Faith-based films have occupied the "inspirational melodrama" space since the genre's rise in the early 2000s. In many ways, this has benefited the religious genre, with hits like War Room (2015) and I Can Only Imagine (2018). At other times, it has been subject to accusations of dishonesty, for example, when the pressure for an optimistic story overrides the need to portray human sinfulness. Angel Studios' new film, The Senior, shows how these two impulses sometimes clash.
The film loosely follows the true story of Mike Flynt, who, at 59, re-enrolls at his alma mater to finish his senior year of college football. Finishing what he started so long ago forces Mike to confront, with the help of his faith, the long-standing issues he has with his abusive father, issues that have damaged his relationship with his son and wife.
Director: Rod Lurie
Writer: Robert Eisele
Stars: Michael Chiklis, Mary Stuart Masterson, Brandon Flynn
A solid premise and strong performances sustain this film. The true story of Mike Flynt—an older man returning to college football, proving that it is possible to defy the odds, right wrongs, give back to younger generations, and, yes, pursue your dreams—is inspiring. Likewise, overcoming toxic behaviors learned from parents and reconciling with wounded family members is poignant. When the film gets those aspects right, it works.
Michael Chiklis—of whom I still have fond memories from his time as Ben Grimm in 2005's Fantastic Four—is both charming and believably complex as Mike Flynt. Brandon Flynn plays the son Micah, and his portrayal of a fractured father-son relationship is awkward (perhaps too effective, as we'll see shortly). Mary Stuart Masterson, as Mike's wife, Eileen, brings a warm and level-headed presence to the film, and she and Chiklis mesh perfectly together as a charming but flawed married couple. Flynt's relationship with his teammates is infectious, and I would have loved to see more of it.
The Senior's main problem is that its optimistic premise and execution often clash with the difficult issues it raises. The film invites us to root for Mike as he tries to finish his final year of college football. But to keep the stakes high, the film frequently has his wife, and especially his son, call this dream selfish and irresponsible. Mother and son make strong arguments. They point out how he made this decision without them, without considering how it would force them to restructure their lives. They claim that this pattern of behavior has caused real damage to his family (particularly his son). Mike learned this pattern from his own father, and the film vividly portrays their toxic relationship. Whenever faced with these situations, Mike's response is largely simply, "I have to do it."
Eileen's defense of her husband—that they need to support him because he needs to overcome this regret in order to overcome his other regrets, including how he treated their son—comes off as weak. Most people with loved ones addicted to self-centered and irresponsible behavior find that validation of their choices simply encourages them to keep making the same choices. It doesn't usually end with an apology and a change of heart. Likewise, Eileen's logic strikes me as too close to the generalized argument that we should uncritically support loved ones in whatever lifestyle they choose. That's not really the message the film is trying to convey, but it tries to have both at once, and as a result, it gets complicated.
You can see many forced moments of this kind throughout the film. When Mike discovers how his father came to faith before he died, Micah's voiceover tells us that this led to a change in him. But we don't see any significant change; we just have to trust Micah's voiceover.
The result is that the emotional inspiration expected from a film like this is relatively weak compared to others in the genre (such as this year's The Last Rodeo, also from Angel Studios).
There are enough things about The Senior that work—the typical rhythms, the cast, etc.—for die-hard fans of inspirational dramas and religious films to consider it a resounding success. But those who have seen better recent films might complain about its flaws.
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