Nov. 8, 2008

Reviewed by Richard Lee Zuras

Released 10/24/08

2 hr. 10 min.

PG-13

Oliver Stone/Lionsgate

Josh Brolin

Elizabeth Banks

James Cromwell

Jeffrey Wright

Richard Dreyfuss

Toby Jones

Thandie Newton

Scott Glenn

Ellen Burstyn

 Though the “strategery” of this film’s release date might be up for legitimate questioning, it is a mistake to dismiss W as simply a “referendum.” Stone is, it would seem, the only director America currently has that is willing to take on the macro-issues inherent in politics. Stone has now given us three top-shelf films that delve into the art of the Presidency. Though JFK, like Estevez’ Bobby, is not in fact a biopic, its focus never wavers from the issue at hand: the legacy of a President.

And W is truly a film that asks us to view not only our current leader’s legacy, but that of his ancestors. Bush Sr. is played wonderfully by James Cromwell, who may over the last decade have emerged as one of our most stately actors. Indeed the strength of this film rests squarely on the fact that so many of our finest actors (who knew?) bear such uncanny resemblance to our country’s leaders. This is a group of actors that has taken the time to work on the singular mannerisms, from Thandie Newton’s spasm-like movements as Condoleezza Rice, to Jeffrey Wright’s steely facial expressions as Colin Powell, to Josh Brolin’s constant attempts to half-hug the air in front of him. Watch Bush’s hands (or Brolin’s) when he walks, for instance, and you’ll notice how often they are turned backside forward.

But the W legacy vs. Bush Sr. legacy comparisons aren’t what the movie delves into as much as they are simply the collateral question that arises from a tale of a son attempting to garner his father’s attention. This is a movie about sibling rivalry. This is a movie about having things handed to you when your father wishes you would earn them. This is a movie that explores the everyman archetype of father/son relations, albeit with finer boots and top-rail whiskey.

Critics who score this film a miss have themselves missed this aspect. On the other aisle, critics who score this film as a “classic” vote also with their party rather than with their critical faculties. This movie has no ending, and because of this fatal flaw, it has no real point other than making it to the theaters before the polls closed. But Stone has been about as fair as might be expected considering this is a President who was an alcoholic, did choke on a pretzel, and has a rather limited grasp of geography.

If you find yourself resistant, your best bet might be to watch for Stone’s inserts, and use of lighting and innuendo. Stone is, in the end, a master director at the height of his powers. There is a particularly effective insert of a partygoer stepping on a discarded piece of corn on the cob. It is a small moment about power, and about carelessness, which, after all is said and done, might be the word that describes the Bush legacy.

Bottom Line: 4.0/5.0