All this attention has brought into sharp focus the fact that in 2015, the paternal everyman Costner plays so well has been stripped of his universality. That’s not to say these movies don’t try to reconcile the type with America's changing society: The court drama in Black or White pairs Costner with Octavia Spencer as two equally flawed but devoted grandparents fighting for custody of their young, biracial granddaughter Eloise (Jillian Estell). McFarland, USA, which takes place in 1987, at least shifts its focus from Coach White’s awkward multicultural education long enough to develop lead runner Thomas Valles (Carlos Pratts) as a compelling character. But the promise of a fully-balanced portrait is never realized in either film, both of which struggle to be Kevin Costner films and films about diversity.

Black or White is the more well-intended effort to forge a new way forward with a father figure like Costner on the marquee. The film struggled with funding before Costner came on board, enraptured by Mike Binder’s semi-biographical script—and it’s not hard to see why. In an attempt to reach a feel-good conclusion, Black or White splits its formidable cast along racial and socioeconomic lines in the custody battle for Eloise: The Compton household under the leadership of Rowena (Spencer) is pitted against Costner and his mansion in Santa Monica. Under advisement from her lawyer, Rowena makes her case “about race”; consulting his partners at the firm, Anderson makes his about her good-for-nothing, druggie son—Eloise’s father Reggie (André Holland). Among other issues, this is a movie that tries to tackle race in a fresh way—head-on—with stale stereotypes.

But the most damning part about Black or White is that despite its emphasis on equivalence for both sides, and its message of love how transcends perceived differences, there’s no question that Costner is treated as the star. As an alcoholic whose addiction consistently impedes his relationship with his daughter, he’s not likeable on paper—yet the fact that he wins the audience’s sympathy lies in simple cinematic math: He’s in 90 percent of the scenes. He gets the most memorable dialogue, including a speech that name-drops the title, and which Costner has said reminded him of 1988’s Bull Durham and 1991’s JFK. Spoiler alert: He gets the girl. None of this is at all surprising for a Costner movie—but as a relatively novel film tackling the topic of race, it’s disappointing.

Relativity/The Atlantic

Is it even possible for a white movie star best-known for playing paternal figures to make a decent movie about race? McFarland, USA isn’t an answer in the affirmative, though it's a better film, simply because it executes an old formula marginally more creatively. Costner is the necessary figurehead on top of a paint-by-numbers affair that fits tidily into the successful studio genre that debuted Million Dollar Arm, Glory Road, and Cool Runnings. This time, it's set in McFarland, CA, the troubled youth are Latino, and their heroic athletic mission is running.