‘21 BRIDGES’ (Rated R)

There are several good reasons to enjoy the ticking clock deadline imposed on a NYPD detective leading a citywide manhunt on the island of Manhattan for a pair of cop killers in a drug heist gone horribly wrong in “21 Bridges.”

The detective who devises the desperate but ingenious plan to close all avenues into and out of Manhattan is played by the charismatic Chadwick Boseman, who portrayed the legendary, iconic baseball player Jackie Robinson breaking the color barrier in “42.”

Boseman also depicted the story of Thurgood Marshall, as a crusading civil rights lawyer who would later become the first African-American Supreme Court Justice, in “Marshall.” On top of that, who can forget his role as Black Panther in “Captain America: Civil War?”

As the fulcrum around whom the police activity is centered one fateful night, Boseman’s Andre Davis has had the DNA of a New York cop ever since his police officer father was killed by violent criminals when he was just a kid.

Andre’s reputation is such that he has, metaphorically speaking, several notches on his gun for taking out cop killers, which put him in the crosshairs of an Internal Affairs hearing. He could be a Dirty Harry if “21 Bridges” turns into a franchise.

While Chadwick Boseman’s compelling, earnest detective is probably the best feature in what in many ways is an exciting but still relatively standard police procedural, finely paced chase sequences and daring shootouts make for plenty of lively action.

The ill-fated night of the drug heist begins when two hapless, obtuse crooks, Michael (Stephan James) and Ray (Taylor Kitsch), break into a restaurant to steal 50 kilos of uncut cocaine stashed in the freezer.

Before they make a clean getaway, a slew of police officers from the 85th Precinct show up. A blazing shootout results in the death of all eight of the police officers and one civilian inside the restaurant.

NYPD Captain McKenna (J.K. Simmons) arrives at the crime scene and so does detective Andre Davis. Knowing of Andre’s reputation, McKenna’s interest is in nothing less than seeing that street justice, if necessary, be meted out before the night is over.

When Andre comes up with the plan to shut down all 21 bridges that connect Manhattan to other boroughs of the city as well as New Jersey, he’s ordered by the brass to track down the cop killers by early dawn, so as not to inconvenience daily commuters.

Much to his chagrin and because he functions better as the lone crusader for justice if not retribution, Andre finds himself saddled with a partner in narcotics detective Frankie Miller (Sienna Miller), a single mom filled with apprehension about surviving the night.

One major problem for the two killers, aside from the fact that the trigger-happy Ray is a psychotic live-wire, is that the total amount of cocaine stashed at the restaurant was 300 kilos, which raises questions about who’s behind an obviously huge narcotics ring.

Questions are also swirling in the mind of Andre, as well as for the audience. How did it come to pass that so many police officers from the same precinct arrived on the crime scene when there was no evidence of a break-in and no alarms went off?

Moreover, Michael and Ray were under the impression that their holdup at the restaurant was to be a modest heist of a fraction of the actual cocaine stash on hand. Sensing a set-up, they have to unload the drugs fast with an unsavory bunch of thugs.

The conspiracy deepens when the killers seek out money launderer Adi (Alexander Siddig) at his luxury apartment where an apocalyptic gunfight is waged on both sides of a steel-reinforced door before they escape with a bag of cash and two thumb drives with incriminating evidence.

For a variety of reasons, Andre doesn’t know who to trust among his colleagues in law enforcement, including a pair of FBI agents that appear invested in a certain outcome.

Getting at the truth results at one juncture in having Andre showing great restraint, contrary to his usual approach, when trying to reason with the more sensible Michael that his chances of survival hinge on the release of a hostage.

Most people will hardly notice or care that most of the filming took place in Philadelphia, with the notable exception of location shots at such places as Grand Central Station and the Meatpacking District. What counts is that the essence of the underbelly of New York City is neatly captured on film.

The ticking clock countdown to an early morning deadline raises the stakes on all sides and the revelation of corruption that detective Andre Davis uncovers is not altogether surprising.

Explosive action is intrinsic to the spectacle and thrills of “21 Bridges” and the intensity of the action results in an overall satisfying police thriller, but the lead detective’s crafty pursuit of his prey is what deserves our attention the most.

Tim Riley writes film and television reviews for Lake County News.

LAKEPORT, Calif. – The 1941 murder mystery, “The Maltese Falcon,” starring Humphrey Bogart, Mary Astor, Sydney Greenstreet and Peter Lorre, screens at the Soper Reese Theatre on Tuesday, Dec. 17, at 1 and 6 p.m.

Entry to the film is by donation.

Many film historians consider “The Maltese Falcon” the first in the film noir genre. It put down the foundations for that moody, black and white image of mean streets, knife-edged heroes, dark shadows and tough dames.

Based on Dashiell Hammett’s detective classic, the film is also noted for John Huston’s directorial debut and Sydney Greenstreet’s first film role.

Then there’s Humphrey Bogart who rose to stardom as the hard-boiled San Francisco private eye, Sam Spade.

The film received Oscar nominations for Best Picture, Best Supporting Actor for Greenstreet, and Best Screenplay for Huston.

The movie is sponsored by Mo Carpenter and by Carpenter & Carpenter. Rated PG. Run time is 1 hour and 41 minutes.

The Soper Reese Theatre is located at 275 S. Main St., Lakeport, 707-263-0577, www.soperreesetheatre.com .

MIDDLETOWN, Calif. – Ring in the holidays with a celebration of local art and artists at the Middletown Art Center’s Members Holiday Show Opening Reception this Friday, Nov. 29, from 6 to 8 p.m.

Engage in an evening of art and culture in downtown Middletown.

“The holiday show is different from most of the others we hang because there is no unifying theme. This makes curating more challenging, but very rewarding,” said Programs Director and co-curator Lisa Kaplan.

MAC professional members and affiliated artists who have participated in juried and curated exhibits throughout the year are featured in the show.

Authentic, locally made, high quality and affordable are just some of the common denominators of the work on view.

“We encourage everyone to join us at the opening reception or during hours of operation to see the show. Take pride in our local talent, and consider giving the gift of unique artwork while supporting Lake County artists and our local economy this holiday season,“ said Kaplan.

On Saturday, Dec. 14, from 4 to 8 p.m., the MAC will host a variety of artists and maker vendors inside the gallery and studio, and be a Passport to Fun station as part of Christmas in Middletown.

The MAC is a vibrant cultural hub and nonprofit dedicated to weaving the arts into the fabric of Lake County communities.

Exhibits and opening receptions are just one of many enriching events MAC hosts. These include dances, classes, films, performances, art and wine pairings and First Fridays.

Consider becoming an annual member with special discounts while helping to sustain local arts and culture, and art education. Donations to MAC are tax-deductible and greatly appreciated.

MAC is located at 21456 Highway 175 at the junction of Highway 29 in the heart of Middletown.

Gallery hours are Thursday from 11 a.m. to 5 p.m., Friday from 11 a.m. to 6 p.m., Saturday from 10 a.m. to 6 p.m., Sunday from 11 a.m. to 5 p.m. or by appointment at 707-809-8118.

Visit www.middletownartcenter.org to learn more.

LAKEPORT, Calif. – The 1944 melodrama, “Gaslight,” starring Ingrid Bergman, Charles Boyer and Joseph Cotten, screens at the Soper Reese Theatre on Tuesday, Nov. 26, at 1 and 6 p.m.

Entry to the film is by donation.

When top-flight stars join forces in performing a beautifully directed psychological thriller, the effect is strong, so strong that this film led to the coinage of a new word: "gaslighting," which describes behavior that seeks to manipulate other people’s fears in order to undermine their sanity.

Filmed in black and white, set in foggy Victorian England, and directed by George Cukor, this dark, Hitchcock-like mystery brought Bergman her first Best Actress Oscar.

It also features an 18-year-old Angela Lansbury in her first film role.

The movie is sponsored by Tomkins Tax Consultants. Rated PG. Run time is 1 hour and 54 minutes.

The Soper Reese Theatre is located at 275 S. Main St., Lakeport, 707-263-0577, www.soperreesetheatre.com.

Minnesota has many fine writers, gathered together by a deep and trusting affection for one another.

Freya Manfred has been an important part of that community for her entire life, having been brought up at the side of her father, Frederick Manfred, a master novelist of the American West.

Here's a poem from Freya's new book from Red Dragonfly Press, “Loon In Late November Water.”

Old Friends

Old friends are a steady spring rain,
or late summer sunshine edging into fall,
or frosted leaves along a snowy path—
a voice for all seasons saying, I know you.
The older I grow, the more I fear I'll lose my old friends,
as if too many years have scrolled by
since the day we sprang forth, seeking each other.

Old friend, I knew you before we met.
I saw you at the window of my soul—
I heard you in the steady millstone of my heart
grinding grain for our daily bread.
You are sedimentary, rock-solid cousin earth,
where I stand firmly, astonished by your grace and truth.
And gratitude comes to me and says:

"Tell me anything and I will listen.
Ask me anything, and I will answer you."


We do not accept unsolicited manuscripts. American Life in Poetry is made possible by The Poetry Foundation, publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska, Lincoln. Poem copyright ©2018 by Freya Manfred, "Old Friends," from Loon In Late November Water, (Red Dragonfly Press, 2018). Poem reprinted by permission of Freya Manfred and the publisher. Introduction copyright @2019 by The Poetry Foundation. The introduction’s author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006.

‘FORD V FERRARI’ (Rated PG-13)

The title of “Ford v Ferrari” points to competitive racing but there’s so much more to this exciting film than the high-speed 200 miles per hour chases on the premier racetracks in America and overseas.

It’s the acrimonious clash between automotive industry titans Henry Ford II (Tracy Letts) and Enzo Ferrari (Remo Girone) that fuels the desire of the American manufacturer to upend Ferrari’s dominance at the 24 Hours of Le Mans race.

A young hotshot Ford executive by the name of Lee Iacocca (Jon Bernthal) pitches the idea that the post-World War II generation of young people are searching for automobiles that are more powerful, sexy and not the bland imitations of the Fifties models.

While his slide presentation doesn’t excite the other suits in the boardroom, Iacocca leads a delegation to Italy to present an offer to buy the Italian luxury sports car company, which Enzo Ferrari dismisses with contempt by spewing graphic slurs of Henry Ford II.

For Henry Ford II to entertain a challenge to Ferrari, which has been fueled by Ferrari’s insults that he is “fat” and that Ford Motor Company makes “ugly little cars in ugly factories,” he has to find the right team.

Enter Carroll Shelby (Matt Damon), the fearless Texan who beat the Ferrari team and won the Le Mans race in 1959, which proved to be the end of his racing career as he was shortly thereafter diagnosed with a grave heart condition.

Endlessly resourceful, Shelby reinvents himself as a car designer and salesman working out of warehouse space in Venice Beach with a team of engineers, led by Phil Remington (Ray McKinnon), and a crew of mechanics.

Next to Shelby, the other key player in the race world is the prickly British race car driver Ken Miles (Christian Bale) who operates a repair shop for foreign cars. He’s not exactly a people person and frequently offends his customers for not being savvy drivers.

The friendship between Shelby and Miles is marked by occasional conflicts when they come to blows, but they need each other to function as a team because Shelby can no longer race and Miles is like a race car whisperer who can take any car to the 7,000 RPM limit.

The Ford Motor Company recruits the firebrand visionary to design the ultimate race car, a machine that can beat even Ferrari, the perennial winner at Le Mans, on the unforgiving French track.

The early stages of the relationship that Shelby has with Henry Ford II hit rough spots due to heavy-handed corporate interference and the laws of physics that hinder the process of obtaining perfection in building the appropriate race car.

Worse still for Shelby, Miles and the ragtag crew of mechanics is that Henry Ford II has designated his right-hand man, senior vice president Leo Beebe (Josh Lucas), to oversee Ford’s racing program.

While Shelby’s team is developing and testing the race cars in the Ford program, the lead test driver Ken Miles, who is brilliant behind the wheel but also blunt, arrogant and unwilling to compromise, complicates the relationship with the corporate suits.

In particular, because there is a need to juice up the tensions with one person filling the role of the villain, Beebe does his best to manipulate Shelby and box-out Miles at every turn.

Adhering to the corporate playbook, Beebe doesn’t want the irascible Miles to be the poster boy for the Ford brand, dismissing him as a “beatnik” until Shelby retorts that Miles doesn’t fit that profile because he courageously drove tanks during World War II.

To be sure, Miles is rough around the edges but he’s a devoted family man to his supportive wife Mollie (Caitriona Balfe) and their young son Peter (Noah Jupe), who idolizes his dad and dreams of racing cars someday.

Along the way, there is plenty of gamesmanship between the Shelby team and Ford’s buttoned-up corporate executives, such as the time Shelby outfoxes Beebe in order to take Henry Ford II for a hair-raising test drive.

Following some failed attempts on the racetrack, the Shelby team eventually delivers the impressive and thrilling racing sequences that would eventually lead to the most satisfying victory at the 1966 Le Mans.

Getting to know the characters behind the stunning coup that knocked Ferrari off its dominant perch at the world’s most exclusive racing event is really the most fun of “Ford v Ferrari.”

The job of director James Mangold (“Walk the Line”) was made easier by the teaming of Matt Damon and Christian Bale as the lead characters who inhabit their roles, respectively, of the easy-going visionary and the caustic loose cannon who has problems with authority.

While car racing is a dangerous sport that is evident from the inevitable crash scenes, “Ford v Ferrari” delivers plenty of humor and witty zingers that come naturally in a highly competitive environment when tensions need a relief valve.

“Ford v Ferrari” deserves a winner’s trophy for delivering a solid entertainment.

Tim Riley writes film and television reviews for Lake County News.