Saucy old-lady and scene-stealer Margaret Bowen makes the menu options at T-Bone’s diner pretty dang clear to Texas Rangers Jeff Bridges (just. one. case. from. retirement) and Gil Birmingham (long time sufferer of Bridges’ playfully racist jokes and sagely gristle). Everyone gets a T-bone steak and a potato, and you either don’t want the corn or you don’t want the green beans. And you gotta ask yourself throughout the film…what don’t the characters want? Bridges doesn’t want to go down in a blaze of glory…right? The bank robbing brothers (Chris Pine – the good one, and Ben Foster – the bad one) don’t want to hurt anybody…right? Nobody in West Texas wants to use their concealed gun, it’s just for protection…right? Well, maybe wrong…and when everybody has hurt feelings, a trigger finger and is armed, there’s bound to be blood…eventually.
The “innocent” bystander women get some of the best lines in Taylor Sheridan’s sharp screenplay. Character actress favorite Dale Dickey, upon being asked if the bank robbers were black or white, pointedly responds, “You mean their skin color or their souls?” Another sassy waitress (Katy Mixon) who took to flirtin’ with one of our dastardly handsome brothers while the other robbed the bank across the street pitches a fit when the Rangers try to take her $200 tip as evidence. “That’ll pay half my mortgage!” Thank you very much!
And it’s those mortgages that are the root of the evils in David Mackenzie’s Neo-Western Hell or High Water. In fact, I would argue that the Texas Midlands Bank makes one of the greatest recent on-screen villains. Continue reading →
Hailee Steinfeld is Mattie Ross and Jeff Bridges is Rooster Cogburn in The Coen Brothers' rehash of TRUE GRIT.
True Grit has just about gotta be the most un-ironic thing the Coen Brothers have ever conjured. The Coens have explored the landscapes (No Country for Old Men) and themes (law and order in Fargo and the “man on the run” in Raising Arizona) of Westerns before, but this is their first stone-cold stab at the genre. They’ve done remakes before, too, lest we forget the travesty of The Ladykillers. Yet it is here where they play it completely straight and deliver a polished, hard to dislike, feature film liquored-up with top shelf quality right down the line. Continue reading →
There’s a telling scene about half way through writer/director Scott Cooper’s accomplished début film Crazy Heart where big Bad Blake tells his new “old lady” Jean that the best new songs are the ones that make you feel like you’ve heard them before.
Well, we’ve heard this one before: Down-and-out alcoholic country crooner Bad Blake (Jeff Bridges in the role of a lifetime destined now for Oscar gold) gets involved with a sweet but jaded reporter named Jean (the strangely appealing, droopy-eyed and increasingly Olive-Oil-esque Maggie Gyllenhaal) and her young son (Moppet-for-Hire Jack Nation) and tries to make good one last time while living in the shadow of the uber-famous singer he taught everything he knew (a slightly miscast and pony-tailed Colin Farrell). The film follows Blake’s ups and downs as he tries to create the family he never had, revive his career and clean-up his act. Continue reading →
The crown prince of America’s premier weapons manufacturer Tony Stark (a sober Robert Downey Jr.) grows a conscience after being captured by terrorists in Afghanistan and decides to fight for what’s right in an innovative piece of body armor technology that will henceforth be known as Iron Man in Jon Favreau’s predictable but fun Marvel comic film adaptation.
Wisely abandoning the corny mawkishness of the Spiderman films and the recent attempt to revive the Superman franchise, Iron Man instead offers up some light satire, bright-eyed cynicism, and an attempt at witty banter. The always lovely Gwyneth Paltrow is a delight as Stark’s sassy assistant Pepper Potts, and it’s nice to see her doing something light and fun for a change. Also part of the off-kilter cast are Terrence Howard as Stark’s inexplicable military friend and Jeff Bridges bald and bearded as Stark’s mentor (and dun dun dun…enemy?) Downey Jr. apparently ad-libbed much of the dialog, which sometimes falls flat, but for the most part works. It’s certainly far more enjoyable than the typical fan-boy in-jokes that plague most comic book movies.
Certainly this is no Batman Begins in terms of depth and scope of drama, but with slam-bang special effects and an effortless feel (despite a slow build up to the action), Iron Man certainly fits the bill as a better than average comic book/action film. Is it any wonder critics and audiences have embraced it so warmly after suffering through loud obnoxious dreck like Transformers? While it has been a bit oversold, Iron Man proves that great special effects can be built around a smart story that doesn’t have to pander to the lowest common denominator. Until The Dark Knight it will have to cure our cinematic anemia.
Originally Published on the Internet Movie Database: