Score: 4 / 5
I can't believe it's over.
The Old Man & the Gun was announced as Robert Redford's final acting role before retiring, and it's a fabulous farewell to him. He's given a fascinating character and makes him sweet and funny and classy and more than a little badassy. And, really, the same could be said of the film around him. Director David Lowery works his usual magic to make an old-fashioned charmer of a flick that honors its leading man as much as it maintains integrity as a standalone picture.
Career criminal Forrest Tucker (Redford) and his "Over-the-Hill gang" have been in the business of casually robbing banks for many years. Around 70 years old, you might think they want to retire and find another purpose; perhaps they think so too. But Tucker is cut from slightly different cloth than his companions (played by Danny Glover and Tom Waits). Their string of heists continue to confound the police and dazzle the public; even their victims are outspokenly impressed by their gentlemanly demeanor, kindness, and sense of fun.
When Tucker meets Jewel -- a real treasure, we immediately understand, played by a magnificent Sissy Spacek -- we wonder if she will facilitate the end of his life of crime. Though he tells her his profession almost immediately, he plays it off like a joke; her suspicions she keeps to herself. They end up thoroughly in love with each other, in spite of his livelihood. In no less of a love story, hotshot detective John Hunt (I know, the names are overkill) grows increasingly obsessed with the gang and with Tucker in particular. Played by Casey Affleck, we wonder if Tucker is his ultimate prize or perhaps his ultimate aspiration; he seems to admire the criminal more than appropriate, especially when Tucker confronts him in a diner bathroom.
Lowery's skill behind the scenes has been proven four times now, each in slightly different ways but each to impeccable effect. He has a way of fashioning a mythic, folkloric tale without all the bells and whistles you might expect. His stories are at once entertaining and profoundly elemental, and their apparent simplicity is a clever guise to fool the masses. This movie, as his others, is fun and interesting, but able to take you deeper if you just let it.
Go for Robert Redford's farewell gift; stay for Lowery's unique brand of storytelling.
Showing posts with label Robert Redford. Show all posts
Showing posts with label Robert Redford. Show all posts
Sunday, November 11, 2018
Friday, May 4, 2018
The Discovery (2018)
Score: 1.5 / 5
Mary Steenburgen interviews Robert Redford, a scientist who has apparently proven the existence of an afterlife. We gather that his discovery has led to an epidemic of suicides. When asked if he feels responsible, he denies it. Immediately one of the crew members kills himself on camera, and we watch Redford's horrified reaction. That's how The Discovery begins. Unfortunately, the first scene is the best in the movie.
The movie is fairly grim, but it doesn't sustain its tone or its urgency. As soon as Jason Segel shows up and starts flirting with the suicidal Rooney Mara, I lost interest. That was the next scene. They're so unlikable and have no chemistry, but they way they interact it's clear they will end up romantically involved before long, which is just dumb.
The characters aren't interesting, and they're played flat as pancakes. Half the dialogue is muddied and stunted, mixed as though they were speaking from opposite ends of a hallway or on a bad phone connection. Between revelations of relationships and the afterlife, the plot simply loops back on itself, reviving and resuscitating just when you hope it'll stay dead.
Re-enter Rob Redford as a Mad Scientist and cult leader, isolated in his mansion. The film feels weirdly like The Master and Flatliners had an ugly baby. The cult members have all tried to kill themselves and now wear jumpsuits and worship Redford because it makes them...happy? I'm still not sure. I also just didn't care. The movie is clearly a ripoff of other stories, and can neither make itself interesting nor tonally consistent.
I only watched this the other day, and I can't even remember how it ends. I may have fallen asleep watching it, which tells you all you need to know.
IMDb: The Discovery
Mary Steenburgen interviews Robert Redford, a scientist who has apparently proven the existence of an afterlife. We gather that his discovery has led to an epidemic of suicides. When asked if he feels responsible, he denies it. Immediately one of the crew members kills himself on camera, and we watch Redford's horrified reaction. That's how The Discovery begins. Unfortunately, the first scene is the best in the movie.
The movie is fairly grim, but it doesn't sustain its tone or its urgency. As soon as Jason Segel shows up and starts flirting with the suicidal Rooney Mara, I lost interest. That was the next scene. They're so unlikable and have no chemistry, but they way they interact it's clear they will end up romantically involved before long, which is just dumb.
The characters aren't interesting, and they're played flat as pancakes. Half the dialogue is muddied and stunted, mixed as though they were speaking from opposite ends of a hallway or on a bad phone connection. Between revelations of relationships and the afterlife, the plot simply loops back on itself, reviving and resuscitating just when you hope it'll stay dead.
Re-enter Rob Redford as a Mad Scientist and cult leader, isolated in his mansion. The film feels weirdly like The Master and Flatliners had an ugly baby. The cult members have all tried to kill themselves and now wear jumpsuits and worship Redford because it makes them...happy? I'm still not sure. I also just didn't care. The movie is clearly a ripoff of other stories, and can neither make itself interesting nor tonally consistent.
I only watched this the other day, and I can't even remember how it ends. I may have fallen asleep watching it, which tells you all you need to know.
IMDb: The Discovery
Saturday, February 24, 2018
Our Souls at Night (2017)
Score: 4.5 / 5
Yet another fabulous Netflix feature, Our Souls at Night is one of the quietest and sweetest movies of the year. It concerns a widow and a widower, neighbors, who begin sleeping together to combat their loneliness. As their affections grow, they grow from platonic partners to romantic partners, creating a family of their own when their children and grandchildren come into the picture. As age and personal commitments begin to separate them, their love is tested, and the end result is an enlightening, empowering testament to what can happen when we love without restraint.
The film has its familiar rhythms and tropes, but it never once feels tired or vague. Its wit is as sharp as its sense of purpose, and hardly a moment is wasted. So many of the scenes have nothing but stars Robert Redford and Jane Fonda together, talking, and these make up the meat of the movie. There's nothing better than watching two amazing performers acting the crap out of a solid screenplay, and their chemistry is endlessly watchable. Toss in a cute little boy (Iain Armitage), a sweet dog, and support in the forms of Matthias Schoenaerts, Phyllis Somerville, and Judy Greer, and you have an absolute delight.
Plus, for a romance and drama about aging, the film is remarkably slim on sentiment. There's not an ounce of melodrama, nothing nostalgic or weepy. These are very real characters -- some of the most complex I've ever seen in a romance -- and they confront their problems with frankness, intelligence, and gumption. A total lack of irony makes this film a breath of fresh air, one that reminds us of how ridiculous so many in the genre can be.
IMDb: Our Souls at Night
Yet another fabulous Netflix feature, Our Souls at Night is one of the quietest and sweetest movies of the year. It concerns a widow and a widower, neighbors, who begin sleeping together to combat their loneliness. As their affections grow, they grow from platonic partners to romantic partners, creating a family of their own when their children and grandchildren come into the picture. As age and personal commitments begin to separate them, their love is tested, and the end result is an enlightening, empowering testament to what can happen when we love without restraint.
The film has its familiar rhythms and tropes, but it never once feels tired or vague. Its wit is as sharp as its sense of purpose, and hardly a moment is wasted. So many of the scenes have nothing but stars Robert Redford and Jane Fonda together, talking, and these make up the meat of the movie. There's nothing better than watching two amazing performers acting the crap out of a solid screenplay, and their chemistry is endlessly watchable. Toss in a cute little boy (Iain Armitage), a sweet dog, and support in the forms of Matthias Schoenaerts, Phyllis Somerville, and Judy Greer, and you have an absolute delight.
Plus, for a romance and drama about aging, the film is remarkably slim on sentiment. There's not an ounce of melodrama, nothing nostalgic or weepy. These are very real characters -- some of the most complex I've ever seen in a romance -- and they confront their problems with frankness, intelligence, and gumption. A total lack of irony makes this film a breath of fresh air, one that reminds us of how ridiculous so many in the genre can be.
IMDb: Our Souls at Night
Saturday, August 13, 2016
Pete's Dragon (2016)
Score: 4.5 / 5
Disney's on a bit of a winning streak, and this one is just the latest jewel in its crown. A nostalgic bit of magic, the film reminds us of a time when "Disney movies" meant something, when as a kid I would look at the beautiful Disney VHS cases at rental stores and eagerly look forward to the color and lights, feel the kindness and joy of characters, and feel empowered and affirmed. Sure, I can now recognize some serious ideological flaws in even the oldest Disney classics. But that doesn't necessarily mean I don't still feel a tingle of joy when I consider re-viewing Sleeping Beauty or Snow White. It's that kind of magic Disney is bringing back to its films, but now they (mostly) have stronger, better messages. Look at the purpose and power of Judy Hopps, the feminist and queer dynamics of Queen Elsa, the autonomy of Mowgli, the community of care and love around Dory, and the honest consequences of wishes and actions in Into the Woods. Disney still has its missteps (as in the colossal waste of time and energy of the Cinderella remake), but by and large they are still decent exercises in filmmaking, and they surely bring joy to some.
I don't really remember the original -- with the notable exceptions of Mickey Rooney, absurd musical numbers, and the trippy cartoon beast itself -- but I do remember distinctly not liking it. I was, you might imagine, a little hesitant to go see this remake. Thankfully my worries were proven unnecessary.
Pete's Dragon hits all its marks. It's a totally safe and sweet PG adventure, a rollicking coming-of-age dramedy with some light action, some familiar drama, and a whole lotta heart. It's one of those movies dripping with sentiment that actually works. A pretty thin film, full of breathtaking special effects and wonderful vision, simple and straightforward, never promising more than it gives and relishing the smallest of moments just long enough for us to take everything in. Director David Lowery (Ain't Them Bodies Saints) and cinematographer Bojan Bazelli (The Ring, Mr. & Mrs. Smith, Hairspray, Burlesque) imbue the film with a mythic quality that starts small and builds to a charming if safe climax, all while keeping the action controlled and measured. While the effects are massive, there's no overkill; whereas the original was hallucinatory and vivid, everything here is grounded and detailed realistically, including the dragon itself. Furry and green, it emotes perhaps more than any of the actors.
That's not to say the actors aren't on their game, though the script only gives a couple of them anything to work with. Little Oakes Fegley is a wonder to watch and a joy to behold as he commands the screen in every shot. Bryce Dallas Howard is the other joy here, delivering a turn as loving mother and motherly guardian of the Pacific Northwest forest. Robert Redford pops in for a few scenes as the grandfatherly narrator, and both Wes Bentley and Karl Urban run around with appropriate and contrasting energies.
The greater joys for me lie in the production itself. Besides the visual magic, Lowery's screenplay refocuses the story, simplifying the plot and making a clear case for environmentalism. He also continues a trend we've seen in Boyhood and Room, allowing a boy to mature before our eyes, while surrounding him with an amazing mother figure. The music by Daniel Hart is primarily folksy, helping the mythic presentation along, while strengthening major themes of family and home. Home may be where the heart is, but it's also a place in the world, a place in time, and the place with the people we love. Pete finds a home in the forest with Elliott the dragon, he also finds home with his surrogate family in town; Elliott ultimately finds his own home, farther away from "civilization" that ravages the land and his species.
Pete's Dragon is a lovely little meditation on all these and more, and a simple joy to watch. In a summer of films that are largely disappointments, that's a pretty great thing to say.
IMDb: Pete's Dragon
Disney's on a bit of a winning streak, and this one is just the latest jewel in its crown. A nostalgic bit of magic, the film reminds us of a time when "Disney movies" meant something, when as a kid I would look at the beautiful Disney VHS cases at rental stores and eagerly look forward to the color and lights, feel the kindness and joy of characters, and feel empowered and affirmed. Sure, I can now recognize some serious ideological flaws in even the oldest Disney classics. But that doesn't necessarily mean I don't still feel a tingle of joy when I consider re-viewing Sleeping Beauty or Snow White. It's that kind of magic Disney is bringing back to its films, but now they (mostly) have stronger, better messages. Look at the purpose and power of Judy Hopps, the feminist and queer dynamics of Queen Elsa, the autonomy of Mowgli, the community of care and love around Dory, and the honest consequences of wishes and actions in Into the Woods. Disney still has its missteps (as in the colossal waste of time and energy of the Cinderella remake), but by and large they are still decent exercises in filmmaking, and they surely bring joy to some.
I don't really remember the original -- with the notable exceptions of Mickey Rooney, absurd musical numbers, and the trippy cartoon beast itself -- but I do remember distinctly not liking it. I was, you might imagine, a little hesitant to go see this remake. Thankfully my worries were proven unnecessary.
Pete's Dragon hits all its marks. It's a totally safe and sweet PG adventure, a rollicking coming-of-age dramedy with some light action, some familiar drama, and a whole lotta heart. It's one of those movies dripping with sentiment that actually works. A pretty thin film, full of breathtaking special effects and wonderful vision, simple and straightforward, never promising more than it gives and relishing the smallest of moments just long enough for us to take everything in. Director David Lowery (Ain't Them Bodies Saints) and cinematographer Bojan Bazelli (The Ring, Mr. & Mrs. Smith, Hairspray, Burlesque) imbue the film with a mythic quality that starts small and builds to a charming if safe climax, all while keeping the action controlled and measured. While the effects are massive, there's no overkill; whereas the original was hallucinatory and vivid, everything here is grounded and detailed realistically, including the dragon itself. Furry and green, it emotes perhaps more than any of the actors.
That's not to say the actors aren't on their game, though the script only gives a couple of them anything to work with. Little Oakes Fegley is a wonder to watch and a joy to behold as he commands the screen in every shot. Bryce Dallas Howard is the other joy here, delivering a turn as loving mother and motherly guardian of the Pacific Northwest forest. Robert Redford pops in for a few scenes as the grandfatherly narrator, and both Wes Bentley and Karl Urban run around with appropriate and contrasting energies.
The greater joys for me lie in the production itself. Besides the visual magic, Lowery's screenplay refocuses the story, simplifying the plot and making a clear case for environmentalism. He also continues a trend we've seen in Boyhood and Room, allowing a boy to mature before our eyes, while surrounding him with an amazing mother figure. The music by Daniel Hart is primarily folksy, helping the mythic presentation along, while strengthening major themes of family and home. Home may be where the heart is, but it's also a place in the world, a place in time, and the place with the people we love. Pete finds a home in the forest with Elliott the dragon, he also finds home with his surrogate family in town; Elliott ultimately finds his own home, farther away from "civilization" that ravages the land and his species.
Pete's Dragon is a lovely little meditation on all these and more, and a simple joy to watch. In a summer of films that are largely disappointments, that's a pretty great thing to say.
IMDb: Pete's Dragon
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