REVIEW: 

CRY MACHO ★★★

At an age when most actors are either retired or picking up checks from character roles on TV ensemble shows, Clint Eastwood defies expectations and continues to find suitable starring roles at 91. In "Cry Macho" he plays ex-rodeo star who fell on hard times after a tragedy left him a shell of his former self. One day, his old boss Howard (Dwight Yoakam, "Sling Blade") comes to him with a proposition to travel to Mexico and retrieve his young son for him as payback for the help he's given him over the years.

Thus sets up the premise for the film, which unfolds in a very relaxed, easy manner, as Eastwood's character Mike Milo meets and befriends the teenager Rafo (Eduardo Minett) on what essentially becomes a scenic road trip with a stop in a quaint town where they hide out from authorities in churches and diners. Along the way, they meet a kindly local Mexican woman named Marta (Natalia Traven) who provides the duo with some food and comfort on their journey.

The two are joined on their quest by Rafo's pet rooster, which is used for cockfighting and therefore named Macho for his ability to defeat other roosters. It also serves as a metaphor for a number of things in the film, which is about what really matters in life and how to pick our battles. A couple of henchmen loyal to the boy's sketchy mother try to prevent them from reaching the border, which leads to a nice little show of physicality on Eastwood's part, but for the most part the movie focuses on the lessons learned between a boy finding out who he wants to be and an old man trying to find a reason for being. On that level, "Cry Macho" works, because we like these people and want them to be happy.

However, the script doesn't have the ambition to reach for more when it could have been a bit deeper or more epic. I think that was a deliberate choice for Eastwood as a director, wanting to simplify his message and just show people living and continuing to grow internally. The picture is typically well-made, with lovely cinematography by Ben Davis ("Three Billboards Outside Ebbing, Missouri") and an equally nice score by veteran composer Mark Mancina ("Speed," "August Rush").

If anything, this is a film that proves that less can sometimes be more. Eastwood's "Cry Macho" is a fairly undemanding but welcome addition to his varied and impressive resume. 


REVIEW:  

ANNETTE ★★★★

Stand-up shock comedian Henry (Academy Award nominee Adam Driver, "BlackKklansman") and opera star Ann (Academy Award winner Marion Cotillard, "La Vie en Rose") become a celebrity couple, marry and have a child they name Annette. Everything seems fine until Henry begins to grow restless. Ann dreams of a MeToo type situation where she is warned of Henry's true nature, but she continues and the relationship becomes rather toxic.

In a conventional film these events would take on the feel of a Hallmark TV movie, but in the hands of French director Leos Carax ("Holy Motors," 2012), who wrote the screenplay with composer brothers Ron and Russell Mael, "Annette" is a rock musical that is anything but conventional in its style. Even the appearance of baby Annette, who becomes the center of the turmoil that eventually takes place between Henry and Ann, is completely original and unexpected. I don't want to spoil the film by giving too many details, so let's just say the movie takes a lot of twists and turns. The story gets much darker than you might expect.

All of this is presented in a mix of the absurd, the tragic and dark humor. The production design and cinematography are beautiful. Add to that a score made up of songs new and old from the pop duo Sparks, the aforementioned Mael brothers. At times the film's turns may feel oppressive, as there is some violence and some of the situations take on a surreal element, but it is always fascinating. Stick with it, I say. The performances make this task rewarding, especially Driver, who seems to dare us to sympathize with a very complex character. "Annette" is one of the best, and most original, films of the year.

NEW FILM REVIEW: Jersey Boys

NEW FILM REVIEW:  Jersey Boys ***

At first glance Clint Eastwood, director of Unforgiven (1992) and Million Dollar Baby (2004), would seem an unusual choice to make an adaptation of the Tony Award-winning musical about the rise of Frankie Valli and the Four Seasons during the 1960s.  Yet, one looks at his resume to find he is also the same person who directed Forest Whitaker in the excellent Charlie Parker biopic Bird in 1988.  Movie fans also recognize that Eastwood is an accomplished pianist and composer, as well, often writing scores for his own films.  So, taking that into consideration, it's not so far-fetched to find this particular film maker behind the camera on this project.

The big-screen version takes its cues from its stage origins, complete with characters speaking directly to the audience to tell its story.  This gimmick shouldn't work, but somehow it does.  We are shown the story in flashback to the days when Frankie Valli went by his given name Francesco Stephen Castelluccio.  Like many singers of the era, Castelluccio was inspired by the success of Frank Sinatra, whom his mother took to see as a child at the Paramount Theater in NYC.  Along with his friend, small time hood and fellow musician Tommy DeVito (Vincent Piazza) they form a band, but struggle to hit it big.  After a series of band names, and the addition of songwriter Bob Guadino (Erich Bergen), they become The Four Seasons and begin to have success with hits like "Big Girls Don't Cry" and "Walk Like a Man." 

In spite of this upward trend, the band begins to unravel, as Tommy jeopardizes the group's financial stability by secretly going back to his criminal tendencies and other personality clashes occur.  Some of these disputes are moderated, at Frankie's request, by local mob man and uncle figure Gyp DeCarlo (Christopher Walken).  Added to this mix is Frankie's increasing neglect of his familial responsibilities, which weighs heavily on Valli when tragedy strikes.

None of these story elements are particularly new, as countless rags-to-riches musical biographies attest to, but there is much to be entertained by.  The film is colorful without being overly flashy, and touching without being overly sentimental.  Director Eastwood finds the right balance between musical enthusiasm and dramatic restraint.  It works.  The cast, many from the original award-winning stage production, offer convincing portraits of eager and ambitious musicians who meet that inevitable break up moment.  While some of that is cliche, the reason for the film's existence is the music.  Here the film offers plenty of toe-tapping sequences, and will likely leave the viewer wanting more.