42 ★½

42 is Hollywood by the number(s).

It really seems like the film is trying to be an epic saga of overcoming racism, but it doesn't know how to put the pieces together. It's patched together the same way I'd expect a movie like Homeward Bound to be; that is, as a movie for children. Ford - arguably the anchor of the film - has seldom few moments where he can actually connect with anything or anyone. And in fact most of the scenes throughout the movie felt like actors in a room rehearsing lines - attempting great effect - but doing so entirely independently, as if no other actors were in the scene with them.

The only standout performance is one that felt like comic relief (when it really shouldn't have) - Alan Tudyk's performance as an over-the-top racist rival manager was a welcome relief that made me actually engage with a part of this film.

The music score is clunky more often than not, swelling as if on cue after any line remotely poetic, and serves as a perfect example of the formulaic approach to filmmaking on display here.