A group of U.S. soldiers returning from Iraq struggle to integrate back into family and civilian life, while living with the memory of a war that threatens to destroy them long after they've left the battlefield.
Set over one summer, the film follows precocious 6-year-old Moonee as she courts mischief and adventure with her ragtag playmates and bonds with her rebellious but caring mother, all while living in the shadows of Disney World.
Thirty years after they served together in Vietnam, a former Navy Corpsman Larry "Doc" Shepherd re-unites with his old buddies, former Marines Sal Nealon and Reverend Richard Mueller, to bury his son, a young Marine killed in the Iraq War.
In the early 1940s when Marshall gives Friedman, whose experience is in civil law, books to get him up to speed on criminal law, one of the books is the Restatement (Second) of Torts, which is about civil law. And it was published in 1965. See more »
Packed house last night at the AMC Lincoln Center Theater for the NY
Times Film Club premiere, a crowd of old white presumably liberal folk
with a noticeably Jewish vibe. What you'd expect from the Times Film
Club, I suppose, but the absence of black faces was very strange, and
put the whole experience out of kilter for me. The film seems aimed at
a much younger and blacker audience. When, at the beginning of the
film, Boseman offhandedly ordered Gad to carry his bags, and Gad
complied immediately, the lone outburst of "Whoa!" fell into almost
total (shocked?) silence. That set the tone for me. Marshall is
flat-out superhero here, the master bringing sidekick Friedman rapidly
up to speed on the state of the Real World. That Waking Up Friedman
subplot runs in and out of the main courtroom rape drama, where
Sterling K Brown and Kate Hudson nearly steal the show with their far
more realistic turns as Spell and Strubing, and James Cromwell and Dan
Stevens are skin-crawlingly detestable as judge and prosecutor stooping
ever lower to defend the racist ivory tower of Bridgeport CT. How this
will do immediately at the box office depends on a lot of other
factors, including the trailers. But my guess is that the inherent
value of the story, which couldn't be more timely, will connect with
audiences on a deep level, while the shenanigans on the surface keep
them entertained, and the in the end they'll put it together in their
own way. I expect this will be a keeper, something that will be on TV
and video for a long, long time, and that "Marshall" will enter the rap
lexicon on several levels very quickly.
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