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    ‘The Diplomat’ Review: Save the Marriage, Save the World

    Keri Russell stars in a Netflix political thriller that doubles as a high-style romantic comedy.Debora Cahn most recently served as an executive producer and writer on “Homeland.” Keri Russell most famously played a hyper-efficient assassin on “The Americans.” Their collaboration in the new Netflix series “The Diplomat” — Cahn created it, Russell stars — would lead you to expect something dark, violent and complicated.But a look further back in Cahn’s history shows that she started her career with a long run as a writer and producer on “The West Wing.” And that’s the spirit she’s brought to “The Diplomat,” a political thriller laced with romance and written, with some success, in an Aaron Sorkinesque high-comic, high-velocity style.So you would be right about complicated, at least. Geopolitical crises and amorous complications are thick on the ground, intertwining and constantly morphing in ways that can be hard to follow. (The serial twists and breathless explanations both contribute to and help to obscure the plot-greasing implausibilities necessary for a show that puts earthshaking events in a comic framework.)Russell plays Kate Wyler, a career American diplomat suddenly and surprisingly named ambassador to Britain. She arrives in London with her trailing spouse, Hal (Rufus Sewell), a more experienced and renowned diplomat who is now expected to smile for the cameras but otherwise keep his mouth shut. For them, artifice is an essential element in both statecraft and marriage.Kate and Hal’s union is on its last legs, as it turns out. But thanks to an improbable, possibly MacGuffinish twist, it is mandatory that they stay together. So one pole of the plot is their highly cultivated Bickersons act, a will-they-or-won’t-they screwball anti-romance between an unforgiving woman and a roguish, egomaniacal man; you may see ghostly images of Carole Lombard and John Barrymore. At the same time, Hal, along with Kate’s fiercely competent deputy, Stuart (Ato Essandoh), is tasked with turning the combative Kate into a more refined diplomat, an arduous process with echoes of “My Fair Lady” and “Kiss Me, Kate.”The rom-com complications — they also encompass Kate’s attraction to the British foreign minister (David Gyasi) and a classic secondary romance between Stuart and the C.I.A. station chief (Ali Ahn) — and the political machinations bounce off and intensify one another, in the old “West Wing” style. An attack on a British warship in the Middle East starts an eight-episode chain of events involving Iran and Russia that has Kate shuttling between the American president (Michael McKean) and the British prime minister (Rory Kinnear, who stands out in an excellent cast) and, with Hal’s help, salvaging U.S.-U.K. relations while pretty much literally saving the world.“The Diplomat” is concerned with the dynamics of the international order, the proper balance between idealism and realpolitik, and the fallout of Russia’s invasion of Ukraine, but it’s essentially a show about a marriage. The conceit of Kate as the undiplomatic diplomat — a woman whose stone-cold, steel-trap strategic abilities would be considered suitable for the Court of St. James’s — is, to put it kindly, absurd, but its main purpose is to set up the contrast with the smoother, more devious, more obviously diplomatic Hal.And you can see how Russell’s coldblooded excellence in “The Americans” would recommend her for the part of Kate. (In an amusing nod to Russell’s long run as the murderous Elizabeth Jennings, Kate is asked whether she poisoned a fellow diplomat and deadpans, “Not my style.”) But while she’s perfectly proficient, and has no trouble conveying the character’s intelligence and, when called for, her uncertainty or anger, Russell is not as funny as the show needs her to be. Relaxing into the role and giving the emotional connections the casual, spontaneous feel that the rom-com structure calls for are not her strengths.Luckily for “The Diplomat,” Sewell has no trouble getting in touch with his inner Barrymore, and he walks away with the show. Hal is petulant, childish and arrogant, but he’s smart and charming enough to get away with it, and Sewell both embodies the charm and shows us the flashes of doubt and nobility that redeem him. Making an over-scaled, too-good-to-be-true romantic construction like Hal feel absolutely real is a trick right up there with saving the world from global war. More

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    In ‘The Diplomat,’ Keri Russell Shows Her Good Side

    The actor’s first substantial TV role since the Soviet spy drama “The Americans” finds her switching sides, starring as a savvy civil servant tasked with upholding America’s reputation abroad.On a recent Thursday afternoon, the actress Keri Russell paused in a corner of Brooklyn Bridge Park to admire a starling.It was technically spring, though the weather had other ideas, and Russell, in subdued plumage, braved the wind in chunky boots and a black puffer jacket. Her hair was tousled. Liner ringed each eye, possibly a souvenir from the previous night’s too many margaritas with friends. She didn’t look much like a woman who devoted years of her life to undermining the American democratic project. Or like a woman now charged with safeguarding it.But Russell has been both of those women (and a lot of other women besides). At this point in her career, she is probably best known for her six seasons on the FX drama “The Americans” as Elizabeth Jennings, a Soviet sleeper agent with an ambitious collection of ruses and wigs who earned Russell three Emmy nominations. Now Russell has taken on an opposing role: In the “The Diplomat,” a Netflix series debuting on Thursday, she stars as Kate Wyler, a savvy U.S. civil servant tasked with upholding America’s reputation abroad.A veteran ambassador, Kate is about to take a post in Kabul when an international incident shunts her and her husband, Hal (Rufus Sewell), to London. An English manor house is not a war zone, but Kate behaves otherwise. Armored in punishing heels and sleek sheath dresses, she treats even polite conversation as battlefield maneuvers. But in a departure from “The Americans,” Kate’s work is almost entirely aboveboard. She wears no wigs.As some Canada geese waddled nearby, Russell considered the disparities between these two roles. “It was fun being a baddie, doing sneaky stuff,” she said. But “The Diplomat” also has its pleasures, she insisted. “It’s awesome to be smart and capable and dress people down and be so steady about it,” she said.If Elizabeth is a baddie, does that make Kate a goody? Russell gave a cagey smile. “We’ll see,” she said.In “The Diplomat,” Russell plays a veteran ambassador who is about to take a post in Kabul when an international incident shunts her and her husband, Hal (Rufus Sewell), to London. Alex Bailey/NetflixRussell began her career as a teenage dancer in “The Mickey Mouse Club” and then starred in “Felicity” as a capricious college student and the patron saint of dithery girls everywhere. She did not necessarily expect to spend her midcareer playing hypercompetent women while also showing the uncertainty that undergirds that competence. In addition to playing Elizabeth and Kate, she has also recently appeared as an indomitable mother in the horror comedy “Cocaine Bear” and as a cool, if not especially effective, assassin in “Extrapolations.”Felicity would not have excelled at either espionage or high-stakes diplomacy. “Felicity would write a poem about it,” Russell said. But that was 20 years ago. Russell, who in person is outspoken, unfussy, charmingly profane and so candid that she encourages similar candor in others and now absolutely has kompromat on me, has grown up. She has since become a mother. She has two children with her former husband, Shane Deary, and a young son with her partner Matthew Rhys, her co-star on “The Americans.”“Moms are like that!” she said of these recent capable characters. “You’re going to make it happen. A mom can do 37 things in one day!”Russell comes to this park, near the home that she shares with Rhys and her children, on the rare occasions when she has an early morning to herself. Sometimes, before anyone else is awake, she’ll ride her bike through the park’s loops. “It’s a beautiful, happening place,” she said, pointing out the roller rink, the basketball courts, a meadow, the indelible view of Manhattan across the East River.Over the last year or so, those mornings have been rarer. It was during the Christmas holiday of 2021, when Russell had volunteered to cook dinner for the children’s three sets of grandparents, that she received the scripts for “The Diplomat.” With Rhys already away for part of the year filming the gloomy HBO revival of “Perry Mason”—“I was already punishing him with guilt for not being home,” she said — she wasn’t looking for another starring role.Russell has played several indomitable mothers, including in the horror comedy “Cocaine Bear.”Universal PicturesStill, something in Kate’s ambition and savvy, as well as the humor of her marital tussles with Hal, called to her. She agreed to a video call with the show’s creator, Debora Cahn, a veteran of “Homeland” and “The West Wing.”Cahn had wanted Russell for the role, trusting that Kate would benefit from Russell’s beauty, grace and ability to convey emotions even in characters who control and repress their feelings. But Kate was a more neurotic proposition than past Russell characters — gorgeous enough to be the subject of a Vogue spread in the show but also sweaty, squirrelly, with a lot of angst behind the poise.“There’s a part of Kate that is itchy and twitchy and always uncomfortable in her own skin,” Cahn said in a recent phone interview.Russell was a woman of far more poise, Cahn assumed, but she knew that Russell was also a skilled actor. She could perform that discomfort. And yet, as she watched Russell squirm through the video call, she discovered that discomfort was part of the Russell package, too.“I get really nervous,” Russell confirmed in the park. “I do really sweat a lot.” (She didn’t seem to be sweating here, though it was quite cold.)This contradiction — glamour in the front, social anxiety in the back — helped Cahn explore the thesis of “The Diplomat,” which is that everybody sweats, even (or especially) the bodies in power.“In Buckingham Palace, in the Great Hall of the People, everybody in there is still a leaky human,” Cahn said.Kate, on the show, puts it more tartly. “You show people the nice parts because, believe me, that’s all that anyone wants to see,” she says.The effort that Kate makes to maintain a flawless veneer resonated with Russell, though largely because she has never had much patience with or talent for the public-facing aspects of her profession — the interviews, the award shows, the times when she has to perform a more idealized version of herself. She used to beat herself up for this unease, but she has since accepted it.“I’m like, that’s who I am,” she said.“I like to never be busy,” Russell said, despite recent evidence to the contrary. “I like to like drift away and roam the park.”Celeste Sloman for The New York TimesAnd yet, sets are places where she has always felt at home. “The Diplomat” filmed last summer, mostly in London and mostly on location. Sewell had never met Russell, his work wife, until they were both in the hair and makeup trailer, but he was struck by her openness and ease.“She immediately was very friendly and personable and easy,” he said. “I automatically thought it was going to be relatively straightforward working with her, because she was a lot of fun.”Fun is not necessarily a word that anyone would apply to Kate or that Kate would apply to herself. However sweaty Russell feels herself to be, she moves through the world, or at least through the park, with less strain and tension. (And she is fun. At one point, she pulled out her phone and showed a picture of herself looking unhinged in an ash-blond wig, an outtake from “The Americans.” She sends the picture to her friends when it’s time to party. “We don’t let her have chardonnay anymore,” she said of the image.)While Kate is a creature of ambition, Russell has always held her work more lightly, even as she pushes herself to give vivid, committed performances.“When I’m there, I work hard,” she said. “I want to be good.” But she drew a distinction between herself and Rhys, even though they take on many of the same projects. (He is in “Extrapolations” and “Cocaine Bear,” too.)“He likes to be busy,” she said. “I like to never be busy. I like to like drift away and roam the park.”She was near the river now. The sun turned the gray water gold. Ducks dabbled. Unlike Kate, no one needed her to save the world today or to sweat through her clothes while neutralizing some new crisis. Hypercompetence could wait. She needed only to find her way back through the park and text Rhys to see if he could meet her at an Italian restaurant close by. Among the 37 things, there was just time for a beer before school pickup. More

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    ‘Cocaine Bear’ Review: She Never Forgets Her Lines

    The greatest joke of this blood-spattered horror-comedy from Elizabeth Banks is that it exists.When you were in high school or college, did you know someone who would stay up late, get stoned and wonder what would happen if you got a pet high? That person went to Hollywood. How else to explain “Cocaine Bear,” a chaotic, blood-splattered major studio horror-comedy whose greatest joke is that it exists.The title, which has drawn comparisons to the equally functional “Snakes on a Plane,” says it all. The year is 1985. After a pratfall in a plane leads a smuggler to drop a ton of drugs on the mountains of Georgia, a bear discovers it, snorts it up and turns into a mix of Tony Montana and Jason Voorhees.Directed by Elizabeth Banks from a script by Jimmy Warden, this movie arrives in theaters with considerable anticipation, based on the title and its terrific trailer. For an audience desperately looking for a good time, they’ll find it. More discerning fans of junk might see an opportunity missed.The Grisly Tale of ‘Cocaine Bear’The blood-spattered horror-comedy directed by Elizabeth Banks is based loosely — very loosely — on real events.Review: “For an audience desperately looking for a good time, they’ll find it,” our critic writes. “More discerning fans of junk might see an opportunity missed.”An Apex Predator Star: The film is inspired by a real story, but Banks and the screenwriter, Jimmy Warden, gave their furry lead a different ending.The Back Story: In 1985, a 175-pound black bear found and ingested cocaine in a Georgia forest. Here’s the true story behind the movie.A Taste for Human Goods: The strange but true tale that inspired the film is the result of an unusual confluence of events. But wild animals consume just about everything.At its best, “Cocaine Bear” has the feel of an inside joke. It consistently invites you to laugh at it. The producers are clearly aiming to capture the lightning in a bottle that “M3gan” pulled off earlier this year, another Universal horror-comedy whose slick special effects elevated its B-movie conceit. Whereas “M3gan” steered clear of too much onscreen violence, angling for a PG-13 rating, “Cocaine Bear” wallows in it. Viewers with a taste for tastefulness (those weirdos) will balk. But gorehounds, myself among them, appreciate a studio playing around in the muck. Inspired by the slasher films of the 1980s, not to mention great horror-comedies from that era like the “Evil Dead” films, Banks grasps the comic potential of the gross-out.In the blunt spirit of the title, let me get right to the point: Two severed legs, two fingers shot off, a decapitation, some splattered brains, a grotesquely contorted wrist and all kinds of guts and blood and human innards. Banks doesn’t always dole out the viscera artfully (better to follow a leg with an arm, not another leg) but she commits to the too-muchness necessary for comedy.While it beats out “M3gan” in levels of gruesomeness, “Cocaine Bear” doesn’t have that film’s mean streak or moments of acid weirdness. Or its steadily building momentum. In fact, “Cocaine Bear” too often feels like a one-joke movie, stretched thin. Gifted dramatic actors are tasked with thankless roles, including Keri Russell as a protective mom, Isiah Whitlock Jr. as an irritated cop with a bland side plot involving a pet; and by far the best, Margo Martindale as a love-hungry park ranger, who takes more punishment than anyone. The plot twists can seem irrelevant, including a betrayal that has the impact of a soft sneeze. And the script becomes dutifully sentimental at the end with characters forced to say things like “You’re more than a drug dealer. You’re my friend, my best friend.”Nothing comes close to upstaging the bear, an animal perfect for this genre-blurring role, because it moves so seamlessly in the public consciousness between cute (teddy, Yogi) and terrifying (“The Revenant”). At one point, Cocaine Bear sniffs a hint of white powder and emerges with renewed strength. A gutsier movie might have drawn this out and given us an ursine Popeye, with cocaine as spinach.As fun as this movie can be — one chase scene in an ambulance makes up for a few rote jump scares — there are frequently hints of a better one inside it. The best version is a raucous, transgressive comedy, the kind they supposedly don’t make anymore. Banks does seem to get away with some giddy, dangerous moments, like a scene in which two preteens try to do cocaine. It gets a few laughs, but leaves plenty more on the table.The actor who does not is a snarling, gun-toting Ray Liotta (in one of his final roles) as a desperate man trying to regain cocaine for his cartel bosses. But making the drug dealer the one truly villainous character gives “Cocaine Bear” the morality of an after-school special. Early in the movie there’s a clip of the old “This is your brain on drugs” ad, a reminder that the story takes place against the backdrop of the drug war of the 1980s, a catastrophic policy failure with severe human ramifications that we are still living with. That “Cocaine Bear” is cautious about touching on this theme is understandable, maybe even preferable. But it’s also symptomatic of a studio sensibility that seems only willing to risk so much.Cocaine BearRated R for brains on drugs and brains on floor. Running time: 1 hour 35 minutes. In theaters. More

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    The Real Story of ‘Cocaine Bear’

    Nearly 40 years after a 175-pound black bear found and ingested cocaine in a Georgia forest, the drug binge has inspired a movie.The trailer for a new movie called “Cocaine Bear” was released on Wednesday, and the film’s title is not a metaphor or clever wordplay: The movie is about a bear high on cocaine.The bloody spree that follows the bear’s cocaine binge, as depicted in the trailer, is fictional, but the story about a high bear is very real. Its lore is likely to grow with the movie, which was directed by Elizabeth Banks and is set for a Feb. 24 release.“Cocaine Bear” stars Keri Russell, O’Shea Jackson Jr. and Ray Liotta, who died in May, in one of his final film roles. It depicts the bear’s drug-induced trail of terror and the victims he leaves behind.The real story is less bloody.It all began, as you might guess, in the 1980s. The Georgia Bureau of Investigation announced in December 1985 that a 175-pound black bear had “died of an overdose of cocaine after discovering a batch of the drug,” according to a three-sentence item from United Press International that appeared in The New York Times.A United Press International item on the cocaine bear appeared in The New York Times in December 1985.“The cocaine was apparently dropped from a plane piloted by Andrew Thornton, a convicted drug smuggler who died Sept. 11 in Knoxville, Tenn., because he was carrying too heavy a load while parachuting,” U.P.I. reported. “The bureau said the bear was found Friday in northern Georgia among 40 opened plastic containers with traces of cocaine.”The bear was found dead in the mountains of Fannin County, Ga., just south of the Tennessee border.“There’s nothing left but bones and a big hide,” Gary Garner of the Georgia Bureau of Investigation told The Associated Press at the time.Dr. Kenneth Alonso, the state’s chief medical examiner at the time, said after an autopsy in December 1985 that the bear had absorbed three or four grams of cocaine into its blood stream, although it may have eaten more, The Associated Press reported that month.Today, the very same bear is said to be on display in Lexington, Ky., at the Kentucky for Kentucky Fun Mall. The mall said in an August 2015 blog post that workers there wanted to know what happened to the bear and found out it had been stuffed. The blog post says the stuffed bear was at one point owned by the country singer Waylon Jennings, who kept it in his home in Las Vegas, before it was delivered to the store. (The New York Times could not independently confirm this account.)What happened to the bear in its final days, or hours, after the cocaine binge is a mystery, but the origins of the cocaine are not.Mr. Thornton was a known drug smuggler and a former police officer. He was found dead the morning of Sept. 11, 1985, in the backyard of a house in Knoxville, Tenn., wearing a parachute and Gucci loafers. He also had several weapons and a bag containing about 35 kilograms of cocaine, The Knoxville News Sentinel reported.A key in Mr. Thornton’s pocket matched the tail number of a wrecked plane that was found in Clay County, N.C., and based on Mr. Thornton’s history of drug smuggling, investigators guessed there was more cocaine nearby, The News Sentinel reported. The investigators searched the surrounding area and found more than 300 pounds of cocaine in a search that lasted several months.They also found the dead bear. More

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    ‘Antlers’ Review: Buck Wild

    An environmental parable is tucked inside this gloomy film about a creature that terrorizes a small Oregon town.“Antlers,” a moody muddle by Scott Cooper (“Hostiles”), attempts to do for the wendigo, a man-eating, steroidal, elk-like creature from Algonquin folklore, what “Jaws” did for the great white shark: pare a beast to its protuberances and set it loose on an economically-anxious hamlet where basic human well-being is a luxury.The setting is a small Oregon coal mining town that looks funereal even before the wendigo stacks up spines like discarded toothpicks. The mine has shuttered, but promises to reopen. In the interim, its abandoned shaft is an irresistible temptation for two destructive forces fated to collide: Frank Weaver (Scott Haze), a local meth maker who cooks in the darkness, and the wendigo, Mother Earth’s vengeful protector. (The film’s go-green ideology appears only in the opening crawl before becoming as forgotten as a T-shirt from Earth Day 1994.)A cannibal who symbolizes mankind’s appetite for greed and plunder couldn’t be more relevant. In execution, however, “Antlers” isn’t much interested in expanding on its folkloric myth. The wendigo stalks the movie like just another rattle-throat corpse-grinder that yowls and stomps and does its darnedest to trample a path for a sequel. The script, co-written by Cooper, C. Henry Chaisson and Nick Antosca (“Channel Zero”), dwells instead on the miseries of Frank’s oldest son, Lucas (a promising Jeremy T. Thomas), a 12-year-old grappling with the complete destruction of his already fragile home life. Lucas’s English teacher, Julia (Keri Russell), notices that the starved child is scribbling disturbed drawings that demand more attention than the stretched-thin principal (Amy Madigan) is able to give.Julia has her own history of abuse, conveyed through cryptic flashbacks and Russell’s flatlined frown. The film’s smartest insights come from observing how maltreated children bear their secrets. At the same time, Julia’s brother (Jesse Plemons), the local sheriff, is saddled with speculating that the disemboweled victims were done in by “a bear or cougar or something,” inanities made worse by Cooper’s apparent affection for ponderous dialogue delivery that makes every character speak as though they’re hand-whittling each word.The film’s self-seriousness is as oppressive as its setting’s monotonous fog. The cinematographer Florian Hoffmeister shoots handsomely, making Boschian ghouls of men in bug-eyed gas masks, yet it gets frustrating that neither he nor Cooper allow anyone to turn on more than one lamp. Despite Julia’s classroom lectures about the purpose of fiction — on Goldilocks: “Is there a moral or lesson in that story?” — “Antlers” itself is merely a jumbled presentation of awful things, the bones of a good idea with none of the meat.AntlersRated R for blood and guts and emotional bludgeoning. Running time: 1 hour 39 minutes. In theaters. More