Armie Hammer

On the Basis of Sex (2018): Felicity Jones Shines as RBG in This Surprisingly Decent Biopic

Posted on by Jack Drees

Hey everyone, Jack Drees here! It is time to continue Scene Before’s Election Days review series. Unusually, this review is being posted on a Monday! I intended this series to be updated weekly on Tuesdays, but to be frank, I have a commitment tomorrow. I am not sure if my schedule would allow me to finalize this post then, so I thought I would get it out today. Speaking of unusual, unlike the last two movies I reviewed, “The Campaign” and “W.“, this review regards a movie about someone whose seat is determined by elected officials, not necessarily by the people of the United States on Election Day. Today we are going to focus on the prominent Supreme Court Justice, Ruth Bader Ginsburg. Having joined the Court of Appeals in 1980 during the Jimmy Carter administration, not to mention appointed to the Supreme Court in 1993 during Bill Clinton’s time as the U.S. President, she has maintained a reputation as a trailblazer. This film focuses on a time in her life before all that happened. Is the movie worth watching? I will share my thoughts below and you can find out for yourself.

“On the Basis of Sex” is directed by Mimi Leder (Deep Impact, Pay it Forward) and stars Felicity Jones (Rogue One: A Star Wars Story, The Amazing Spider-Man 2), Armie Hammer (Cars 3, Nocturnal Animals), Justin Theroux (Mulholland Drive, The Girl on the Train), Sam Waterston (Law & Order, The Newsroom), and Kathy Bates (The Waterboy, Misery). This film is about Ruth Bader Ginsburg, who must overcome various obstacles to help herself, her family, all the while trying to establish a career in a competitive, everchanging climate.

Despite coming out more than half a decade ago, I missed “On the Basis of Sex” when it came to theaters. After all, there were so many films coming out at the time that I could only get to a certain number of them. I was mainly focused on what insiders were projecting to be the major awards contenders at the time and “On the Basis of Sex” did not seem to be one of them. I was intrigued by the premise, but I had a bit on my plate. My motivations even caused me to miss “Bumblebee,” a blockbuster I was curious about at the time. By the way, I do not have a review for it, but it is a good movie! I eventually ended up buying a used copy of “On The Basis of Sex” on Blu-ray for $3.99, so I thought it would be worth checking out some time. And worth checking out, it is.

I knew “On the Basis of Sex” would be good, but I did not expect it to stand out the way it does sometimes. I want to quickly address the pacing of this movie. I am not surprised when I watch say an action movie or a comedy movie and find myself immersed in those environments to the point where time moves at supersonic speed while watching those. There was a point where I checked how far the movie was into its runtime and to my surprise, we were almost halfway through and I thought to myself, “Wow! I guess I’m really enjoying this!” It reminds me of when I watched “The Post.” It is shocking and delightful to know how immersed you can get in a story from time to time that is almost non stop talking.

“On the Basis of Sex” starts off on a high note. Perhaps literally. Partially because the song choice in the beginning perfectly sets the tone for the movie. It is loud and grabs your attention, kind of like the fight for equal rights this film often tends to highlight. But not only does the movie start well from an audio perspective, but the opening sequence set at Harvard is finely edited and shot. The movie starts off with this gigantic sea of men, therefore illustrating how there is a lack of women in Ginsburg’s position. The men are also all wearing suits and jackets. Each jacket looks almost like the other. They’re grey, they’re black. It is a limited and somewhat uninviting color palette. Then you look at Ginsburg in her light blue outfit. I am sure if she were wearing similar colors to the men surrounding her we could identify Ginsburg just fine. But her outfit, most notably due to its vibrant color choice, easily grabs your attention. I thought the costuming is top notch here, as it is for the remainder of the film.

Felicity Jones plays Ruth Bader Ginsburg in this film. Jones does a decent job portraying a rather commanding figure. When I think of RBG, I think of someone who is motivated, someone who takes charge. This is not her most notable lead role in the last decade, but I must say between this and the much more popular “Rogue One: A Star Wars Story,” Jones does a decent job playing strong women while also gracefully showing the weaknesses of said characters. When I watched “Rogue One,” I thought Jones did a good job at highlighting Jyn Erso’s uncertainty on screen. I remember when she was leading people into battle and I could feel her timidness, even though she was not showing it. In the case of RBG, I could tell Jones was showing more confidence this time around. After all, the movie shows she is still learning new things, but she is mature and certain as to what she wants. As to how to get it, that is occasionally the obstacle. At times, the obstacle exists just because of how other people see her.

The film dives into the sexism that women deal with, even today. We see a man telling RBG to smile more, change her tone. There is a moment where we see Ginsburg and her daughter walking through the street and some construction workers are catcalling them. We see Ginsburg, reservedly tell her daughter Jane, played by Cailee Spaeney, to just keep walking. But the daughter is not having it, she yells at them, signaling their actions are not okay, and then hitches a cab. This leaves her mother surprised and impressed, showing the progression of how women are opening up as to how they prefer to be treated. It is a memorable scene and does a good job at highlighting how far women’s rights have come generation after generation, even if it is shown through something as small as this.

The film also shows Ginsburg, despite being a star student in law school, struggling to find work. And while the job market can prove to be competitive in a number of contexts, for Ginsburg, she struggled to find work because of her identity. Multiple law firms turned her down because they did not want to hire a woman. We find out Ginsburg ends up taking a position as a professor at Rutgers Law School, which initially tends to bewilder her husband, Martin Ginsburg. Through the tone of the dialogue and various visual cues as Ruth reveals such news to her husband, it is emphasized that maybe this is not the outcome both sides were expecting. Even so, the two recognize the small victory. It is a decent scene showing the bumpy road that it is life. Once several doors close, another one may open that you were least expecting.

Despite how much I enjoyed “On the Basis of Sex,” it is not without its flaws. “Hollywoodized” is a term I have used on Scene Before in the past, and it fits here too. At times, this movie’s dramatization is rather obvious and almost distracting. While the movie is based on true events, there are certain moments during the showcasing of said events that feel like they would only exist in the context of a dramatized film.

Although if there is one thing that pipes itself up throughout the movie that really kept me interested, it is Mychael Danna’s score. Having watched lots of films over the years, I have had my fair share of scores I liked, but there are a certain amount that I would revisit on my own time. “On the Basis of Sex,” to my surprise, seems as if it could end up being one of those scores. Maybe I will eventually play it while writing my reviews.

As far as biopics go, I am not going to pretend “On the Basis of Sex” reinvents the wheel. There are moments where we see Ginsburg’s life play out that were beyond fascinating to learn about but the structure of the film does have a been there done that feel at times. If you can handle some predictability, cliches, and overdramatization every once in a while, you might like this movie.

In the end, “On the Basis of Sex” surprised me. I mean, I was not surprised the movie played out the way it did in parts. There is definitely a noticeable formula that I thought was met. But Felicity Jones carries this film as the lead. Although that does not mean there are no other standouts in the cast. Some include Armie Hammer, Kathy Bates, and even Cailee Spaeney as Ginsburg’s daughter, Jane. What did surprise me was how fast time flew as the movie progressed. I cannot say I felt bored or uninterested, so I have to give credit to the movie for keeping me awake. I am going to give “On the Basis of Sex” a 7/10.

“On the Basis of Sex” is now available on DVD, Blu-ray, Digital, and VOD. As of this writing, the film is available on Netflix for all subscribers.

Thanks for reading this review! I have one more review coming up next week in the ongoing Election Days series and it is going to be for the Amazon Studios film, “Elvis & Nixon.” I have not seen this film before. I just watched the trailer. It seems to promise a lot of fun. I figured after a couple of heavier films, and yes, I include “W.” as an example even though it has comedic elements, I thought it would be fun to maybe end with something on the lighter side. Stay tuned for that review. As for newer releases, stay tuned for my thoughts on “The Apprentice,” “Anora,” “Here,” “Gladiator II,” “Red One,” and “A Real Pain.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “On the Basis of Sex?” What did you think about it? Or, what is a movie you watched that you feel went by much faster than you were expecting it to? Let me know down below! Scene Before is your click to the flicks!

Death on the Nile (2022): Kenneth Branagh Brings a River of Intrigue in This Engaging Murder Mystery

Posted on by Jack Drees

“Death on the Nile” is directed by Kenneth Branagh (Belfast, Thor), who also stars in the film as Hercule Poirot. Joining him in this Agatha Christie novel adaptation is Tom Bateman (Demons, Murder on the Orient Express), Annette Bening (American Beauty, Captain Marvel), Russell Brand (Forgetting Sarah Marshall, Arthur), Ali Fazal (Mirzapur, Furious 7), Dawn French (French and Saunders, Coraline), Gal Gadot (Wonder Woman, Criminal), Armie Hammer (The Man From U.N.C.L.E., On the Basis of Sex), Rose Leslie (Downton Abbey, Game of Thrones), Emma Mackey (Sex Education, Eiffel), Sophie Okonedo (After Earth, Ace Ventura: When Nature Calls), Jennifer Saunders (Sing, Shrek 2), and Letitia Wright (Sing 2, Black Panther). In this film, Hercule Poirot finds himself on a voyage, set on the Nile River, and ultimately has to investigate the behind the scenes shenanigans of a murder during said voyage.

I want to make a couple things clear. I have never read any Agatha Christie works, therefore I have nothing to compare this movie to as far as her material goes. I also will note that this could technically qualify as a sequel. “Death on the Nile” revolves around a group of people under the eye of Hercule Poirot, who was also portrayed by Kenneth Branagh in 2017’s “Murder on the Orient Express.” He directed the film as well. I have never seen the film, so I cannot tell you anything in regards to Branagh’s previous efforts, whether they are in front of or behind the camera in said film. I was not particularly interested in it at the time, and my lack of interest unfortunately contributed to what I call a lack of knowledge in this circumstance. Nevertheless, the trailers intrigued me enough, Kenneth Branagh is on fire right now with “Belfast” having just come out, and the cast is stacked to the brim.

Well, there’s also Armie Hammer, I should also mention that.

With that being said, I kind of saw “Death on the Nile” on a whim, I bought a ticket less than an hour before the show because I was in the area, although I did intend to see it by the end of the weekend, and I have to say the movie in some ways pleased me in the ways I expected it to. Although it does have a double-edged sword.

One of the best things about “Death on the Nile” is the feud between the newlywed couple, the Doyles, and this one woman, Jackie, played marvelously by Emma Mackey, or as I call her, Samara Weaving’s lookalike. Prior to Simon Doyle’s connection with his new wife, Linnet, he used to be in love with Jackie, who just so happens to be following everyone else. I loved getting to know these characters and every scene Mackey is in is one that had my attention, partially because of how well she played the character. But this also brings me to my main con with the film, and it is that it takes a bit longer than I expected to actually see the murder shenanigans go down. Now don’t get me wrong, the film is entertaining from start to finish. I was invested in most of the scenes that were written, but that would have to be my big pacing issue of the film. For a film that calls itself “Death on the Nile,” the “death” is not exactly much of a standout until the film’s second half. Is the book the same way? Again, I do not know. I do not plan on reading it anytime soon, so frankly I do not care to know.

Although if I had to bring another positive to the table, it is that the film is easy on the eyes. The film is as exotic as it is suspenseful. The color palette throughout feels like an old-timey flick but with a modern twist. It is a film that feels like it simmers itself in tradition, but infuses some sugar and spice to make it more attractive.

The performers all do a great job at bringing their own flair to the mix in “Death on the Nile,” I cannot recall one performance that either underwhelmed or annoyed me. Well, kind of…

Going back to Emma Mackey’s character of Jackie, I want to focus on her for a bit because I admired Mackey’s performance, but I did so with the acknowledgement of how much I disliked her character. Let me just be clear, I watch a lot of movies, and usually when I watch one I like, I usually like all the characters because they make the movie fun and enjoyable to watch. This one is different. I can only recall a few movies I watched in my life where I hated a character who was in it, and used that hate to remind myself of how effective the movie was at doing its job. “Whiplash” and “The Lion King” are the first two titles that come to mind. Mackey’s behavior in the film made me feel like I was part of the film, and films are always better when they can immerse you into the frame. Mackey did so in a way that made me want to punch her in the face, and all respect to the actress. Emma Mackey, if you read this, I think you have an amazing future ahead of you. I would totally cast you in a film if I find the right role, but I will not lie when I say, your character should have been thrown into the Nile to sleep with the fishes.

I like you, I hate your character. And for that, the movie did its job.

I also want to talk about Gal Gadot. She is an actress I have admired ever since I saw her in “Batman v. Superman,” because while that film showed a weakness from her as a performer, specifically on some line delivery, I saw enormous potential in her, because she carried the action sequences like a champ. I probably said this a couple times in my life. In “Batman v. Superman,” the real winner is Wonder Woman. And I think in just about every movie that has come out since, she has at least improved in some way. In “Death on the Nile,” I think casting Gadot as Mrs. Doyle is appropriate, partially because Gadot looks like someone who can symbolize beauty and wealth at the same time (also, she statistically is very wealthy), but this film shows that she has improved as an actress. She is more able to carry a film now than she has ever been, and there are a couple of scenes where I was able to feel the weight of some of her lines.

And of course, I cannot ignore Kenneth Branagh, who not only makes this film look as pretty as it is, but he carries his weight to bring a lively performance to the table. I mean, who doesn’t want to watch Kenneth Branagh rock a mustache? If they’re making a “Charlie and the Chocolate Factory” adaptation set in Northern Ireland, I think Branagh would slay as Willy Wonka, and it would be better if the mustache stays. I think Branagh flat out just looks like someone who would be a detective in his spare time, so the fact that he’s cast as Poirot is undeniable. It’s perfect. Again, I have not seen “Murder on the Orient Express,” so I have nothing to compare this performance to franchise-wise. Having said that, “Death on the Nile” is good enough to the point that I want to go back at some point and give “Murder on the Orient Express” a try. Maybe compare the two and see which one’s better.

In the end, “Death on the Nile” is intriguing from beginning to end and offers an ensemble that gives you all the feelings from grace to anger to sadness. This may not end up being the best film of 2022, after all, the year is only beginning, but as far as this year’s fare, I recommend “Death on the Nile.” It has one or two pacing issues, but I feel like that could be a fairly subjective notion on my part. I probably won’t remember every single character, but there are quite a few that stand out to make this film one of the more entertaining experiences of the past number of months. I’m going to give “Death on the Nile” a 7/10.

“Death on the Nile” is now playing in theaters everywhere, tickets are available now.

Thanks for reading this review! If you enjoyed this review, I have more coming! My next review is going to be for the movie “Uncharted,” which just hit the big screen over a week and a half ago. Also coming up, I will be tackling my thoughts on “The Batman,” which hits theaters everywhere this week. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Death on the Nile?” What did you think about it? Or, what is your favorite Agatha Christie book? Let me know down below! Scene Before is your click to the flicks!