movie review 13 days

Thirteen Days

The 1962 Cuban missile crisis was the closest we’ve come to a nuclear world war. Nikita Khrushchev installed Soviet missiles in Cuba, 90 miles from Florida and within striking distance of 80 million Americans. Kennedy told him to remove them, or else. As Soviet ships with more missiles moved toward Cuba, a U.S. naval blockade was set up to stop them. The world waited.

At the University of Illinois, I remember classes being suspended or ignored as we crowded around TV sets and the ships drew closer in the Atlantic. There was a real possibility that nuclear bombs might fall in the next hour. And then Walter Cronkite had the good news: The Soviets had turned back. Secretary of State Dean Rusk famously said, “We went eyeball to eyeball, and I think the other fellow just blinked.” The most controversial assertion of Roger Donaldson’s “Thirteen Days,” an intelligent new political thriller, is that the guys who blinked were not only the Soviets, but also America’s own military commanders–who backed down not from Soviet ships but from the White House. The Joint Chiefs of Staff and Air Force Gen. Curtis LeMay are portrayed as rabid hawks itching for a fight. It’s up to presidential adviser Kenny O’Donnell ( Kevin Costner ) and Defense Secretary Robert McNamara ( Dylan Baker ) to face down the top brass, who are portrayed as boys eager to play with nuclear toys. “This is a setup,” O’Donnell warns President John F. Kennedy ( Bruce Greenwood ). If fighting breaks out at a low level, say with Castro shooting at an American spy plane, “the chiefs will force us to start shooting.” This version of events, the viewer should be aware, may owe more to the mechanics of screenwriting than to the annals of history. In a movie where the enemy (Khrushchev) is never seen, living and breathing antagonists are a convenience on the screen, and when McNamara and a trigger-happy admiral get into a shouting match, it’s possible to forget they’re both supposed to be good guys. Yet the Cold War mentality did engender military paranoia, generals like LeMay were eager to blast the commies, and Kennedy was seen by his detractors as a little soft.

“Kennedy’s father was one of the architects of Munich,” grumbles Dean Acheson, Truman’s secretary of state and an architect of the Cold War. “Let’s hope appeasement doesn’t run in the family.” My own feeling is that serious students of the missile crisis will not go to this movie for additional scholarship, and that for the general public it will play–like Oliver Stone’s “ JFK “–as a parable: Things might not have happened exactly like this, but it sure did feel like they did. I am not even much bothered by the decision to tell the story through the eyes of O’Donnell, who according to Kennedy scholars can barely be heard on White House tapes made during the crisis, and doesn’t figure significantly in most histories of the event. He functions in the movie as a useful fly on the wall, a man free to be where the president isn’t and think thoughts the president can’t. (Full disclosure: O’Donnell’s son Kevin, the Earthlink millionaire, is an investor in the company of “Thirteen Days” producer Armyan Bernstein .) Costner plays O’Donnell as a White House jack-of-all-trades, a close adviser whose office adjoins the Oval Office. He has deep roots with the Kennedys. He was Bobby’s roommate at Harvard and Jack’s campaign manager, he is an utterly loyal confidante, and in the movie he helps save civilization by sometimes taking matters into his own hands. When the Joint Chiefs are itching for an excuse to fight, he urges one pilot to “look through this thing to the other side”–code for asking him to lie to his superiors rather than trigger a war.

The movie’s taut, flat style is appropriate for a story that is more about facts and speculation than about action. Kennedy and his advisers study high-altitude photos and intelligence reports, and wonder if Khrushchev’s word can be trusted. Everything depends on what they decide. The movie shows men in unknotted ties and shirt-sleeves, grasping coffee cups or whiskey glasses and trying to sound rational while they are at some level terrified. What the Kennedy team realizes, and hopes the other side realizes, is that the real danger is that someone will strike first out of fear of striking second.

The movie cuts to military scenes–air bases, ships at sea–but only for information, not for scenes that will settle the plot. In the White House, operatives like O’Donnell make quiet calls to their families, aware they may be saying goodbye forever, that the “evacuation plans” are meaningless except as morale-boosters. As Kennedy, Bruce Greenwood is vaguely a look-alike and sound-alike, but like Anthony Hopkins in “ Nixon ,” he gradually takes on the persona of the character, and we believe him. Steven Culp makes a good Bobby Kennedy, sharp-edged and protective of his brother, and Dylan Baker’s resemblance to McNamara is uncanny.

I call the movie a thriller, even though the outcome is known, because it plays like one: We may know that the world doesn’t end, but the players in this drama don’t, and it is easy to identify with them. They have so much more power than knowledge, and their hunches and guesses may be more useful than war game theories. Certainly past experience is not a guide, because no war will have started or ended like this one.

Donaldson and Costner have worked together before, on “ No Way Out ” (1987), about a naval officer assigned to the Pentagon who stumbles into a criminal cover-up. That one was a more traditional thriller, with sex and murders; this time they find almost equal suspense in what’s essentially a deadly chess game. In the long run, national defense consists of not blowing everything up in the name of national defense. Suppose nobody had blinked in 1962, and missiles had been fired. Today we would be missing most of the people of Cuba, Russia and the U.S. Eastern seaboard, and there’d be a lot of poison in the air. That would be our victory. Yes, Khrushchev was reckless to put the missiles in Cuba, and Kennedy was right to want them out. But it’s a good thing somebody blinked.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

Dylan Baker as Robert McNamara
Kevin Costner as Kenny O'Donnell
Henry Strozier as Dean Rusk
Bruce Greenwood as John F. Kennedy
Charles Esten as Maj. Anderson
Steven Culp as Robert Kennedy
Ernest R. May
Philip D. Zelikow

Directed by

Roger Donaldson

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Thirteen Days Reviews

Kennedy fans might appreciate Thirteen Days for what it is but the film could do better in putting the right faces up front.

Full Review | Original Score: 3.5/5 | Dec 25, 2020

I find vertiginous and very palpitating what happens in this political thriller, directed by Roger Donaldson, about one of the most tense moments of the Kennedy administration: the Cuban missile crisis. [Full review in Spanish]

Full Review | Original Score: 7/10 | Jul 21, 2020

It really is the Cuban Missile Crisis played out on a grand scale, and, in some respects, this grandiosity is permissible.

Full Review | Original Score: 3/5 | Jul 24, 2019

An outstanding movie for families with older kids.

Full Review | Original Score: 5/5 | Dec 29, 2010

a slightly more accurate mythology of the Cuban Missile Crisis

Full Review | Original Score: C+ | Nov 21, 2010

"Days" terrifically evinces those days' timorous uncertainty of whether Red dread over ending the world matched Yankee angst. The knowing glances at its conclusion speak volumes: The planet's lucky break had only to do with random chance.

Full Review | Original Score: 3.5/4 | Oct 31, 2010

Suspenseful and efficient--to the point that it feels like a soulless, though remarkably well-calibrated, machine.

Full Review | Original Score: 3/4 | Feb 15, 2010

Full Review | Original Score: 4/5 | Aug 7, 2008

Full Review | Original Score: 3.5/4 | Jul 14, 2007

An unblinking chronicle of the world on the eve of destruction.

Full Review | Original Score: 3/4 | Jan 15, 2007

Full Review | Original Score: 4.5/5 | Dec 6, 2005

Full Review | Original Score: 3/4 | Sep 30, 2005

Thirteen Days will not satisfy young viewers looking for a thriller or older audiences eager to look behind the scenes of an unforgettable two weeks in history.

Full Review | Original Score: 2.5/4 | Jun 25, 2004

Mesmo recriando um incidente histórico, o filme funciona bem como thriller político e traz duas ótimas atuações de Greenwood e Culp.

Full Review | Original Score: 4/5 | Jan 5, 2004

Full Review | Original Score: 0/4 | Aug 30, 2003

Full Review | Original Score: 7/10 | Jun 19, 2003

Full Review | Original Score: 2/4 | May 14, 2003

Thirteen Days is a gripping history lesson and a good character study, but also just a well-cast, well-executed film.

Full Review | Original Score: 5/5 | Feb 8, 2003

Why hire a star, or 'allow' a star to hire himself, and then give him nothing to do? Why hire a star who doesn't seem able to do much to begin with?

Full Review | Original Score: C | Jan 10, 2003

Full Review | Original Score: 4.5/5 | Dec 8, 2002

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DVD & Streaming

Thirteen Days

Content caution.

In Theaters

Kevin Costner as Kenny O'Donnell; Bruce Greenwood as John F. Kennedy; Steven Culp as Robert F. Kennedy; Dylan Baker as Robert McNamara; Henry Strozier as Dean Rusk; Frank Wood as McGeorge Bundy; Len Cariou as Dean Acheson; Stephanie Romanov as Jacqueline Kennedy; Walter Adrian as Lyndon Johnson; Peter White as John McCone; Tim Kelleher as Ted Sorensen; Olek Krupa as Andrei Gromyko; Elya Baskin as Anatoly Dobrynin; Jack McGee as Mayor Daly

Home Release Date

Roger Donaldson

Distributor

New Line Cinema

Movie Review

The threat of global nuclear catastrophe looms in October of 1962 when photographs from a U2 spy plane reveal military installations in Cuba that boast Soviet-built intermediate-range ballistic missiles. For the first time ever, the USSR poses an immediate nuclear threat to the United States. The Pentagon concludes that the Soviet military philosophy has shifted from defensive to offensive. The President is faced with the very real possibility of World War III. The resulting story is one of high stakes wrangling and international intrigue.

Thirteen Days tells this dramatic story from the perspective of Kennedy political advisor Kenny O’Donnell. It is claimed that the facts of the story are carefully researched and documented in this film. Most of the creative license is taken with Kenny O’Donnell whose role in the crisis was beefed up in order to have him present at the key points in the conflict. The result is a riveting reenactment of what has come to be called the Cuban Missile Crisis.

positive elements: Young Americans who have never heard of the Cuban Missile Crisis will get an eye-opening tour of duty in the White House during one of America’s defining moments. While every detail won’t match the actual event (movie accounts never do), it will most likely engender curiosity about our all-too-recent past. Moviegoers will also catch a glimpse into the political—and familial—culture of the early 1960s. The O’Donnell family is portrayed as a solid unit with a committed mom and dad. Despite Kenny’s long hours at “the office,” he shows obvious concern for his family in the midst of the crisis and a sense of desperation about their possible fate if things go wrong.

spiritual content: There are two scenes in which the President is shown attending worship services. A Catholic church offers 24-hour confessions and displays a sign that asks people to “Pray for Peace.” Even late at night, there are a significant number of people who are taking advantage of the church’s services. When Kenny asks a U2 pilot whether he is a religious man, the man says yes. He also invokes the grace of God prior to his flight. Unfortunately, the movie’s most common profanity is the misuse of Jesus’ name. The Kennedys and their staff use and abuse the Lord’s name frequently and without hesitation.

sexual content: One passing quip. It’s an over-the-shoulder remark about Robert McNamara sitting on Bobby Kennedy’s lap in a crowded car and the latter not getting excited.

violent content: A fighter jet and a U2 surveillance plane are fired upon in two instances. The damage is minor in one and deadly in the other.

crude or profane language: As mentioned, Jesus’ name gets a rough workout. Before the credits roll, various abuses of the Lord’s name arise over 30 times. Nine s-words, one f-word and other profanities raise the total to about 70.

drug and alcohol content: JFK, Bobby and Kenny are shown after apparently having had too much to drink. Kenny drinks hard liquor on several other occasions as well. Various characters are shown smoking throughout the film.

conclusion: All those crazies who built bomb shelters in their back yards have been vindicated. For 13 days, America held its breath, waiting anxiously for a resolution. Thirteen Days doesn’t attempt to convey that part of the story, however. Rather, it concentrates on the inside of the White House, only hinting at what is going on “outside.” It’s a tremendous task to dramatize an event of which we all know the outcome: The world survived. On the other hand, fans of the History Channel will find this an interesting portrayal of America in the sixties, the Kennedy Administration and the crisis itself. It is also a great case study in human nature. To this day, no one can be sure of the Soviet motivation for deploying nuclear weapons in Cuba. But we can be sure that a bevy of emotions and actions (pride, political posturing, a desire for power, prayer and even occasional use of common sense) all played a part in the outcome.

It is almost impossible to make a film about politics without making a political statement. One could argue that the Kennedys were treated well here while the Joint Chiefs and congressional hawks were abused. On the other hand, the film’s perspective (it looked at events through the eyes of Kennedy’s right-hand man) dictates that anyone with differing opinions from those of the Kennedys would be the “bad guys.” It is also nearly impossible to create a historical drama without fabricating a few facts. There is the suggestion that the Joint Chiefs were mobilizing for a coup attempt. Did that actually happen? The military brass is also portrayed as trying to force an international war even though they knew it meant a nuclear exchange. Is that true? Very few men know the answers to such questions. But the questions themselves do create perfect learning opportunities for inquisitive minds.

Kenny states, “The good will of men is all that stands between us and the devil.” He also looks knowingly at a plaque on his desk that reads: “Oh God thy sea is so great and my boat so small.” While his conclusions seem to at first contradict each other, when taken from a Christian perspective, they both make sense. Where does man’s good will come from? Obviously the answer is God. And isn’t some of “man’s good will” apparent in the prayer vigils held at churches across the country? The boat is small, but its Creator is big. Sadly, quantities of profane language will keep many families away from Thirteen Days until it premieres on network television. Once properly edited, however, it will give families an arsenal of learning opportunities (both historical and spiritual). Too bad the TV version won’t mask Kevin Costner’s attempt at a New England accent.

Positive Elements

Spiritual elements, sexual & romantic content, violent content, crude or profane language, drug & alcohol content, other noteworthy elements.

Steven Isaac

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Thirteen Days Review

16 Mar 2001

145 minutes

Thirteen Days

0kay, so the world is still here. Which means we pretty much know the outcome of Thirteen Days, a surging, intelligent, nerve-gripperof a thriller centred around the political intrigue and sphincter-clenching peril of the Cuban Missile Crisis. But that's certainly not a fault; this is a history lesson as taut and terrifying as any fictional movie plot.

Less histrionic and flashy than the canon of verbose Oliver Stone American epics, Donaldson directs with a meaty clarity, never bogging his film down in too much political machination but attributing his audience with the wherewithal to keep track of a highly complex situation. The body of the action is confined to anterooms of the White House and the Pentagon, as JFK and his two closest advisors (brother Bobby and Kenny O'Donnell) wrestle with the crisis — leaving it to brief but thrilling jet-rides over Cuba to remind us of the scope of the threat. The Russians remain an elusive, unseen opponent.

Hence, the film's heart-quickening urgency is left to a ream of heavyweight performances (there's not a dullard in the pack), razor-sharp editing and Self's vociferous script. Indeed, Thirteen Days seems constructed around startling scenes of truculent men in snappy suits shouting at one another. There is also a tasty paranoid edge, as the various military heads surreptitiously push for war, while O'Donnell starts to find himself excluded from the brothers' intimacy.

This is home turf for Costner (he made the fabulous No Way Out with Donaldson back in 1987); obviously passionate about the subject (he produces and even pondered directing), he gives a stately, effective performance as O'Donnell, who although central never quite seems the leading man. It is, however, Canadian actor Greenwood, as JFK, who shines brightest. Smart enough to avoid getting completely sucked I into replicating those regal, Bostonian tics, he goes for the essence of Kennedy, presenting a rarely seen side of the man: the intelligence, integrity and sheer nerve to quite literally hold the fate I of the world in his hands for 13 terrifying days. And Steven Gulp delightfully plays the nervy, brainiac Bobby like a hunched terrier excitedly engaged in a deadly chess game.

There's the occasional lapse into cheap Americanisms —we are presented with O'Donnell's homespun family as a symbol of freedom underfire — but surprisingly little flag-waving. What is most apparent is that this sophisticated tale of impending thermonuclear war stands as a powerful tribute to the conviction and humanity of Washington's finest.

Movies | 14 07 2008

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Movies | 13 02 2001

, directed by Roger Donaldson, is told from the point of view of presidential aide Kenny O'Donnell, who is well played by Kevin Costner. Through his eyes we gain access to President Kennedy's inner-most circle during the whole crisis.

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Cast & crew
User reviews

Thirteen Days

In October 1962, the Kennedy administration struggles to contain the Cuban Missile Crisis.
In October 1962, President John F. Kennedy (Greenwood) learns about the Soviet Union's plan of placing nuclear weapons in Cuba. These weapons could wipe out most of the eastern and southern United States in minutes if they become operational. Kennedy and his advisors must come up with a plan of action against the Soviets.
In October, 1962, U-2 surveillance photos reveal that the Soviet Union is in the process of placing nuclear weapons in Cuba. These weapons have the capability of wiping out most of the Eastern and Southern United States in minutes if they become operational. President John F. Kennedy and his advisors must come up with a plan of action against the Soviets. Kennedy is determined to show that he is strong enough to stand up to the threat, and the Pentagon advises U.S. military strikes against Cuba--which could lead the way to another U.S. invasion of the island. However, Kennedy is reluctant to follow through, because a U.S. invasion could cause the Soviets to retaliate in Europe. A nuclear showdown appears to be almost inevitable. Can it be prevented? — <[email protected]>
The year is 1962. USAF U-2 spy planes discover that the USSR is placing nuclear ballistic missiles in Cuba. The Chiefs of Staff warn President Kennedy and his cabinet that the missiles have the potential to kill up to 80 million Americans, and destroy a large number of USAF bomber bases - thus crippling the Americans' ability to retaliate and leaving the country an easy target for Soviet invasion. Fortunately, the missiles are not yet operational, and the President and his staff try to figure out how to get the missiles out of Cuba - whether by diplomatic means or by force. Initially, diplomatic attempts fail as the Soviets lie and stonewall the President. Secretary of Defence Robert McNamara comes up with a different plan - a naval blockade of Cuba to keep new missiles from reaching the country. When the Russians ignore the blockade and try to run it, things quickly go from bad to worse. Will the Americans & Soviets come to a peaceful settlement - or will nuclear war result? — Derek O'Cain
In the early days of October 1962, U.S. spy planes photograph the impending installation of Soviet missile sites in Cuba. While there is widespread agreement that the missiles must not be allowed, there is no clear way to ensure that. The military feels that their destruction followed by the invasion of Cuba is likely the only option. President Kennedy realizes however that to do so, would lead the Soviet Union to invade West Berlin with the result being an all out war. He pushes his subordinates, coordinated by brother Bobby, to come up with an alternative solution. Secretary of Defence Robert McNamara proposes a naval blockade of Cuba which the U.S. initiates with the backing of the Organization of American States. Throughout the 13 day crisis, the President and his inner circle struggle to rein those who would take unilateral action and through back channels, tries to communicate with the Soviet leadership and provide them with a face-saving solution to their mutual dilemma. — garykmcd
US and USSR at the height of the cold war, each have enough nuclear weapons to destroy the entire planet many times over. In October 1962, U-2 aerial surveillance photos reveal that the Soviet Union is in the process of placing intermediate-range ballistic missiles (the SS-4 Sandal, 1000 miles range, 3 megaton nuclear warheads) carrying nuclear weapons in Cuba (32 missiles serviced by 3400 men). Cities till Washington DC are in range, and in the event of a launch would have a less than 5 mins warning. President John F. Kennedy (Bruce Greenwood ) and his advisers (including Attorney General Robert F. Kennedy (Steven Culp), Secretary of Defence Robert McNamara (Dylan Baker), Chairman of the Joint Chiefs of Staff General Maxwell Taylor, USA (Bill Smitrovich), Special Assistant Kenneth O'Donnell (Kevin Costner), Deputy Director of the CIA Lieutenant General Marshall Carter, USA (Ed Lauter), United States Ambassador to the United Nations Adlai Stevenson II (Michael Fairman), Secretary of State Dean Acheson (Len Cariou), Chief of Staff of the USAF General Curtis LeMay (Kevin Conway) Chief of Naval Operations Admiral George Whelan Anderson Jr. (Madison Mason)) must come up with a plan of action to prevent their activation. The missiles will be active in 10-14 days. Kennedy is determined to show that the United States will not allow a missile threat. The Joint Chiefs of Staff advise immediate U.S. military strikes against the missile sites followed by an invasion of Cuba. Kennedy is reluctant to attack and invade because it would very likely cause the Soviets to invade Berlin (which is NATO), which could lead to an all-out war. Citing The Guns of August, Kennedy sees an analogy to the events that started World War I, where the tactics of both sides' commanders had not evolved since the previous war and were obsolete, only this time nuclear weapons are involved. War appears to be almost inevitable. If a strike has to be launched, it has to be before the missiles are operational. The military minds are pushing hard to play out the WW III scenario. JFK leaves the meeting without giving his decision. Dean is worried that JFK might not be tough enough to make a decision. JFK feels this is moving too fast and it smells like the Bay of Pigs all over again. The Kennedy administration tries to find a solution that will remove the missiles (there are 40 missiles now, IRBMs, which can hit every city in the US except Seattle) but avoid an act of war. Curtis LeMay tries to bully the President into launching a Pre-Emptive strike and thinks that the Soviets will do nothing in response. He is indignant when JFK refuses to authorize the strike as JFK demanded. The military heads believe the Kennedy's to be cowards. JFK meets Soviet ambassador Anatoly Dobrynin, who continues to maintain that Soviets have only defensive military equipment in Cuba. JFK cannot reveal that US knows about the missiles. JFK rejects a blockade, as this is formally regarded as an act of war, and settle on what they publicly describe as a quarantine. They announce that the U.S. naval forces will stop all ships entering Cuban waters and inspect them to verify they are not carrying weapons destined for Cuba. US military is moved to DEFCON 3 alert status Adlai suggests making a deal with the Soviets to trade their missiles in Cuba for the NATO missiles in Turkey. The Soviet Union sends mixed messages in response. Seems like Soviets will run the blockade. JFK orders no shooting at ships without his explicit orders. The military continues to order spy plane pictures, but one of Kennedy's top advisers, Kenneth O'Donnell (Kevin Costner), calls the pilots to ensure the pilots do not report that they were shot at or fired upon, because if they were, the country would be forced to retaliate under the rules of engagement. Kenneth knows that the military knows that their planes will be shot at and this will force the President into ordering the strikes and the invasion. Off the shores of Cuba, the US ships figure out that the Soviets have deployed subs under their merchant ships. JFK orders the destroyers to force the sub to surface via torpedo strikes. At the last possible moment, the Soviet ships turn back from the quarantine lines. JFK holds on the sub attack order. There are several mini-accidents during the crisis: the defense readiness level of Strategic Air Command (SAC) is raised to DEFCON 2 (one step shy of maximum readiness for imminent war), without informing the President; a nuclear weapon test proceeds (Bluegill Triple Prime) and a routine test launch of a U.S. offensive missile is also carried out without the President's knowledge. Secretary of State Dean Rusk (Henry Strozier) says, "We're eyeball to eyeball and I think the other fellow just blinked." Meanwhile Adlai presents his evidence of Soviet missiles in Cuba in the UN Security Council. Adlai makes a mincemeat out of Russian and Cuban ambassadors, who were bullying him up to this point. This was remarkable since nobody in Washington though Adlai had it in him to be tough. Adlai was give the UN job, as it was a parking place till his retirement. Meanwhile one Soviet ship slips through the blockade undetected. Admiral Whelan orders the ship to be fired upon (he was firing flares to warn them), but gets a severe dressing down from McNamara in front of his staff, not to countermand the President's orders again. McNamara is clear that such actions can easily be misinterpreted by the Soviets and lead to escalation that the President didn't want. John A. Scali (Jack Blessing), a reporter with ABC News, is contacted by Soviet "emissary" Aleksandr Fomin (Boris Lee Krutonog) (he is the highest ranking Soviet spy in the US), and through this back-channel communication method the Soviets offer to remove the missiles in exchange for public assurances from the U.S. that it will never invade Cuba. A long message in the same tone as the informal communication from Fomin, apparently written personally by Soviet Premier Nikita Khrushchev, is received. This is followed by a second, more hard line cable in which the Soviets offer a deal involving U.S removal of its Jupiter missiles from Turkey. The Kennedy administration interprets the second as a response from the Politburo, and in a risky act, decides to ignore it and respond to the first message, assumed to be from Khrushchev. In the meanwhile the missiles in Cuba are now operational. Soviets have also deployed tactical nukes in Cuba, which means US invasion will have immense costs. In a bid for time while under intense pressure from the military for an immediate strike, President Kennedy authorizes attacks on the missile sites and an invasion of Cuba, to commence the following Monday. An Air Force U-2 reconnaissance plane is sent over Cuba to gather intelligence for the attack, but is shot down, killing the pilot. After much deliberation with the Executive Committee of the National Security Council, Kennedy makes a final attempt to avoid a war by sending his brother, Robert F. Kennedy to meet with Soviet ambassador Anatoly Dobrynin (Elya Baskin) on Friday night. Bobby reiterates the demand that the Soviets remove their missiles from Cuba, and in return promises not to invade or assist in the invasion of Cuba. Dobrynin insists that the U.S. must also remove all Jupiter missiles from Turkey, on the border of the Soviet Union. Bobby says that a quid pro Quo is not possible, but in exchange for Khrushchev removing all the missiles from Cuba, there will be a secret understanding that the U.S. will remove all of its "obsolete" missiles from Turkey within six months as part of a Pre-scheduled plan. The Soviets announce on Sunday that they will remove their missiles from Cuba, averting a war that could have escalated to the use of nuclear weapons. The film ends with President Kennedy dictating a letter of condolence to the family of the reconnaissance pilot, Rudolf Anderson, who was shot down over Cuba as part of the preparations for the invasion, and the Kennedy brothers and O'Donnell outside of the Oval Office as actual audio of President Kennedy's commencement speech at American University played in the background.

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Thirteen Days (United States, 2000)

To many people living today, the Cuban Missile Crisis is a footnote on page 550 in a high school history text book. By the time Ronald Reagan assumed the greatest role of his career, the Soviet Union was in its terminal phase, with its economy collapsing faster than a rotten railroad overpass during an earthquake. Throughout the '80s and into the '90s, the potential of a nuclear holocaust became increasingly remote. The fact of life that everyone lived with during the '50s, '60s, and '70s now seems as remote as a barely recalled childhood nightmare. So the trick for Thirteen Days was to paint a vivid enough portrait to stir memories in those who lived through the events of October 1962 and to involve those born after that date.

It is often difficult to dramatize recent historical events because nearly everyone going into the theater already knows the outcome. The world did not end with the Cuban Missile Crisis. Disaster was averted with almost no loss of life, and the United States was the "winner" (insofar as there can be a winner in this situation). What's more, Thirteen Days is constructed as a thriller, which means that its intent is to arouse the audience's interest by creating suspense.

Thirteen Days includes a lot of fascinating elements, the most obvious of which is the struggle between Kennedy's advisors as the hawks and doves seek to sway the President to their point-of-view. Each side has valid objections to the other's position, and it becomes clear that both paths could lead to disaster. Some of the more zealous members of the military, disgusted by a perceived weakness in JFK's approach, seek to trap the President into a warlike position by manipulating the rules of engagement. At one time, JFK's advisors become worried that certain actions may give the impression that the President is fighting down a coup attempt. Meanwhile, the top minds in the United States must attempt to puzzle out Moscow's seemingly contradictory responses to American actions. Are they willing to capitulate and deal beneath the table, or are they setting a trap to give them time to prepare the missiles for use? Tense moments include a confrontation between a U.S. warship and a Soviet sub, attempts by a U-2 plane to avoid missiles, and the final, frenzied negotiations as the deadline looms.

Although Costner is fine as O'Donnell, the movie might have been more successful with a lesser-known actor in this part. At this point in his career, Costner arguably brought too much off-screen baggage to his roles, and there are times when his ego appears to have influenced O'Donnell's importance. Plus, the Boston accent doesn't sound right coming out of the actor's mouth - it seems slightly exaggerated, and, as a result, almost comical. The two actors playing opposite Costner are much better. Bruce Greenwood gives a strong interpretation of JFK. Visually, there's only a passing resemblance, but Greenwood has perfected the mannerisms and, more importantly, the style. Meanwhile, Steven Culp is equally as good as JFK's brother and right-hand man, Bobby. Other notable performances include Dylan Baker as Secretary of Defense Robert McNamara, Michael Fairman as U.N. Ambassador Adlai Stevenson, Kevin Conway as General Curtis LeMay, and Christopher Lawford as Commander William Ecker.

Thirteen Days ' biggest challenge may be finding an audience. For those with an interest in JFK and the Cuban Missile Crisis, it's a worthwhile addition to an already full motion picture cannon. After all, the events depicted here represent one of America's most tense periods and, ultimately, JFK's finest hour. The perspective offered by Thirteen Days is different enough from other movies about the Crisis that it merits viewing.

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Thirteen Days Reviews

78 Metascore
2 hr 25 mins
Drama, Suspense
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Kevin Costner stars in this thrilling and beautifully acted political drama about the Cuban Missile Crisis. Set in October 1962, the film chronicles how President Kennedy's bickering, backbiting staff tried to avert a nuclear war with the Soviet Union. Bruce Greenwood stars as JFK. Steven Culp, Dylan Baker, Henry Strozier.

The trouble with history is we all know how it ends. The fact that the Cuban Missile Crisis of 1962 was defused pretty much goes without saying, given that we're all still here. But Roger Donaldson's account of the tense two weeks when it looked as though America and the USSR were going to start a global nuclear war is thoroughly gripping. It recalls equally such jittery cold war thrillers as FAIL SAFE and DR. STRANGELOVE (with the obvious difference that the crisis is averted) and a particularly testosterone-fueled episode of TV's The West Wing, all clean-cut men in suits barking at each other. The Cuban Missile Crisis of 1962 begins on October 16, when U.S. surveillance photos detect Russian-built missiles in Cuba, a worrying 90 miles off the Florida coast. That this is no minor matter becomes quickly apparent, and the government is on alert in a matter of hours. The daunting list of key players includes President Kennedy (Bruce Greenwood), his brother, Attorney General Robert Kennedy (Steven Culp), Special Assistant to the President Kenny O'Donnell (Kevin Costner), the Joint Chiefs of Staff, Secretary of Defense Robert McNamara (Dylan Baker), Secretary of State Dean Rusk (Henry Strozier), Special Assistant for National Security Affairs McGeorge Bundy (Frank Wood) and Ambassador to the United Nations Adlai Stevenson (Michael Fairman). While the military brass argue that the Soviets only understand force, Kennedy is reluctant to start the world on a path that will lead inevitably to nuclear annihilation, a position secretly perceived by some of his own advisers as weak. Shots of planes, missiles, warships and ominous nuclear clouds notwithstanding, the real action unfolds in a series of smoky rooms whose claustrophobia is suffocating. This is a work of fact-based fiction, not a documentary; the script no doubt takes liberties with the details. But it effectively evokes the terror of the time for viewers too young to remember a near-disaster far scarier than any imaginary apocalypse involving rogue meteors or hostile extraterrestrials.

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Dove Review

A real nail biter! These true events come candidly and frighteningly to life with David Self’s enthralling script and the perceptive performances of the film’s splendid cast. Unfortunately, each character profanes God’s name. Although men under pressure are bound to utter words they normally would not, when filmmakers use God’s name followed by a curse 14 times and Jesus’ name is used as a mere expletive, like saying “Darn it,” 15 times, it loses creativity and portrays the characters as men who do not reverence God. If not for the language, this film could have been Dove approved.

Dove Rating Details

An American plane is shot down, killing the pilot.

One sexual comment.

GD-14; JC or J-15; F-1; S-8; SOB-3; A-6; B-2.

JFK takes pain drugs and drinks scotch in one scene to relax; the leads take a drink a couple of times.

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‘Thirteen Days’ Is Accurate Where It Counts

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In his article criticizing the accuracy of the movie “Thirteen Days” (“Call ‘Days’ What You Will, but It’s Not Quite History,” Jan. 16), Richard Reeves, a respected biographer of President John F. Kennedy, wrote that “compared with most of the junk being made these days, ‘Thirteen Days’ is practically Thucydides--or perhaps I should say, May and Zelikow. Much of the dialogue is from transcripts of missile crisis meetings transcribed and published by Ernest May of Harvard and Philip Zelikow of the University of Virginia.”

The flattery is welcome, but misplaced. The screenplay was influenced by the tapes of the missile crisis meetings, but it is certainly original. It went straight for the really big ideas about the (continuing) danger of nuclear war, the difference a president can make and the value of historical memory, in this case re-creating the high Cold War for a new generation. So I was sympathetic to the screenwriter’s decision to use Kenny O’Donnell, played by Kevin Costner, as the “everyman” insider who plays witness and foil to the inner deliberations of the Kennedys.

O’Donnell was an interesting and important person in the lives of the Kennedys. He is the kind of person historians usually neglect because they leave few documents behind and work on the inside, in the back room where there are no note takers or tape recorders.

In his article, Reeves was too hard on the filmmakers. For instance, he wrote that “neither U.N. Ambassador Adlai Stevenson nor Air Force Chief of Staff Curtis LeMay, the bad guy in the movie, were members of Ex-Comm [an ad hoc executive committee of the National Security Council set up by the White House for the Cuban missile crisis] as they were shown to be in ‘Thirteen Days.’ ” But they did participate in meetings and said substantially what they are depicted as saying, and the Kennedys reacted to this advice much as shown in the movie.

It is true that the Kennedys had little use for LeMay, as Reeves states, but they knew he was a formidable political force in the country and, in this case, he was urging military action as a representative of the unanimous Joint Chiefs of Staff.

I certainly have many quibbles with details in the movie. But the structure of the narrative is basically sound. The leading characters are perceptively portrayed and the film successfully re-creates the look and atmosphere of the time.

The crisis was as dangerous as the film suggests. Reeves states that Army alert status did not change in the crisis. But it did, as did the alert status of U.S. strategic nuclear forces. Scores of bombers circled in the skies around the clock at Defcon 2, the step just short of global war.

Reeves adds: “The movie-makers repeated Robert Kennedy’s deliberate exaggerations of the range of the Soviet missiles spotted in Cuba--those missiles could not level every American city except Seattle.” But this was no exaggeration. On Oct. 16, President Kennedy was informed about the deployment of medium-range missiles and, two days later, he was informed that sites had also been discovered for intermediate-range ballistic missiles that could indeed strike almost all of the continental United States. The warheads for those missiles had reached Cuba, but the intermediate-range missiles had not--a fact the Americans did not know.

Nor did the Americans know that the scores of coastal defense cruise missiles placed by the Soviets in Cuba were all armed with nuclear warheads too, but fortunately the invasion urged by several of Kennedy’s advisors was never launched.

Reeves offers the reassuring suggestion that it “would be small comfort to people in Miami or Atlanta, but Soviet Premier Nikita Khrushchev was not planning to confront the U.S.” Ernest May and I think Khrushchev was indeed planning a confrontation, one in which he would use the missiles in Cuba to checkmate Kennedy in the nuclear ultimatum the Soviet premier had just delivered on Berlin, an ultimatum that would come due the next month. Accepting the analysis of his top Soviet advisor, Kennedy had reached this conclusion and, thanks to the tapes, we can hear JFK repeatedly explaining this point to others.

On a fundamental point, though, Reeves and I agree. As he put it, “The fact is that the movie guys, who may annoy people like me who make modest livings arguing about these things for a living, did put together a reasonably accurate entertainment reminding all of us that there was a time when politicians and diplomats and military commanders, on both sides, were determined and capable enough to prevent their own Cold War nuclear games from escalating into the hottest, stupidest war in history.”

Or, to put it in Hollywood terms, the filmmakers were willing to bet $80 million on a movie where the good guy wins by not shooting anybody. In Hollywood, maybe that is another kind of courage. So I’ll cut the filmmakers a little slack.

Counterpunch is a weekly feature designed to let readers respond to reviews or stories about entertainment and the arts. Please send proposals to: Counterpunch, Calendar, Los Angeles Times, 202 W. 1st St., Los Angeles, CA 90012. Or fax: (213) 237-7630. Or e-mail: C [email protected]. Important: Include full name, address and phone number. Please do not exceed 600 words. We appreciate all proposals and regret that we cannot respond to each.

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Thirteen Days Parent Guide

In Thirteen Days the 1962 Cuban Missile Crisis is seen through the eyes of Kenny O'Donnell (Kevin Costner), the right hand man to American President John F. Kennedy (Bruce Greenwood).

Release date January 12, 2001

Run Time: 145 minutes

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The guide to our grades, parent movie review by rod gustafson.

As I was toddling around in my baby walker, the rest of the world was teetering on the brink of its very existence. Obviously I have no direct recollections of those days in the fall of 1962, although I have since become aptly aware of “just how close we came,” as the tagline of this movie says.

Political historians note that Thirteen Days does use artistic license, especially in the role of Kenny O’Donnell. However, everyone agrees the movie is still very effective at providing a sense of just how serious this situation was.

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Rod Gustafson

Thirteen days rating & content info.

Why is Thirteen Days rated PG-13? Thirteen Days is rated PG-13 by the MPAA for brief strong language.

Overall: B+ Aside from the profanity, this movie clearly illustrates to future generations the dangers of conflict and nuclear war. Religion is positively depicted. It also illustrates how poor communications can lead to disastrous results.

Violence: B- Besides the tension of the crisis including heated moments in meetings and the theme of war, we see one plane get shot with no injuries, while another plane is hit by a missile resulting in the death of the pilot.

Sexual Content: A Married relationships are shown between loving and caring spouses.

Language: D+ At least 1 extreme profanity (sexual expletive), 18 moderate profanities, 22 mild profanities, and 19 terms of Deity used as expletives or profanities.

Alcohol / Drug Use: B- Typical for this era, many people smoke cigarettes. Social drinking, and drinking during a couple of very tense moments.

Page last updated July 17, 2017

Thirteen Days Parents' Guide

The most recent home video release of thirteen days movie is november 12, 2013. here are some details….

Home Video Notes: Thirteen Days

Release Date: 12 November 2013

Thirteen Days re-releases to home video (Blu-ray) in commemoration of the 50th anniversary of President John F. Kennedy’s death. The disc includes the following extras:

- Historical Figures Commentary, composed of archival audio featuring John F. Kennedy, Robert McNamara and Kenneth P. O’Donnell, and interviews with Pierre Salinger, Sergei Khrushchev and many others

- Roots of the Cuban Missile Crisis Documentary, comprised of film footage from the era with interviews covering U.S./Soviet relations from post-WWII Europe through the end of the crisis

- Historical Figures Biographical Gallery: Video biographies of key figures involved in th crisis, featuring John F. Kennedy, Robert F. Kennedy, Nikita Khruschchev, Fidel Castro and many others

- Filmmaker Commentary, with director Roger Donaldson, actor Kevin Costner and others

- Deleted Scenes with Director’s Commentary

- Bringing History to the Silver Screen Documentary

- Visual Effects Scene Deconstructions (Multi-Angle Featurette)

- Historical Information Fact Track

- Theatrical Trailer

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Thirteen days.

Common Sense Says
Parents Say 1 Review
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Parents Say

Based on 1 parent review

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Educational movie perfectly fine for young people.

This title has:

Great messages
Great role models
Too much swearing

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The Historical Drama “Thirteen Days” Essay (Movie Review)

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Introduction

Historical inaccuracy.

Bibliography

Thirteen Days is a movie that dramatize inside dealings at the White House during the confrontations between the two world superpowers at that time; the United States and the Soviet Union, who were currently involved in the ongoing Cold War. These confrontations were known as the Cuban Missile Crisis, and characterized the hot peace that was felt in the world system, as the two powers tried as much to influence nations across the world to adopt their ideological view.

It is in October 1962 that a U-2, a type of military plane taking surveillance photos over Cuba, reveals that the Soviet Union is placing missiles carrying nuclear weapons in the country. Bruce Greenwood acting as President John F. Kennedy is informed by the security advisers. The missiles are in a position so close that if launched they could wipe the Eastern and Southern parts of the United States in minutes. The president was therefore required to devise a plan to prevent activation of missiles.

The president is reluctant on the decisions by the Joint Chief of Staff; to invade Cuba and destroy the missile site, as this will make the Soviet Union to invade Berlin, which was supported by the United States. At this point a nuclear war between the two powers is not only possible but likely. A decision is reached to place a naval blockade around Cuba, aiming to establish a quarantine that will stop ships entering Cuba, preventing Soviet Ships from entering Cuba.

This act by the United States is seen as an act of war and sent a series of reactions to the Soviets. After a series of hostile confrontation with eminent possibility of war the Soviets agree to withdraw their missile from Cuba on condition that the US agrees never to invade Cuba. After lots of missteps concerning removal of Jupiter missiles from Turkey happened at this time. After deliberations US removes its missiles from southern Italy and Turkey, while the Soviets removed theirs from Cuba.

It is difficult for a movie to detail all the aspects that conspired during a historic or political period, although it is imperative for the writers of such movies to stick to the historical occurrences at that time the movie asserts to act. Most Hollywood productions have not accurately captured the situation leading to the creation of a distorted image in the minds of viewers. It is therefore important to sort out the historical inaccuracies in these movies, for that reason I identified the following historical errors from the movie; Thirteen Days.

First, the movie portrays O’Donnell as the key player during the resolving of the Cuban missile crisis. O’Donnell is seen present very close to the president serving as a close personal advisor, conducting special tasks for the president and attending all executive meeting in the course of the Cuban missile crisis.

However, the real historical occurrence deviates from what the movie shows. O’Donnell did not play a key role during the crisis and was only present in some of the executive meeting. The movie make O’Donnell to be seen as more important figure in the crisis than Attorney General Robert Kennedy or any other member of Executive Committee, the ad hoc group of current or the former executive branch officials that President Kennedy created to respond to the Soviet Union’s covert installation of offensive nuclear missiles in Cuba.

Al O’Donnell had little influence compared to Costner. There is little evidence from the transcripts from the John F. Kennedy Library showing an explicit push for an airstrike by Chairman of the Joint Chiefs of Staff. It is not entirely correct as the movie portrays that the president had contact with pilots and tried to conceal this from the pentagon.

It portrays a wrong image of the Special Advisor to the president, when O’Donnell personally advises the Navy pilot not to disclose to their superiors in case they are shot by the Cuban military. It is also alleged that the congress did not support the president after the meeting on Monday 22 October, but in real case the congressional leaders did support the president at this meeting before he went to address the nation.

The movie clearly portrayed the political tension that existed at that time, showing the fierce exchange of words between the two super powers and the series of meeting that were held in the White House. It is true that the President, John F. Kennedy tried to hide this from the people of United states hoping that they would resolve the issue without their involvement, but rather as depicted in the movie the president was forced to disclose this to the populace.

The sense of fear among the US citizens is clearly captured by the movie, clearly showing the series of prayers that people made in gathering. All this aspects the movie succeeded in explaining through their act.

Allison, Graham et al. 1971. Essence of Decision: Explaining the Cuban Missile Crisis . New York: Addison Wesley Longman.

Kamps, Charles Tustin. 2007. The Cuban Missile Crisis. Air & Space Power Journal . 21: 88-190.

Kennedy, Robert. 1971. Thirteen Days: A Memoir of the Cuban Missile Crisis . London. Norton & Company.

Nelson, Michael. 2001. Thirteen Days’ Doesn’t Add Up. The Chronicle Review 390: 15- 38.

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A dying father brings 'His Three Daughters' together, in a sharply written film

Justin Chang

Natasha Lyonne, left, Elizabeth Olsen and Carrie Coon play sisters who come together in the final days of their father's life in His Three Daughters. Sam Levy/Netflix hide caption

Over the years I’ve seen more than my share of dysfunctional-family movies and terminal-illness movies, and even the good ones have trouble sidestepping clichés. So it says something that His Three Daughters , which is about a dysfunctional family coping with a terminal illness, doesn’t feel like a retread.

The writer-director Azazel Jacobs has a knack for putting a fresh, intelligent spin on familiar material, from the high-school misfit comedy Terri to the playful marital drama The Lovers . His latest, His Three Daughters , is a sharply written and beautifully modulated chamber piece, set over a few days inside a Lower Manhattan apartment where three women have gathered to bid farewell to their father, Vincent, who’s in hospice care.

C arrie Coon plays Katie, the oldest of the three sisters. She lives in Brooklyn with her husband and teenage daughter, but she hasn’t been around to visit her dad much lately. Elizabeth Olsen plays the youngest, Christina, who’s flown in from her home thousands of miles away.

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And then there’s Rachel — that’s Natasha Lyonne . She lives with Vincent in this apartment and has been looking after him for some time. Rachel is estranged from her two sisters, for reasons that aren’t initially clear. Jacobs drops us right into the thick of the tension, then gradually fills in the larger picture.

Some of the friction stems from the fact that Katie and Christina are essentially outsiders on Rachel’s turf. Rachel can claim some moral high ground, since she’s been taking care of their dad while they’ve been busy living their lives and raising families of their own.

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Adding to the two-against-one dynamic is the fact that Rachel isn’t biologically related to her sisters or their father. After Vincent’s first wife died, he married Rachel’s mom and raised Rachel as his own. As Rachel makes needlessly clear to her sisters, she’s no less his daughter than they are.

There are money and class issues, too; Katie looks down on Rachel, claiming all she does is smoke weed all day and make money through sports gambling. And then there’s the matter of real estate. In one contentious conversation, Katie insinuates that Rachel has been taking care of Vincent partly because of her enviable living situation.

In this and every other scene, the acting and the writing have such specificity that you feel you know these characters intimately. Few actors can make anger more mesmerizing than Coon, and her Katie is testy and judgmental, even — or especially — when she tries to seem reasonable.

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It’s hard not to side a lot of the time with Lyonne’s Rachel, who lets the expletives fly as she pushes back defensively against Katie’s insinuations. That leaves Christina in the tough role of peacemaker. She’s earnest and open-hearted by nature, something that comes out when she describes her Deadhead past. In Olsen’s quietly moving performance, we see a woman who often suppresses her feelings to spare those of others.

What distinguishes His Three Daughters from so many movies of its type is that while it’s certainly talky, it never feels as if the characters are trying to explain themselves to you. Rather than coughing up large chunks of backstory, their interactions have the pull of honest, free-flowing conversation.

Much of the dialogue is taken up with the practical and wholly relatable end-of-life details: the difficulties of writing an obituary, or arranging a do-not-resuscitate order, or even dealing with a well-meaning but slightly exasperating hospice care worker. I haven’t seen many movies that so acutely understand the role food plays in a situation like this, where the act of cooking meals for your family or making sure there’s always fresh coffee can be both a drag and a welcome distraction.

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Vincent himself is off-camera for most of the movie, sleeping quietly in his room, though Jacobs wisely gives him — and Jay O. Sanders, the actor playing him — a beautiful moment in the film’s last act.

The question hanging over His Three Daughters is whether the sisters will overcome their estrangement and remain family after Vincent’s gone. Jacobs doesn’t force a resolution, though he does end on a note of hard-won understanding that I found both optimistic and deeply affecting. He’s made a movie that, in the shadow of death, says something essential about how we live.

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Netflix continues to deliver the kinds of movies that action movie fans’ dreams are made of and has now revealed when the next explosive magnum opus will be released. Titled The Shadow Strays , the action thriller is helmed by Timo Tjahjanto , who delivered a symphony of brutal action and violence in 2018’s brilliant The Night Comes for Us . Featuring assassins, mysterious crime syndicates, and all the kinds of savage action that those things bring, The Shadow Strays is now all set to hit Netflix on October 17, with the streamer also releasing a new trailer which you can check out below:

Teasing all the brutal and bloody violence and expertly choreographed fight scenes that you could hope for, the plot for The Shadow Strays sounds like the perfect concoction of vengeance and betrayal. Alongside the trailer, you can also check out the official synopsis for The Shadow Strays below.

“Codename 13, a 17-year-old trained assassin is under suspension because of a sloppy mission in Japan. The girl built a conscience when she met Monji, an 11 year old boy who lost his mother to a crime syndicate. When Monji is captured, 13 is hellbent on setting a path of destruction to rescue the boy, including going against her mentor and the organization who hires her, the Shadow.”

The Bloodiest Action Movies Ever Made

From The Night Comes for Us to Kill Bill Vol. 1, these are some of the bloodiest action movies ever made.

Written and directed by Timo Tjahjanto, The Shadow Strays “features a mix of emerging and established stars,” according to Netflix Tudum . The action outing will be led by Aurora Ribero as 13, alongside Hana Malasan as Umbra, a veteran assassin and 13’s mentor, Ali Fikry as Monji, the young boy who sets 13 on her mission for revenge, Adipati Dolken as the villainous Prasetyo, and Andri Mashadi as Ariel, a sadistic crime boss.

The Shadow Strays has been selected to screen at the Toronto International Film Festival’s Midnight Madness this month, before landing on Netflix on October 17, 2024.

Timo Tjahjanto Is All Set to Helm the Action Sequel Nobody 2

Timo Tjahjanto will soon bring his affinity for action movies to the Nobody franchise, helming the upcoming sequel Nobody 2 . Released back in March last year, the first Nobody stars Better Call Saul star Bob Odenkirk, transforming him into an unsuspecting action hero. Centering on Odenkirk as the seemingly mild-mannered Hutch Mansell, the story begins when two thieves break into his suburban home one night. The event unleashes Hutch’s long-simmering rage, triggering his dormant instincts and propelling him on a brutal path that will surface dark secrets and lethal skills.

Nobody 2 Director Reveals First Look at the Action Sequel

Bob Odenkirk is back as the most unexpected action hero ever.

Nobody was met with rave reviews from both critics and audiences alike thanks to Odenkirk’s unpredictable ability to put away villains with aplomb. The action movie won big at the box office as well as with critics, grossing over $57M worldwide against a budget of $16 million.

Nobody 2 has been written by Derek Kolstad, who penned the first movie and the John Wick series, alongside Aaron Rabin ( Jack Ryan ), Odenkirk, and Umair Aleem ( Kate ). Plot details currently remain unknown, but the sequel is all set to star Bob Odenkirk, Connie Nielsen, and Christopher Lloyd, with Basic Instinct and Total Recall star Sharon Stone now on board to play the movie’s main villain. Nobody 2 is due to be released on August 15, 2025.

Things To Do | Movie review: ‘The Killer’s Game’ fails to rise…

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Things to do | movie review: ‘the killer’s game’ fails to rise above mediocre.

Dave Bautista plays a hitman fending for his life in "The Killer's Game." (Courtesy of Lionsgate)

In theaters this week, the action comedy stars Dave Bautista, but it also boasts Pom Klementieff. The two, of course, portray Drax and Mantis, respectively, in the Marvel Cinematic Universe and are comedic gold in a couple of the big-screen “Guardians” adventures, as well as in the hilarious “Guardians of the Galaxy Holiday Special” from 2022.

That pairing, however, isn’t enough to lift “The Killer’s Game” above the level of mediocrity, the tonally challenged flick squandering a vaguely promising first act by devolving into a warmed-over “John Wick” wanna-be.

Helmed by JJ Perry, the director of the similarly uneven 2022 Netflix release “Day Shift,” “The Killer’s Game” plays like two separate movies for much of its roughly hour-and-45-minute runtime. When the beefy Bautista, cast as renowned assassin Joe Flood, shares the screen with veteran actor Ben Kingsley, who portrays his mentor, or co-star Sofia Boutella, who plays his love interest, it fits roughly within reality as we know it and even finds an emotional center; at all other times, it’s an over-the-top kill-fest, with skulls crushed, body parts severed and impalings to spare.

Were those action scenes topnotch — aka “Wick”-level — and not merely passable, that would be a bit more forgivable.

Written by Rand Ravich and James Coyne, who have adapted the 1997 book by Jay R. Bonansinga, “The Killer’s Game” introduces us to Joe in Budapest, where he’s on the job at a more-than-century-old opera house, which on this night is hosting a ballet. He does his job quietly, as usual; nonetheless, machine gun fire follows the “retirement of his target,” and he helps dancer Maize — with whom he’d locked eyes during the performance — out of the building safely.

On the street, she thanks him and worries about the headache he’s having, but when she turns her back, he vanishes.

However, when he returns something to her at a dance studio, she gives him her number and — after Joe workshops a few follow-up texts — they’re out to dinner, where, of course, they hit it off. Soon they’re dating. She continues to dance, and he continues to kill, worrying, increasingly, about how she’d feel if she knew how he makes his substantial living.

However, he’s also seen a doctor, who informs him the test results are dire. He will die in, perhaps, three months, and the best they can do is make him comfortable.

That is not how Joe — who’s always worked within a set of industry rules and has retired only those who’ve deserved it — wants to leave this world. He meets with his handler, Zvi (Kingsley), about directing some money to Maize and, more consequently, having himself assassinated. Zvi agrees to handle the former but not the latter, imploring his friend to fight to the end by visiting more doctors — even a shaman, if necessary.

Enter Klementieff’s Marianna, whose business also is handling assassins. She is more than happy to take $2 million to have Joe killed, as she holds a huge grudge against him.

However, just before the killing window opens, Joe gets a call from his doctor, who says there was a mix-up with the tests and that Joe should be fine.

Unable to convince Marianna to cancel the contract, he soon is faced with a parade of killers — single operatives and groups, most with silly gimmicks and even sillier names. Most aren’t in Joe’s class, but Lovedahl (Terry Crews) proves to be a bit more of a problem.

Bautista (“Blade Runner 2049,” “Dune”) doesn’t have much range, and he isn’t called upon here to use his comedic gifts too often. That said, there’s simply something compelling about his performance, especially when he’s opposite “Gandhi” star Kinglsey or Boutella (“Atomic Blonde,” the “Rebel Moon” movies). It’s measured but not flat.

More time with Bautista and Klementieff would have helped “The Killer’s Game,” as, unsurprisingly, there’s a certain crackle to the limited time the two are in the frame together.

A former professional wrestler, Bautista is, of course, imposing enough to be convincing in the myriad action sequences, most of which are, again, of the forgettable variety — even with all the gruesome deaths. Perry, who has a background in martial arts, hasn’t figured out how to deliver something special in this arena.

“The Killer’s Game” is afoot, but unless you’re looking for what’s only intermittently a pleasant distraction, one heavily seasoned with violence, you need not play.

The movie: ‘The Killer’s Game’

Where: Theaters.

Rated: R for strong bloody violence throughout, language, some sexual material, brief drug use and nudity.

Runtime: 1 hour, 44 minutes.

Stars (of four): 2.

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Netflix’s Uglies is everything wrong with the YA dystopian genre

Even though Scott Westerfeld’s books did many of these tropes first, the movie doesn’t offer anything new

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by Petrana Radulovic

I genuinely think the Hunger Games books are some of the best genre fiction to come out of this century, and that author Suzanne Collins told a masterful story about capitalism, propaganda, and war theory in a way that’s accessible for younger readers. So I’m constantly defending the YA dystopian genre, and pushing back against the reputation it got for being overly dramatic, unrealistic, and full of needless love triangles set against gimmicky action sequences. Movies like Netflix’s adaptation of Uglies make that defense so, so taxing on my soul.

Based on Scott Westerfeld’s 2005 series-launching book of the same name, and starring Joey King ( The Princess ) and Laverne Cox ( Orange Is the New Black ), Uglies is full of slick yet bland CG, stilted acting, and a plot that plays into all the lazy tropes YA dystopian novels are known for. Director McG and screenwriters Jacob Forman, Vanessa Taylor, and Whit Anderson are about 10 years too late to the table: This movie’s themes might have been passable in 2014, but the whole project feels so out of touch in 2024.

[ Ed. note: This post contains setup spoilers for Uglies .]

Tally (Joey King), a young woman in grey, looks nervous as a statuesque woman (Laverne Cox) stands behind her in a sterile-looking room in Netflix’s Scott Westerfeld adaptation Uglies

Uglies takes place in a future world where everyone gets mandatory plastic surgery at age 16 to become “Prettys,” the most beautiful versions of themselves possible. They live in a glamorous city where all they do is party and have fun. Tally (King) is a 15-year-old who dreams of the day she can get her surgery and become a Pretty, like her best friend Peris (Chase Stokes).

While waiting for her birthday, Tally meets and befriends rebellious Shay (Brianne Tju), who tells her about an underground resistance group in the wilderness. Shay runs away to join up with the rebels, and the city’s leaders enlist Tally to find her and take down the renegades. But as Tally lives among the rebels, she starts to learn that there’s a hidden cost to being a Pretty. Oh, and she’s also smitten with the rebel group’s fearless leader, David (Keith Powers).

The biggest problem with Uglies isn’t necessarily that it’s a bad adaptation; it’s just an adaptation that feels so dated, it’s almost like a parody. The original novel actually came out years before The Hunger Games really launched the dystopia fad. So a lot of its tropes — a rebellion led by a suave teenager; a futuristic city where everyone is glamorous and beautiful, save for our scrappy heroine; a society built around divisions of people with Capitalized Adjective Names — actually predate the rancor they eventually drew. But in the time since the Uglies series was a chart-topping bestseller, the frequency of those tropes has become the chief evidence for YA dystopian naysayers.

Tally (Joey King) piggy-back carries Shay (Brianne Tju) as they trek through a forest in Netflix’s Uglies.

While Uglies did a lot of these overdone plot elements first, in 2024, the story feels dated and derivative. And the movie has little to offer beyond what’s on the page. The acting is overwhelmingly stilted, though some of the characters’ relationships are more interesting than others. Shay and Tally’s friendship, born out of sneaking away from their dorms together, is compelling. But Tally and David’s romance feels awkward and almost like a genre obligation. It doesn’t help that while 25-year-old King is already pushing the limits of looking like a scrappy 16-year-old, Powers is 32 and looks it. In fact, aside from King, all of the “teenager” characters are showing their actual ages (late 20s to early 30s), which makes the insistence that they’re all freshly 16 really weird.

Visually, Uglies is completely uninspired. The nameless futuristic city is so generic that it feels like a default Windows XP screensaver, and the wilderness where the rebel group hides out is also deeply uninteresting. Nothing about the costume design stands out, not even whatever high fashion the Prettys are supposedly wearing. The only unique set-piece is the rusted remnants of a theme park where Shay and Tally sneak off to ride their hoverboards, but it’s only used briefly. (And even though the Uglies book did it first, a ruined Ferris wheel was a big set-piece in Divergent .)

There is a deeper thread in Uglies , one that could take Westerfeld’s groundwork about conformity from the 2005 novel as a base, and use it to actually say something interesting about Eurocentric beauty standards. That theoretical version of the movie might join the current conversation about cosmetic influencers , plastic surgery , and celebrity culture . But Forman, Taylor, and Anderson don’t engage any deeper than the surface level of the original story, and McG makes no interesting choices in bringing it to the screen. Uglies winds up being yet another uninspired, forgettable entry in the deluge of YA dystopian movies that make my passionate defense of the genre such an uphill climb.

Uglies is out on Netflix now.

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Movie Review: Thirteen Days

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COMMENTS

Thirteen Days movie review & film summary (2001)
Thirteen Days. Drama. 135 minutes ‧ PG-13 ‧ 2001. Roger Ebert. January 12, 2001. 5 min read. The 1962 Cuban missile crisis was the closest we've come to a nuclear world war. Nikita Khrushchev installed Soviet missiles in Cuba, 90 miles from Florida and within striking distance of 80 million Americans. Kennedy told him to remove them, or else.
Thirteen Days
For thirteen extraordinary days in October of 1962, the world stood on the brink of an unthinkable catastrophe. Across the globe, people anxiously awaited the outcome of a harrowing political ...
Thirteen Days Movie Review
Our review: Parents say (1 ): Kids say (2 ): This gripping film will leave audiences reminding themselves that we are still here, and for once, the tag line has it just right: "You'll never know how close we came." Thirteen Days may seem like a movie script, but it really happened. Producer Kevin Costner plays a real person, Kennedy staffer ...
Thirteen Days (film)
Thirteen Days is a 2000 American historical political thriller film directed by Roger Donaldson.It dramatizes the Cuban Missile Crisis of 1962, seen from the perspective of the US political leadership. Kevin Costner stars as top White House assistant Kenneth P. O'Donnell, with Bruce Greenwood featured as President John F. Kennedy, Steven Culp as Attorney General Robert F. Kennedy, and Dylan ...
Thirteen Days (2000)
Thirteen Days: Directed by Roger Donaldson. With Shawn Driscoll, Kevin Costner, Drake Cook, Lucinda Jenney. In October 1962, the Kennedy administration struggles to contain the Cuban Missile Crisis.
Thirteen Days (2000)
8/10. In a word - WOW! blanche-2 12 February 2007. In 1962, the world stood on the brink of World War III for "Thirteen Days," a 2000 film starring Kevin Costner, Bruce Greenwood, Steven Culp and Dylan Baker, with direction by Roger Donaldson. The story concerns the "Cuban Missile Crisis," when the U.S. discovered that the Soviets had placed ...
Thirteen Days
Full Review | Original Score: 2/4 | May 14, 2003. John R. McEwen Film Quips Online. Thirteen Days is a gripping history lesson and a good character study, but also just a well-cast, well-executed ...
Thirteen Days
Movie Review. The threat of global nuclear catastrophe looms in October of 1962 when photographs from a U2 spy plane reveal military installations in Cuba that boast Soviet-built intermediate-range ballistic missiles. For the first time ever, the USSR poses an immediate nuclear threat to the United States. ... For 13 days, America held its ...
Thirteen Days
Thirteen Days - Metacritic. 2000. PG-13. New Line Cinema. 2 h 25 m. Summary A dramatization of what took place in the White House as John F. Kennedy (Greenwood) learns the news that Cuba has missiles. The film is seen through the eyes of the Chief of Staff (Costner). Drama.
Thirteen Days Review
12. Original Title: Thirteen Days. 0kay, so the world is still here. Which means we pretty much know the outcome of Thirteen Days, a surging, intelligent, nerve-gripperof a thriller centred around ...
Thirteen Days (2000) Movie Review: A Gripping ...
As we reflect on the events of the past, "Thirteen Days" serves as a stark reminder of the importance of diplomacy and the fragility of global peace. Explore the intense historical drama 'Thirteen Days' (2000) in our movie review. Kevin Costner and Bruce Greenwood lead a stellar cast in this gripping portrayal of the Cuban Missile Crisis.
The History Place
Thirteen Days, directed by Roger Donaldson, is told from the point of view of presidential aide Kenny O'Donnell, who is well played by Kevin Costner. Through his eyes we gain access to President Kennedy's inner-most circle during the whole crisis. At first glance, the fake Bawsten (Boston) accents were a bit distracting, as they are in any ...
Thirteen Days critic reviews
New York Magazine (Vulture) I much prefer the whacked-out, Dr. Strangelove-ish brand of political-apocalypse film to all this straitlaced you-are-there dramaturgy, which seems a throwback to the early sixties not only in time but in spirit. But what Thirteen Days sets out to do it does admirably. Read More.
Thirteen Days (2000)
In October 1962, President John F. Kennedy (Greenwood) learns about the Soviet Union's plan of placing nuclear weapons in Cuba. These weapons could wipe out most of the eastern and southern United States in minutes if they become operational. Kennedy and his advisors must come up with a plan of action against the Soviets.
Thirteen Days
A movie review by James Berardinelli. For thirteen days in 1962, from October 16 through October 28, the world teetered on the brink of nuclear war as the United States and the Soviet Union stood toe-to-toe, neither bending, each waiting for the other to blink. Despite public assurances to the United States that no offensive weapons would be ...
Thirteen Days
Thirteen Days Reviews. 67 Metascore. 2000. 2 hr 25 mins. Drama, Suspense. PG13. Watchlist. Where to Watch. Kevin Costner stars in this thrilling and beautifully acted political drama about the ...
Is Thirteen Days Historically Accurate?
The movie also highlights the importance of diplomacy and the dangers of looming nuclear warfare. By staying true to the facts of the crisis, Thirteen Days is a powerful reminder of the importance ...
Thirteen Days
He turns out to be the real hero of the day with his shrewd handling of the messages from Khrushchev. The political, psychological, and social tensions conveyed by Thirteen Days raise questions about war, peace, nationalism, and militarism. Roger Donaldson, the director, has put together a very timely drama. The chilling words of a 1962 column ...
13 Days
13 Days. When it is discovered that soviet missiles are being deployed in Cuba, dramatic events lead the United States and the former Soviet Union to the brink of nuclear war. What sounds like the makings of a tense movie of the week, was actually a reality. Screenwriter David Self pored through the vast body of literature and scholarship on ...
'Thirteen Days' Is Accurate Where It Counts
Please send proposals to: Counterpunch, Calendar, Los Angeles Times, 202 W. 1st St., Los Angeles, CA 90012. Or fax: (213) 237-7630. Or e-mail: C [email protected]. Important: Include full ...
Thirteen Days Movie Review for Parents
Thirteen Days is rated PG-13 by the MPAA for brief strong language. Aside from the profanity, this movie clearly illustrates to future generations the dangers of conflict and nuclear war. Religion is positively depicted. It also illustrates how poor communications can lead to disastrous results.
Parent reviews for Thirteen Days
Educational movie perfectly fine for young people. While there is strong language sprinkled through various parts of the movie, 13 Days is a FANTASTIC telling of the Cuban Missile Crisis. There are no objectionable scenes aside from the language and is a great way to show tweens, teens, and young adults what exactly happened during the cuban ...
The Historical Drama "Thirteen Days" Essay (Movie Review)
Introduction. Thirteen Days is a movie that dramatize inside dealings at the White House during the confrontations between the two world superpowers at that time; the United States and the Soviet Union, who were currently involved in the ongoing Cold War. These confrontations were known as the Cuban Missile Crisis, and characterized the hot ...
'His Three Daughters' review: A dying dad brings estranged ...
Natasha Lyonne, Elizabeth Olsen and Carrie Coon play estranged sisters saying farewell to their terminally ill dad. It's a familiar plot, but writer-director Azazel Jacobs manages to sidesteps ...
Netflix Reveals Release Date & Trailer for Promising Action Movie The
Nobody was met with rave reviews from both critics and audiences alike thanks to Odenkirk's unpredictable ability to put away villains with aplomb.The action movie won big at the box office as ...
Movie review: 'The Killer's Game' fails to rise above mediocre
Mid-Hudson Valley arrests report: Sept. 13, 2024 Kingston's Tibor Spitz, Holocaust survivor, celebrates 95th birthday Kingston's Tibor Spitz, Holocaust survivor, celebrates 95th birthday
Review
Only, she wasn't real. A fictional persona invented by three White male tech creators, her face belonged to Haitian-born Renée L'Espérance, a perfume saleswoman paid $500 in 1987 to model ...
'Meet the Barbarians' Review: Julie Delpy's Middling Refugee ...
With eight movies in just over two decades, actress turned filmmaker Julie Delpy has carved out a curious niche for herself on both sides of the Atlantic. Based in Los Angeles but working ...
Netflix's Uglies is everything wrong with the YA dystopian genre
Based on Scott Westerfeld's 2005 novel, and starring Joey King, Uglies is full of dated YA dystopia cliches. Uglies is streaming on Netflix now.
Movie review: 'Speak No Evil' an effective iteration of Danish horror
It's a horror film "of manners," so to speak.

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Rod Gustafson

Thirteen Days Parents' Guide

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