1780: Redcoats vs. a Pennsylvania Farmer

Honore is the sort of yeoman farmer British officers considered trash. However, their ability to shoot straight, live off the land, and blend into their surroundings helped America win the Revolutionary War. A rogue contingent of Redcoats learns that the hard way in Dustin Fairbanks’ 1780, which is now available on VOD.

Grizzled Honore had Patriotic sympathies, but surviving Brandywine dampened his fervor. He also had personal responsibilities to tend. First and foremost was reclaiming custody of Miles, the son he hardly knows. That is a long, tragic backstory that will be revealed over time. Regardless, Honore largely made his own separate piece, until Miles finds a dead Continental soldier on his father’s property.

Except, Abner is only “mostly dead.” He still has some breath left in him, and even starts to recover a bit after resting in Honore’s cabin. However, Roberts and his men were hunting Abner and his comrades, for reasons they wish to keep out of official reports. Nevertheless, Roberts still believes officers should act like gentlemen, at least to some extent. In contrast, his junior officer, Wallace, is a sadist who prefers scorched earth tactics.

Since Thomas, Honore’s every-man-for-himself neighbor, led the Redcoats right to Honore’s farm, Roberts and Wallace inevitably discover he is sheltering Abner. This leads to a standoff, with the Patriots at a clear tactical disadvantage. Regardless, Honore’s first priority is protecting Miles.

1780 is small but resourceful film that boils down the Revolutionary War to a microcosmic level. PJ Marshall is terrific as Honore, following in the taciturn but charismatic tradition of Clint Eastwood and Gary Cooper. He inspires confidence, especially when aiming a musket. Kevin Spcaey (whose presence should not be begrudged, since he was vindicated in a UK court of law), is a little shticky as slimy Thomas, but he is probably still somewhat out of practice.

Tribeca ’16: Elvis & Nixon

Generations of Americans grew up with the reassuring presences of Elvis Presley and Richard Nixon. You can’t get much more iconic than blue suede shoes, the swiveling hips not on The Ed Sullivan Show, Checkers the Dog, and the Pumpkin Papers. It turns out the two men had more in common than the general public generally assumed. Liza Johnson gives the famous late December 1970 summit meeting a thinly fictionalized treatment in Elvis & Nixon (trailer here), which is now playing in New York after screening as the centerpiece of this year’s Tribeca Film Festival.

In late 1970, Presley was already a regular fixture in Vegas, but it would be eighteen months before he cut his milestone cover of “Always On My Mind.” The Gospel-singing man from Memphis has had enough of the hippies, New Left agitators, and Black Panthers he sees on television. After shooting out the TV (because he’s Elvis), he decides to fly to DC in order to meet with Pres. Nixon. The King has a half-baked notion of becoming a “Federal Agent At-Large,” not that such a thing exists.

To fulfill his mission, Presley slips out from under the Colonel’s thumb, calling on his old friend and former Memphis Mafia member Jerry Schilling to coordinate the logistics. Of course, even in 1970, nobody could just walk into the Oval Office, but Elvis Presley could get closer than most. He finds a key ally in Egil Krogh, the White House policy specialist on narcotics, who not so realistically envisions the King serving as a powerful spokesman for the administration’s anti-drug campaign.

Elvis & Nixon is a surprisingly gentle and nostalgic film that truly forgives the foibles of its subjects. Johnson and the trio of screenwriters, Joey Sagal, Hanala Sagal, and actor Cary Elwes, zero in on the common ground shared by the two Horatio Alger figures. Frankly, it is downright shocking (in a good way), how steadfastly the film resists taking pot shots at the Nixon administration figures.

Although not an obvious candidate, Michael Shannon turns out to be an inspired choice for Presley. Granted, he hardly has that resonate baritone voice, but he can do Presley’s aura and bearing without resorting to shtick. He powerfully conveys both the pride and regrets of the man they still call “King.” As an added bonus, he shares some quietly effective scenes with Alex Pettyfer’s Schilling. On the other hand, it is harder for Kevin Spacey to avoid sliding into impersonation terrain as our beloved and reviled 37^th President. At least his Nixonisms never feel vindictive or cheap.

Watching the eccentrically simpatico chemistry shared by Shannon and Spacey will make viewers regret the famous 1970 meeting was a one-off. You can almost see Presley and Nixon being the sort of friends they really needed, because unlike Bebe Rebozo and the Memphis Mafia, each was completely separate from the other’s world. Regardless, it is strangely entertaining to watch the two legends eat M&Ms and drink Dr. Pepper together. Recommended rather affectionately, Elvis & Nixon is now playing in New York at the Landmark Sunshine and Bow Tie Chelsea, closely following its centerpiece screenings at the 2016 Tribeca Film Festival.

Tribeca ’14: NOW—In the Wings on a World Stage

Like the old thesps of yore, Kevin Spacey assembled a classical theater troupe to tour like mad, performing Shakespeare’s Richard III in countries throughout the increasingly globalized world. There had to be some craziness going on backstage, but you will be hard-pressed to find any in Jeremy Wheeler’s sanitized-for-your-protection behind-the-scenes documentary, NOW: In the Wings on a World Stage (trailer here), which opens this Friday at the IFC Center following its special screening at the 2014 Tribeca Film Festival.

When Kevin Spacey and Sam Mendes announced Richard III would be their first collaboration since American Beauty the theater world sat up and took notice. Indeed, it is a good thing Mendes was on-board, because he provides some of the film’s most thoughtful commentary. Yet, it would still probably be more interesting to hear him talk about Skyfall.

By all accounts, Richard III was an artistic triumph. Many critics see a direct correlation between Spacey’s Richard and his Francis Underwood in Netflix’s cable-killing House of Cards. Unfortunately, Spacey does not have much to say about that. He would rather sing the praises of his cast members.

It seems like everyone involved on the Richard III utterly adored every last one of their colleagues, which is jolly nice for them, but absolute dullsville to watch. Frankly, NOW has the depth and drama of a making-of DVD extra. Sure, the staging looks spectacularly ambitious (particularly in Greece’s Epidaurus theater, circa 400 B.C.), but the best way to appreciate it would have been by seeing the production live. For the most part, viewers must be content to watch as cast members discover the Great Wall of China is really long and the desert in Qatar is rather sandy.

In a way, NOW is the high-brow equivalent of the bloopers that ran over the closing credits of old Burt Reynolds movies, in which everyone works very hard to show us how much fun they were having. This is such a lightweight trifle, especially when compared to the other robustly entertaining documentaries that played this year’s Tribeca. Of interest only to Spacey’s hardcore stalker-fans, but certainly not recommended for everyday civilians, the awkwardly titled NOW: In the Wings on a World Stage opens this Friday (5/2) at the IFC Center.