‘Jimmy’ Review: Cornball James Stewart Biopic Gets the Manner, but Not the Man

‘Jimmy’ Review: Cornball James Stewart Biopic Gets the Manner, but Not the Man hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 6, 2026 3:35pm PT ‘Jimmy’ Review: Cornball James Stewart Biopic Gets the Manner, but Not the Man KJ Apa does a passable Stewart impression in this one-note, semi-faith-based portrait, which mainly portrays the beloved Hollywood star as a vessel for patriotic values. By Guy Lodge Plus Icon Guy Lodge Film Critic @guylodge Latest ‘The Mosquito Bowl’ Review: Football Heroes Take to the Battlefield in Peter Berg’s Emptily Macho WWII Epic 1 week ago ‘Until the Day Ends’ Review: Two People Connect Across a Political Divide in a Striking Serbian Youth Drama 1 week ago ‘Love Language’ Review: Chloë Grace Moretz Sells Words of Affirmation in an Old-School Romcom With Gen-Z Trappings 2 weeks ago See All Add us as a Google Preferred Source Comments As one of Hollywood’s staunchest Republicans, the late James Stewart perhaps wouldn’t be rolling in his grave in response to “ Jimmy ,” a biopic that — in focusing rather less on his artistry than on his military service — paints him in a glowingly conservative light.

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But either way, he deserves better than this hokey, superficial portrait, which lives up to the popular conception of Stewart as an all-American mensch and everyman hero, while finding precious little of interest to actually say about him, either as a human or as an icon. It’s buoyed by “Riverdale” star KJ Apa ‘s enthusiastic but thin portrayal, which mostly captures the star’s signature drawl and aw-shucks persona — but, like the film itself, grants him only a sentimental semblance of a soul.

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Related Stories ‘Baywatch’ Reboot Sets January Premiere Date on Fox Directed by Aaron Burns — whose previous two features were both produced by the streaming arm of Christian studio Affirm Films — and released by Fathom Entertainment, “Jimmy” isn’t explicitly faith-based, but it is at least faith-adjacent, with much emphasis on Stewart’s Presbyterian background, and more than one moment of religious epiphany when the chips are down. Not by accident is its most detailed glimpse of its subject’s Hollywood career a reconstruction of the famous bridge prayer scene in “It’s a Wonderful Life” — the scene that Stewart himself identified as his favorite from all his films.

These are all unsurprising choices to make in depicting a star who was largely loved by the public for his air of very ordinary decency, and whose career was marked by a rejection of Hollywood glamour and decadence in favor of family values and patriotic duty. But “Jimmy” conveys none of these qualities from the inside out, instead making its eponymous protagonist a bland vessel for a kind of one-size-fits-all virtue.

As written by Justin Strawhand and played by Apa, Stewart isn’t so much the everyman of American cinema as an interchangeable nice guy with admittedly distinctive vocal mannerisms; when the film does try to get under his skin, it lands on a fairly generic snapshot of WWII-related PTSD. It opens in medias res , with Stewart being pitched the idea for “It’s a Wonderful Life” by close friend and fellow Second World War serviceman Frank Capra (Max Casella) — and not being altogether sold on Capra’s claim that “a hundred years from now, this film will be remembered.” (That the director is almost certainly correct doesn’t excuse such strenuously on-the-nose writing.) We rewind five years: It’s 1941, and Stewart, fresh from his Academy Award win for “The Philadelphia Story,” has just received his draft letter from the U.S.

Mayer (a ripe Jason Alexander) waves it aw

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