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Movie Review

George Clooney pours humor and heart into The Tender Bar

Alex Bentley
Dec 23, 2021 | 10:10 am
George Clooney pours humor and heart into The Tender Bar
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In the history of movies, there's no shortage of stories with deadbeat or inattentive fathers. For whatever reasons – patriarchy, jobs taking them away from their families, alcoholism – the idea of bad fathers has had a much larger place in storytelling than good fathers. Fortunately, there are also films like The Tender Bar where a bad father can be counteracted by other people in a child’s life.

Based on the memoir by J.R. Moehringer, the film follows J.R. as both a child (Daniel Ranieri) and a teenager (Tye Sheridan) as he grows up on Long Island. He and his mother (Lily Rabe) live with his grandparents (Christopher Lloyd and Sondra James), who head a large tight-knit family that includes J.R.’s Uncle Charlie (Ben Affleck).

Because J.R.’s father – known only as “The Voice” because he’s on the radio – rarely comes around, Charlie takes J.R. under his wing. Charlie owns a neighborhood bar, and he lets J.R. visit whenever he wants, resulting in a variety of lessons you’d never learn in school. But J.R. also excels at school, giving his family hope that he’ll escape the cycle that keeps them stuck on Long Island.

Directed by George Clooney and written by William Monahan, the film contains some keenly observed storytelling that lets multiple characters shine even when they’re not the focus of attention. The film jumps back and forth in time on multiple occasions, but the structure of the scenes, the funny and insightful dialogue, and the performances by the actors combine to provide much depth to the various relationships.

Most of that stems from the bond between J.R. and Charlie. Although the language they use with each other would raise more than a few eyebrows among polite society, Charlie is fiercely protective of J.R., and his unorthodox behavior is still leaps and bounds better than his actual father's. Clooney and his team nail every moment between the two of them, creating an indelible pair in the process.

Although Clooney the actor has had big success through the years, Clooney the director has been hit-and-miss. But he finds his sweet spot here, pacing the film well and knowing when to push the emotion and when to hold back. The only slight misstep was including voiceover by the adult J.R. (Ron Livingston), something that comes off as more schmaltzy than it needed to be.

The acting in the film is fantastic across the board. Affleck’s movie star roles and off-screen relationships have overshadowed what a good actor he is, something he’s shown on multiple occasions in the past two years. Sheridan has never been better, perhaps because it’s fun to compare and contrast him with the newcomer Ranieri, who’s impossibly cute. All of the supporting characters do great work, even people playing barflies.

The Tender Bar is funny and heartwarming, but it rises above your typical feel-good kind of film. Not everyone will have the kind of relationship that J.R. and Charlie have in this film, but it’s great that a movie like this exists so we can share space with them, if only for a little while.

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The Tender Bar is now playing in select theaters; it will debut on Amazon Prime Video on January 7.

Lily Rabe and Daniel Ranieri in The Tender Bar.

Lily Rabe and Daniel Ranieri in The Tender Bar
Photo by Claire Folger
Lily Rabe and Daniel Ranieri in The Tender Bar.
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Movie Review

Survival takes on new meaning in intense but hokey Whalefall

Alex Bentley
Oct 16, 2026 | 11:35 am
Austin Abrams in Whalefall
Photo courtesy of 20th Century Studios
Austin Abrams in Whalefall.

Austin Abrams has been a professional actor for 15 years, but the 30-year-old seems to just now be getting his due. After years of mostly supporting roles in films like Paper Towns, Brad’s Status, and Weapons, he has been charged with leading two films in 2026 where he’s largely acting by himself: First Resident Evil and now Whalefall.

Abrams plays Jay Gardiner, who has returned home to California a year after the death of his hard-ass father, Mitt (Josh Brolin). The two had a tempestuous relationship, and while his mom (Elisabeth Shue) and sisters (Jane Levy and Emily Rudd) reminisce fondly about him, Jay finds it difficult to come up with good memories. The two did share a connection with the ocean, and Jay decides to honor him by going scuba diving.

Ignoring warnings of whale activity in the area, Jay makes his way out into a notoriously dangerous part of the ocean near their home. Soon after he starts swimming, he encounters a sperm whale chasing after a giant squid. Jay inadvertently gets sucked into the enormous creature’s mouth and, ultimately, inside its body. Faced with a seemingly inescapable situation, Jay’s only hope lies in the lessons his father taught him.

Directed by Brian Duffield and adapted by Duffield and Daniel Kraus from Kraus’ book of the same name, the film is at its best when it depicts Jay struggling to survive within the whale. The claustrophobic nature of the setting and the various obstacles (multiple contracting chambers, the squid, and more) he faces make every scene inside the whale feel as intense and cover-your-eyes scary as any great horror movie.

Naturally, the entire movie can’t be about his survival efforts, and so the filmmakers toggle back and forth between Jay’s ordeal in the whale to memories of times with his father. Not so coincidentally, these remembrances come with subtle or overt wisdom from Mitt that would serve Jay well in his current situation. More often than not, these flashback scenes are so on-the-nose that they come off as cheesy instead of inspirational.

It’s also difficult to derive any big emotions from the story other than revulsion at the way Jay’s body is brutalized while he’s inside the whale. None of the characters in the film receive a notable introduction to the audience before big events start happening. It’s next-to-impossible to be invested in their stories when their personalities are being revealed in bits and pieces throughout the movie.

Abrams does well enough in bringing out the terror Jay feels in the whale and the sullenness/anger he has toward his father in other scenes. But whether it’s because his lines in the whale are hard to understand (he’s often talking around a scuba mouthpiece) or the disconnect the character has with father, there’s just something missing in his performance. Brolin’s performance is one-note, and Shue, Levy, Rudd, and John Ortiz don’t appear enough to make a big impact.

With Kraus onboard as the co-writer of the film, it may be the case that Duffield was not given leeway to change the story of Whalefall too much. What might have worked in the book doesn’t seem to translate equally to the film, and while Jay’s nightmare in the whale is effective, the rest of his story doesn’t come across as successfully.

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Whalefall is now playing in theaters.

austin abrams book to film scuba diving survival theaters whalefall movie review
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