Movie reviews: ‘The Many Saints of Newark’ settles for less as an exercise in nostalgia

THE MANY SAINTS OF NEWARK: 3 STARS

“The Many Saints of Newark,” the sprawling big-screen prequel to the iconic television series “The Sopranos,” feels more like a pilot for a new show than the origin story of one of television’s most famous families.

Broken into three parts, “The Many Saints of Newark,” uses narration, courtesy of Tony Soprano’s late associate Christopher Moltisanti (Michael Imperioli), to break down the movie’s interconnected story shards.

Firstly, there is Dickie Moltisanti (Alessandro Nivola), Soprano Family soldier, father of Christopher, cousin to Carmela Soprano, uncle to Tony. He’s hooked up, wily and impulsive, but also treacherous. When his father, the slick sociopath ‘Hollywood Dick’ (Ray Liotta), returns from Italy with a new bride (Michela De Rossi), it triggers chaos in the Moltisanti family.

In Dickie’s orbit is Harold McBrayer (Leslie Odom Jr.), an African-American numbers-runner for the Mob, galvanized by the 1967 Newark race riots to go out on his own, and finally, Tony Soprano, played by William Ludwig as a youngster, Michael Gandolfini, the late James Gandolfini’s son, as a teenager. As Dickie’s thirst for power spins out of control, he becomes a surrogate father to Tony, hoping to pass along something good to the impressionable younger man as a way to atone for his sins.

“The Many Saints of Newark” is vivid in its portrayal of the period. Covering roughly four years, from 1967 to 1971, it uses the turmoil of that time in American life as a backdrop for the explosive nature of Dickie’s world. That atmosphere of uncertainty makes up for a story that, despite some glorious moments, often feels rushed as it careens toward an ending that doesn’t mine the rich psychological landscape of these characters, which is what we expect from David Chase and “The Sopranos.”

The actors are game.

Nivola brings equal parts charisma, danger and depth to a flawed character who is the ringmaster to the action. Unlike many of the other characters, like the conniving Junior Soprano (Corey Stoll), henchman Paulie Walnuts (Blly Magnussen) or consigliere Silvio Dante (John Magaro), who come with eighty-six episodes of baggage, Dickie is new and can be viewed through fresh eyes.

Michael Gandolfini takes on the Herculean task of revisiting a character his father made one of the most famous in television history and brings it home by showcasing the character’s volatility and, more importantly, his vulnerability. He’s a troubled kid, on the edge of turning one way or the other, and even though we know how the story goes, Gandolfini’s performance suggests there is more to know about Tony Soprano.

If there is a complaint, it’s that both Tony and McBrayer, two of the main cogs that keep this engine running, get lost in “The Many Saints of Newark’s” elaborate plotting. Ditto for the female characters. Despite tremendous work from Vera Farmiga as Tony’s poisonous mother Livia and De Rossi as Dickie’s step-mom, the women often feel peripheral to the tale, in service only to the men’s stories.

“The Many Saints of Newark” brings with it high expectations, but falls short of coming close to the greatness of its source material. “The Sopranos” broke new ground, changing the way gangster stories (and all sorts of other stories) were told on television. “The Many Saints of Newark” settles for less as an exercise in nostalgia.

THE GUILTY: 3 ½ STARS

There is no mention of COVID-19 in “The Guilty,” the new Jake Gyllenhaal thriller now streaming on Netflix. But make no mistake, this is a pandemic movie. A remake of 2018 Danish film “Den skyldige,” it is essentially a one-hander, shot on a just a handful of sets with strict safety protocols in place. Gyllenhaal may be socially distanced from his castmates, but his performance is anything but distant.

Gyllenhaal plays Joe Baylor, an LAPD cop on 911 duty while he awaits a trial for police brutality. As wildfire ravages the city, he’s tied to a phone at the call centre, where he makes his displeasure at his new assignment clear to anyone who calls in. Short tempered, he snaps at his co-workers and even berates his callers for their bad choices — “You did drugs!” — before offering assistance.

His attitude changes when he gets a call from Emily (Riley Keough, who does impressive voice work), a mother of two kidnapped by her abusive ex-husband (Peter Sarsgaard). Their conversation sets off a chain of events that causes Baylor to look inward and reassess the choices that led him to the 911 dispatch centre.

Played out in real time, “The Guilty” builds tension as Baylor races against a ticking clock to bring the situation to a safe resolution for Emily. Director Antoine Fuqua amps up the sense of urgency, keeping his camera focused on Gyllenhaal’s feverish performance. The close-ups create a sense of claustrophobia, visually telegraphing Baylor’s feeling of helplessness and his crumbling mental state.

Gyllenhaal hands in a gripping performance that bristles with determination, ranging from brooding to explosive to resigned. His expressive face fills the screen, and with the exception of some distracting eyebrow acting, carefully guides us down the rabbit hole of Baylor’s anxiety.

“The Guilty” is a no-frills thriller that allows the viewer to imagine most of the action, both in Emily’s plight and Baylor’s head. It breathes the same air as movies like the minimalist “Locke” that do a lot with a little.

THE ADDAMS FAMILY 2: 2 ½ STARS

The weird and wonderful Addams Family, Gomez (Oscar Isaac), Morticia (Charlize Theron), Wednesday (Chloe Grace Moretz), Pugsley (Javon ‘Wanna’ Walton) and their chrome-domed Uncle Fester (Nick Kroll), are just like any other family. Sure, they live in a house of horrors and are “mysterious and spooky and all together ooky,” but underneath it all, they are a regular, loving family.

The latest instalment in their lengthy documentation of family life, the animated “The Addams Family 2,” now playing in theatres and premium VOD, sees Gomez and Morticia, like so many parents, concerned that their kids are growing up too fast.

The action begins at Wednesday’s high school science fair. When she only earns a participation award for her project — transferring octopus intelligence into her Uncle Fester — she becomes more withdrawn than usual. To bring the family back together, Gomez and Morticia plan a family road trip to — where else? — Death Valley.

Along the way complications arise, including Cyrus Strange (Wallace Shawn, son of editor William Shawn who ran the Addams Family cartoons for decades in the pages of the New Yorker), an evil scientist who convinces Wednesday she is not really part of the Addams Family.

“The Addams Family 2” has top flight voice work from Isaac, Theron and especially Moretz, who nails the detached but spirited tone of her death-obsessed character. Her empowerment — “I’m not a freak,” she says, “I’m a force of nature.” — will also likely strike a chord with anyone who has felt like an outsider.

What the film doesn’t nail, however, is that Addams Family X-factor, the sense of gleeful dread. This is mainstream family animation, padded with songs and dance numbers, that smooths out the offbeat, macabre heart and soul of the source material. It’s goofy, not ooky, with none of the eccentric charm of the 1960s TV show.

Directors Greg Tiernan and Conrad Vernon bring a light touch to the story, where none was needed.