someone who never leaves his side. Director David Gordon Green and writer John Pollono, working from Bauman’s book, seem uninterested in making Bauman into a traditional hero. In fact, they go so far in the opposite direction that it’s almost shocking.

Instead of appreciating Erin and other people trying to help him, Bauman lashes out on multiple occasions. It would be easy to chalk this up to the post-traumatic stress he’s enduring, but the manner in which it’s portrayed makes it seem more like a character flaw. Things reach a head during an ill-conceived drunk driving scene with Bauman at the wheel. The moment appears to be played for laughs, ending with a cop asking for Bauman’s autograph, with no apparent punishment coming.

Similar to Patriots Day, Green and Pollono have a lot of trouble figuring out the tone of the film. Bauman and his family are so aggressively “Boston” that it becomes ridiculous. The drinking, the accents, and the belligerent behavior are so constant that it’s impossible to take them seriously. The audience’s natural instinct is to root for Bauman and his family, but the storyline we’re presented makes it almost impossible to do so.

One could say that Green and Pollono are merely showing the people with warts and all, but the problem is that doesn’t make for a very good movie. It may be the truth, but it’s about as far from inspirational as you can get. It’s difficult to feel inspired when many of the characters are off-putting and uninteresting.

Gyllenhaal seems to specialize in characters with questionable morals, and Bauman certainly fits in with others he’s played. The most impressive part of the film, both technically and acting-wise, is presenting Gyllenhaal without legs. There’s not one moment you question that fact, and it’s due to both the CGI work and Gyllenhaal’s acting skills, which are second to none.

Also impressive are Richardson and Maslany. Richardson, an English actress who often plays upper crust English roles, absolutely disappears into the role of Patti. Maslany, an Emmy winner for playing multiple roles on Orphan Black, acquits herself well in her first major film role.

Despite some good acting, Stronger is the most feel-bad feel-good movie of the year. Jeff Bauman actually may be an inspiring figure, but this film does everything it can not to show it.

Jake Gyllenhaal in Stronger.

Jake Gyllenhaal in Stronger
Photo courtesy of Lionsgate and Roadside Attractions
Jake Gyllenhaal in Stronger.
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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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