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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.

    ---

    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

    Michael Jackson can do no wrong in fawning biopic Michael

    Alex Bentley
    Apr 23, 2026 | 1:01 pm
    Jaafar Jackson in Michael
    Photo by Glen Wilson
    Jaafar Jackson in Michael

    Among the complicated figures in pop culture history, Michael Jackson has to be at or near the top. On one hand, he’s responsible for some of the most enduring music of all time, thrilling generations with his voice and dance moves. But his later years were marred by accusations of child sexual abuse and erratic behavior, including his premature death at the age of 50.

    So the new biopic Michael is a tough one to judge from a critical standpoint, not least because director Antoine Fuqua and writer John Logan have elided - perhaps temporarily - the thornier parts of Michael’s history. Instead, this film focuses on the 20-year period in which Michael (played as an adult by Michael’s nephew Jaafar Jackson) goes from the prepubescent lead singer of the Jackson 5 to one of the biggest music superstars of all time.

    That choice puts an overly sympathetic tint to Michael’s story, as he spends most of that time under the thumb of his domineering father, Joseph (Colman Domingo). Joseph has a vision for Michael and his brothers, and he pushes them hard in a quest to become rich and famous. Even when they achieve that goal, though, Joseph refuses to let up, holding onto Michael even when it’s clear he should go out on his own.

    As a reminder of the enormous impact Michael Jackson had on the music industry and world at large, the film is successful. Fuqua and Logan include plenty of music, naturally, but they seem to be most interested in depicting Michael as a human being. They lay it on thick, whether it’s showing him spending time among his family members away from the stage, hanging out with bodyguard Bill Bray (KeiLyn Durrel Jones), or visiting sick kids in hospitals. The message that Michael is a harmless, good person couldn’t be clearer.

    The film hints at but doesn’t really explore Michael’s oddities. His obsession with kids literature and movies, especially Peter Pan, are seen as inoffensive quirks, as is his menagerie of animals, including a creepy CGI version of Bubbles the chimp. His arrested development seems to be partially blamed on his parents treating him like a child well into his adulthood, and the resulting fallout is not (yet) addressed.

    Many viewers will be most interested in the music sequences, and - save for some repetitive shots of fans fainting at the mere presence of Michael - they are handled well. Whether it’s at home, in the studio, on the set of the “Thriller” video, or at live performances, the film manages to fully get across just what a phenomenon Michael was at his peak. The staging and editing of each scene is dynamic, complementing Michael’s other-worldly abilities well.

    If there is one reason to see the film, it is the performance of Jaafar Jackson. Whether he’s capable of doing any other kind of role is undetermined, but his portrayal of his uncle is compelling, as he demonstrates singing, dancing, and acting skills in equal measure. He’s aided by an equally great performance by Domingo, who - with the help of facial prosthetics - overcomes the trope of the bad father. Nia Long and Larenz Tate are also good in smaller roles, but Miles Teller is an odd presence as Michael’s manager.

    There are reports that legal complications prevented the filmmakers from using previously-shot scenes delving into accusations against Michael, and there are rumors that a second film will be made about the last 20 years of his life. But that speculation can’t absolve Michael of showing all the positive aspects of Michael Jackson’s life and not even touching any of the negative ones.

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    Michael opens in theaters on April 24.

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