The narrative elements of “Patriots Day” show Peter Berg at the top of his game. As a film that recreates the terror of the 2013 Boston Marathon bombing and the frenzied search to catch the perpetrators, it’s every bit as taught and harrowing as “Lone Survivor.” Critique ideology all you want – and I had my fair share of issues with the comforting yet alarming deployment of the surveillance state – but objectively speaking, Berg and his technicians know how to edit for maximum tension around an event whose outcome we already know.
Now, you might have noticed that I specified “narrative elements.” That was intentional. “Patriots Day” ends on a lengthy postscript of talking-head style documentary footage with survivors of the bombing. It’s stirring, sure, but it left me wondering – why not just make a non-fiction film? The appetite for documentaries exists now thanks to platforms like Netflix and HBO.
In “Patriots Day,” fictionalization began to feel like trivialization. If the words of real people are powerful enough to end a film, they ought to be powerful enough to sustain a film. Why does Berg think we need Mark Wahlberg sermonizing from the back of a truck bed over sappy, inspiring music to care about the heroism of Boston’s finest? Why does he feel the need to compress the valiant actions of several police officers into one composite, Teddy Saunders, for Mark Wahlberg to play?
Berg tries to have it both ways in the film, leaning on both the authenticity of the survivors’ pain while also shoehorning reality into a convenient narrative device about one police officer who cracks open the case with a hobbled leg. (At times, his lickety-split reactions don’t even make logical sense!) If recent yanked from the headlines stories are going to continue to serve as fodder for cinema, we need to have a larger debate about how filmmakers can and cannot rely on actual participants. B+ / 
Do you ever stop and think about what could have happened in an actor’s career if they had caught the right breaks? If people had paid more attention to them when they were younger? (It’s a fascinating thought experiment, if you ever have the opportunity to daydream.)
While my struggles to choose this “F.I.L.M. of the Week” were documented in today’s factoid, I finally found a perfectly acceptable movie to feature here: Shane Black’s noir sendup “Kiss Kiss Bang Bang.” Starring a pre-anointed Hollywood savior Robert Downey Jr. and a post-Batman Val Kilmer, the movie is a hilarious and thrilling story of murder, intrigue, betrayal, and cinema. (And, as Downey’s character reminds us, ultimately a tale of friendship.)
The “F.I.L.M of the Week” is not independent, just to get that out of the way. “North Country” is, however, first-rate. The movie’s critics will probably say, “Haven’t I seen this movie before? Oh, right, every two hours on Lifetime and Hallmark channels!” To them, I say – yeah, maybe a little bit. Sure, it doesn’t stray too far from the stock story of courage in the face of terrible circumstances. But it has a tremendous power which can make you forgive the formulaic nature of the movie.
Marshall and the Movies 
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