The Apprentice

The Apprentice is a standard issue biopic that covers as much of Donald Trump's rise as possible. What makes it better than that sounds are the strong performances and stylish filmmaking, which elevate it into something more memorable. A supervillain origin story is an extremely fitting description for a film that's main ambition is to show how a monster was created and lost any shred of humanity that was there to begin with.

Sebastian Stan gives an amazing performance shortly after his phenomenal performance in A Different Man, proving he's the best actor currently working in and out of the MCU. He nails the look, mannerisms, and bullish personality of Trump and comes closer to looking like him as it goes along. Jeremy Strong was born to play roles like this due to his ability to convey a dominant and unflinching presence with ease, plus it's not his first time doing this either.

Ali Abbasi's direction has a strong grasp of the tone as Stan taking the final step into his Trump transformation is horrifying in more ways than one and uses Kasper Tuxen's frenetic documentary style cinematography to bring a lot of energy to the proceedings. The soundtrack contains some appropriately lively songs to keep that energy going and the score by Brian Irvine, Martin Dirkov and David Holmes doesn't sound how you'd expect, which works in its favour.

The title "The Apprentice" refers both to Donald Trump's TV show and to Trump's relationship with his mentor, Roy Cohn. The film is neither a takedown piece nor a glowing testimonial. It's much more nuanced and complicated than that.

The first half of the film takes place in 1973. Donald Trump is collecting rent from deadbeat tenants. He and his father are being sued by the Justice Department for housing discrimination. Their lawyers are urging them to settle the suit and move on. But then, a twenty-seven-year-old Trump meets Roy Cohn. A shady character on the fringe of rightwing politics (he made his name as lead counsel for Joseph McCarthy's communist witch hunt), Cohn recommends that the Trumps seize the initiative and countersue the federal government. With Cohn in charge, the case goes away with no admission of wrongdoing. Cohn also guides Trump through the machinations of NYC politics, helping him take over a boarded-up Commodore Hotel, secure tax abatements from city government and ultimately transform the property into the Hyatt Hotel at Grand Central Station. Along the way, Cohn teaches an impressionable Trump his three rules: 1) attack, attack, attack, 2) deny everything, admit nothing, 3) no matter what actually happens, always claim victory.

The last half of the film is set in the early 1980s. Trump opens his namesake Tower. He becomes convinced that Atlantic City's casinos will be his path to untold riches. And he hires a writer to pen "The Art of the Deal." By this point, he has fully mastered the art of self-promotion.

At its core, "The Apprentice" is an origin story. Iranian-Danish Director Ali Abbasi ("Holy Spider," "Border") and "Vanity Fair" writer Gabriel Sherman argue persuasively that Trump was molded, almost created, by Roy Cohn. But Cohn's influence eventually wanes. Even as Trump's star ascends in the 80's, Cohn is disgraced (he's disbarred for stealing from clients) and marginalized. He eventually dies of AIDS (although he claimed to his dying breath that he was suffering from liver cancer). By the time "The Art of the Deal" is published, Trump has decided that Cohn's three rules and his own fame were based on Trump's ideas all along.

Director Abbasi also points out the weird confluence of factors that have helped Trump flourish: a ruthless, winner-take-all version of capitalism that deifies those who succeed; a legal system easily manipulated by the rich to crush opponents or to postpone their own day of reckoning (after screening at Cannes, this film received a "cease and desist" order from Trump's attorneys); a US political system that has no idea how to constrain an individual who operates according to Cohn's three rules.

The acting here is superb. As Roy Cohn, Jeremy Strong (Kendall on TV's "Succession") is simply mesmerizing. He compellingly embodies the internal contradictions of Cohn, a lawyer who shows complete disdain for the legal system, a Jewish man who embraces antisemitism, a closeted gay man who publicly demeans homosexuality at every opportunity. Sebastian Stan (Marvel series) as Trump and Oscar-nominated Maria Bakalova ("Borat" sequel) also are worthy of note.

"The Apprentice" is certain to annoy those who love Trump as well as those who love to hate him. It's an origin story that offers a scathing assessment of American culture and American politics. It demonstrates persuasively that one of America's most unique and distinctive personalities - and the rules that animate him - were actually crafted, molded and created by somebody else.

"The Apprentice" doesn't hold back. It doesn't try to be objective or find nuance where there is none; instead, it dives headfirst into the rise of a young Donald Trump, portraying him as a man shaped by manipulation, lack of scruples, and relentless ambition. This isn't a traditional biopic-it's a reconstruction of how his mindset was forged, leading him to become a figure who would later leave a profound mark on American politics.

Sebastian Stan takes on the challenge of portraying Trump without resorting to caricature or exaggerated imitation. His performance is unsettling because he captures not just the speech patterns and mannerisms, but also the calculated opportunism that defines him. Alongside him, Jeremy Strong plays Roy Cohn, Trump's mentor and a pivotal figure in his development. Strong's presence is magnetic, making it clear that Cohn's influence was instrumental in shaping Trump's worldview.

Ali Abbasi directs with a firm hand, avoiding unnecessary embellishments. The film works as a stark examination of corruption, power, and the dangerous alliances that can transform an individual into a media monster. It's a raw depiction that makes it clear that impunity and cynicism are essential tools in the world it portrays.

If The Apprentice has a flaw, it's that it doesn't always delve deeply into the psychology of its central character. It presents the events but sometimes lacks a more detailed analysis of his inner motivations. However, the emotional impact is undeniable.

In the end, the film accomplishes exactly what it sets out to do: it unsettles. There is no redemption, no unexpected twists-just a stark exposure of a transformation where anything goes in the pursuit of power. If you already despised Trump before watching, by the end, that feeling will have only intensified.

The first part of this biopic is excellent. Sebastian Stan as a young Donald Trump is very good. He accurately portrays Trump's ambitious drive as well as the naivete of a young man not sure how to bring those ambitions to fruition. Then Trump meets Roy Cohn (Jeremy Strong), the evil legal genius who advises him on how to fight the federal government's charges on racism in Trump's father's real estate empire. Cohn then helps him with other legal matters including getting property tax relief. Those parts of the movie are interesting and compelling with great performances by both Sebastain Stan and Jeremy Strong. In addition, Martin Donovan as Fred Trump and Maria Bakalova as Ivana Trump are excellent. But then the movie rushes into the mid-1980's without much exposition or explanation. That is when the movie was a letdown for me - the time period is given short shrift by writer Gabriel Sherman as if he didn't know where to go after the interesting parts of the story with Cohn encouraging Trump's narcissism, angry rhetoric and avarice were over. And by the end of movie, you will almost feel sorry for Cohn when he realizes that he has created an even worse monster than himself. I think the movie could have been better as a mini-series (with some better writing), but I would still recommend it for the standout performances of Sebastain Stan and Jeremy Strong.

This film was utterly brilliant from start to finish. The acting was definitely the best part and led by two extraordinary performances: Sebastian Stan and Jeremy Strong. This is the best work I have seen from Sebastian Stan, and one of the best works from Jeremy Strong (Succession is still his best). Stan completely becomes the character of Trump. He doesn't try mimicking him, but rather portrays a nuanced performance. In the best way possible, this film feels like it was made in the 1970s. The look, the atmosphere, and the performances really encapsulate the feel of 1970s films. One aspect I really loved about the film was that it was an actual good film. If you took out the fact that it is about Donald Trump, and made it completely fictional, it would still be a great film, and the two leads would still be great performances.