The Woman King (R)
Viola Davis makes a serious play for a second Oscar win in the action-drama The Woman King, which is set in early 1800s West Africa and based on the real Dahomey army of female warriors called the Agojie.
Nanisca (Viola Davis) is the general of the Agojie and a member of Dahomey King Ghezo’s (John Boyega) council. Ghezo being a relatively new king, Nanisca seems hopeful that he can be persuaded to end the country’s participation in the slave trade with the Europeans. She is also helping the king to fight a war with the Oyo empire, which has demanded tribute from Dahomey for many years. She becomes particularly intent on bringing down the Oyo when she sees that their new general is Oba Ade (Jimmy Odukoya), one of the men who had captured and raped Nanisca decades earlier.
Meanwhile, young woman Nawi (Thuso Mbedu) does not want to wind up in the abusive marriage her father arranges for her. Always somewhat in awe of the passing Agojie, Nawi is dumped at Ghezo’s palace by her father and the Agojie take her in to join a class of new recruits. The recruits are from a mix of backgrounds, including some who were taken prisoner during a recent raid to free Dahomey people held by Oyo and their allies Mahi. If you make it through the training, mentor types like the bad-ass Izogie (Lashana Lynch) and Nanisca’s second in command Amenza (Sheila Atim) reinforce to the recruits, your background won’t matter and you’ll be Agojie. Nawi isn’t exactly a “fall in line” type but she badly wants to be part of this powerful group of women.
One could argue that some of the twists of the personal stories of Nanisca, trying to navigate court politics, and Nawi, who meets and has a sort of flirtation with half-Dahomey Brazilian Malik (Jordan Bolger), can border on the soapy. And one might feel tempted to get all “well, actually” about some of the historical elements and the gratifying but wish-fullfill-y turns the story takes. But I am not that one. To borrow one of critic Joe Reid’s oft-used terms of affection, this movie is rad: Davis with her blend of weariness and determination is rad, Mbedu is rad, all the ladies of the Agojie are rad but particularly Lynch and Atim (Lynch is having a rad career that includes playing Carol Danvers’ friend and colleague Maria Rambeau in the Marvel Cinematic Universe and Nomi, a 007, in No Time to Die). This world isn’t some made-up utopia; the women here all deal with various patriarchal restraints. But the Agojie also get to be confident and self-assured, and not in some girl-boss-y way but like the battlefield tested warriors they are. Instead of male gaze of these strong women, the movie (directed by Gina Prince-Bythewood) shows them in a kind of sisterly appreciation light and we get to be dazzled by their relationship with each other and their Wonder Woman-likeathleticism (there are some real Themyscira moves in their fighting style, which, along with Black Panther’s whole Dora Milaje, suggests that comic books owe a lot to this slice of history). I know I should scrape together some kind of intellectual read on this movie but where I’m at: The Woman King is rad and you should see it. For my part, I can’t wait to see it again. A
Rated PG-13 for sequences of strong violence, some disturbing material, thematic content, brief language and partial nudity, according to the MPA on filmratings.com. Directed by Gina Prince-Bythewood with a screenplay by Dana Stevens and Maria Bello, The Woman King is two hours and 15 minutes long and distributed in theaters by Tristar.
Confess, Fletch (R)
The frequently barefoot, occasionally overconfident but basically capable detective-ish Fletch investigates the theft of paintings and gets himself tangled in a murder in Confess, Fletch.
Irwin M. Fletcher— Fletch (Jon Hamm) to his friends, enemies and frenemies — has been hired by an Italian count, the father of Angela (Lorenza Izzo), to find some paintings (Picassos and the like) stolen from him. As Fletch meets with Angela to give her an update on his progress, he learns that the Count has also been kidnapped, with his kidnappers demanding the Picasso for his safe return. Angela fears that her father is already dead and tells Fletch that her stepmother, the Countess (Marcia Gay Harden), is probably behind it. Fletch has information that two of the stolen paintings have already been sold and travels to Boston to follow up. But when he arrives at the posh apartment Angela has rented for them, he finds a woman dead in the living room and himself the most obvious suspect. Though police detectives Monroe (Roy Wood Jr.) and Griz (Ayden Mayeri) try to dissuade him, Fletch investigates the murder and the art theft, which he comes to believe are related.
“Goofy Bond” is how something I read described this movie — which I took as a selling point — but for me the goofiness frequently felt off. Or maybe it was a specific temperature of goofiness that I just had a hard time acclimating to. Hamm is good at goofy comedy and good at straight-faced comedy (which is what I choose to believe he’s doing in Top Gun: Maverick) but Fletch is an oddball mix of the two that I didn’t really warm to until about halfway through the movie. It’s fine, but not strikingly silly or delightfully weird. There are bits of comedy business where I thought “ha, nice” but didn’t actually laugh out loud. I like many of this film’s characters — Wood and Mayeri have nice comedy-crime-solver chemistry with each other and with Hamm; John Slattery shows up at Hamm’s one-time newspaper editor and adds a note of tartness — but even with solid actors doing solid work this movie never heats up past a simmer.
I don’t know that “Confess, Fletch: You’ll grow to appreciate its slightly-better-than-average-ness!” is the review you’ll see on any movie posters, but here we are. B-
Rated R for language, some sexual content and drug use, according to the MPA on filmratings.com. Directed by Greg Mottola with a screenplay by Zev Borrow and Greg Mottola, Confess, Fletch is an hour and 38 minutes long and distributed by Paramount Pictures in theaters and via VOD.
Featured photo: The Woman King.

