Short Attention Span Review - Lonesome Dove (1989)

Short Attention Span Review - Lonesome Dove (1989)

There's a reason so many people make such a fuss about Lonesome Dove, a sprawling epic from 1989 that still holds a lot of appeal for those who enjoy a good western.  It is a quality adaptation of a powerful story, and it features two stars enjoying robust parts perfectly tailored to their strengths.  I'm not sure that either Robert Duvall or Tommy Lee Jones were ever given as much to do with a role, and even though this is a mini-series, that's still a bold statement given their legendary careers.  This is a different animal, though, a work of considerable depth that is ripe with triumph and tragedy, laughter and heartache, excitement and drama--Lonesome Dove offers up all these things and so much more.  It is an ensemble piece, and other players like Danny Glover, Diane Lane, and Robert Urich, among others, have quite an impact on the proceedings.  But it is Duvall and Jones who are front and center throughout, and each man does a splendid job of bringing his character to life, aided by a Grade A script and equally compelling direction.  Gritty, warm, cold as ice, riveting, unbelievably sad, and truly inspiring, this tale leaves no stone unturned and hits the mark at every turn.  It is a grand western with a great many things to say, and it is sure to move anyone and everyone who joins a pair of rugged former Texas Rangers on an unforgettable cattle drive.  Lonesome Dove is a must-watch for those who enjoy the genre, and I have no qualms endorsing it for those who don't typically appreciate such fare.  Like I noted earlier, Lonesome Dove is a different animal, certain to reward viewers for years to come, and I heartily recommend it to those who enjoy my blog.

Final Grade: A+

Robert Duvall and Tommy Lee Jones are simply magnificent in this epic miniseries from 1989.  Nope, they don't make them like they used to.

Top 5 Movie Shootouts: #4) The Wild Bunch (finale)

With this Top 5, I'm breaking down my favorite movie shootouts for you.  Many of the films set to make this list are classics that will be hard to argue, but I have no doubt that my choice for the top spot on this list will not sit well with many.  Also, I should point out that I'm excluding war films from this Top 5.  I may revisit them with a Top 5 Combat Scenes at some point or something of that ilk, but they didn't really seem to fit with what I'm going for here.  As always, I welcome your thoughts on my selections, and I'm equally interested in hearing about your choices, so feel free to drop a comment and give me your take.

Yesterday, I started things off with John Wick (the Red Circle) at #5, and while that was a recent gem I am going all the way back to 1969 for my next selection.

Top 5 Movie Shootouts: #4) The Wild Bunch (finale)

When you take legendary director Sam Peckinpah's knack for turning violence and machismo into a ballet of bullets and bloodshed, it should come as no surprise that one of his movies made it onto this list.  Additionally, while many of his pictures contain riveting gunfights, I think that this grand finale is Sam's greatest achievement.  Honestly, I consider the grim conclusion to The Wild Bunch to be among the best endings ever, and this rousing shootout where four men challenge an entire army is surely worthy of the #4 spot here.

The biggest attribute that this particular shootout boasts aside from Peckinpah in the director's chair is the amazing cast.  William Holden was a true leading man, and this scene allows him to march into battle with Ernest Borgnine, Ben Johnson, and Warren Oates at his side.  This rugged band of outlaws is not comprised of heroes, yet the final reel of this classic western finds the gang taking a valiant stand that will cost them their lives.  They do this because they value loyalty more than gold, and the scene where they march toward their inevitable demise perfectly sets the stage for the carnage to come.  

The violence that ensues is bold, stirring, and incredibly gruesome.  Peckinpah shot some great action bits during his lengthy career, but nothing quite like this.  The cinematography is stellar, the effects are terrific, and the performances elevate this orgy of bloodshed into the realm of classic cinema.  It is all a bit crude, but what else should we expect from The Wild Bunch?  

So brazen is this gory battle that it teeters on the brink of absurdity, but the harsh themes and the spectacular craftsmanship give it enough resonance to remain potent.  In many ways, this explosive firefight is difficult to classify, as it is clearly exciting and perversely entertaining while it is also gritty and nihilistic to such an extent that you may feel a little dirty after watching it.  I find it to be one of the most incredible climaxes ever filmed, and it is a perfect way to wrap up this tale of hard men who have become obsolete and have little to live for aside from their value to one another.  In fairness, The Wild Bunch may warrant a higher spot on this Top 5, but I had to make some difficult decisions when I put this one together.

. . .

Tomorrow, we turn the clock back another 3 years to 1966 to discuss the next shootout to make the cut.   In the meantime, while The Wild Bunch may be Peckinpah's best motion picture, you can check out my Short Attention Span Review of Bring Me the Head of Alfredo Garcia to learn more about my favorite film from this visionary director.

Halloween in the Land of Way - Short Attention Span Review: Bone Tomahawk (2015)

First off, I recognize that a movie like Bone Tomahawk isn't for everyone.  Secondly, I'm about to do some serious raving about this wicked western/horror hybrid, because it's almost as though this one was tailor-made for me.  Some will not like the deliberate pace that grounds the first two acts, which (after a brief but suitably gruesome opening sequence) are surely classic western fare.  Some will be totally disgusted by the third act, when the riveting character study becomes a no-holds-barred descent into pure terror that houses what may be the most gruesome death ever depicted on film.  Still others won't like the Tarantino-esque dialogue or the minimalist score.  Yet novelist S. Craig Zahler scored a direct hit with each of these choices in my book, and the end result is an involving and even moving tale that allows you to bond with a quartet of prickly leads before they march into a hellish fate with the best of intentions.   The plot concerns a posse's efforts to rescue a female doctor and a deputy from a mysterious clan of cannibalistic monstrosities masquerading as men.  Kurt Russell is both the sheriff and the star of the picture, and to say that he is stellar here isn't quite enough.  He's pretty damn sublime, operating as the heart of the picture while frequently giving way to his fellow performers with the knowledge that the audience will be fully invested in his performance regardless.  Patrick Wilson is great as a rugged cowboy who just so happens to be the female doctor's husband.  He's also saddled with a broken leg and an iron will that won't allow him to sit this one out, and his struggles with his injury lead to some of the most brutal moments in the picture.  Matthew Fox is the dandy of the bunch, a slick killer in fancy duds who is quick with a gun and supremely arrogant.  Yet he's also a man with a purpose, and like everyone else involved, he shines in the part.  Finally, there's Richard Jenkins as Chicory, Russell's trusted deputy.  This is definitely one of those "last but not least" scenarios, as Jenkins brings incredible timing to his rich part and is directly responsible for most of the laughs and the warmth in Bone Tomahawk.  We come to know and love these characters as they ride toward their fate, and the horrendous conclusion that awaits them elevates a potent picture into something more.  No, it's certainly not for everyone, but I think that Bone Tomahawk is a powerful film with tremendous impact.  As someone who loves westerns, horror movies, and Kurt Russell, I can honestly say that I enjoyed this grim shocker as much as any film that I have seen in 2015.

Final Grade: A+

Kurt Russell has a great time hitting the trail and meeting new people in Bone Tomahawk.

Short Attention Span Review: High Plains Drifter (1973)

High Plains Drifter may be a difficult picture to describe, but it isn't hard to enjoy.  Eastwood stars in and directs this twisted vision of vengeance from beyond the grave.  Laced with supernatural overtones and an ominous vibe, this unholy tale is a revisionist take on the western genre.  It is surreal enough to make the viewer uneasy, ambiguous enough to present more than a few bizarre questions as the tale unfolds, yet grounded enough and tight enough to keep the audience hooked from the very start.  The score is strange, the color palette is striking, and the main character is a gunslinger whose cold gaze and colder demeanor barely conceal his burning desire for death and destruction.  Yet while his motivations and in fact the very nature of his character may be unclear, his actions are seldom subtle and his lethal skills and his reckless abandon quickly pave the way for the demise of the town of Lago.  High Plains Drifter is grim, crude, sexist, and quite violent, and in many ways it is the polar opposite of what we expect from such a film, particularly in terms of morality.  Eastwood's presence and the fact that this is a tale of justice at its core (albeit a far less sanitized view of the "eye for an eye" mentality that permeates the genre) are likely the only factors that keep the many fans of the picture from finding it as incendiary as beloved western icon John Wayne reportedly did.  Eastwood is perfectly at ease in the title role and the entire cast does a nice job with the material.  Eastwood also did a fine job as director, and the tombstones in the Lago cemetery bearing the names of Sergio Leone and Don Siegel aren't the only nods to his former directors in the mix.  High Plains Drifter is a curious western that works well but may seem overly vulgar or quixotic to some.  Personally, I think it's one of Clint's most striking features--even if it didn't crack my Top 5 Clint Eastwood Movies.

Final Grade: B+

This eerie revenge yarn with supernatural overtones stars Eastwood as a
nameless stranger who slowly but surely turns the town of Lago into a living hell.

Top 5 Clint Eastwood Movies

I recently put together a list of my Top 5 Clint Eastwood Movies.  This was a daunting task as I've been watching this stellar performer's films for about as long as I can remember.  Additionally, his filmography is jam-packed with quality pictures and narrowing all those worthy candidates down to a Top 5 meant that several wonderful movies (many of which are personal favorites of mine) wouldn't make the cut.  I tried to present some variety along the way as this list could have easily boasted nothing but the rugged westerns that this cinema titan is perhaps best known for, and in doing so I wound up making some unconventional choices.  Regardless, I think this a worthy list brimming with wonderfully entertaining films, and I'm happy to share my Top 5 Clint Eastwood Movies with you.

Feel free to chime in and let me know how you would rank Clint's cinema exploits and share your thoughts on my choices.

. . .

#5 - Any Which Way You Can (1980)

I absolutely love both Every Which Way But Loose from 1978 and Any Which Way You Can, the 1980 sequel to that smash hit.  Critics loathed these country-western ventures with a heaping side of slapstick humor, but what do they know?  Both films fared well at the box office and I'm not alone in my enjoyment of them, though there are many Eastwood fans who didn't enjoy these goofy comedies any more than the critics did.  Eastwood mostly plays it cool as Philo Beddoe, a bare-knuckle brawler with a unique family unit, while those around him generate most of the laughs.  Some consider Clyde, Philo's beloved orangutan, to be the real star of these movies, and that furry trickster does possess an abundance of charisma.  Geoffrey Lewis was terrific as always as Orville, Philo's closest non-simian ally, and Ruth Gordon is a profane and cantankerous delight as Ma.  Any Which You Can also benefits from the presence of B-movie icon William Smith, who is perhaps best known as "the dude who played Conan's dad" to my peers.  Here, he is cast as a rival bare-knuckle fighter, though he actually helps Clint out for much of the picture and is the first to congratulate him after their epic throwdown brings the picture to a close.  Any Which Way You Can is a silly affair that lampoons Clint's tough guy persona, country folk, the police, bikers, and the motel industry, among other things, and it boasts more laughs than uppercuts.  It is certainly a departure from Eastwood's typical fare, but the dude was so versatile that he was clearly just as comfortable in the role of Philo Beddoe as he was playing Dirty Harry or The Man With No Name (who had a name in each Leone masterpiece that Clint starred in, but that's a story for another day).  I am aware that there are numerous Eastwood vessels that are actually better movies, so I understand why some may not understand why I put Any Which Way You Can on my list.  However, if we're looking at Eastwood's filmography in terms of entertainment value, I think the #5 spot on my list is a fitting prize for this lighthearted yarn that is brimming with country music, unique characters, and chuckles.  

There are a lot of things I love about this movie, but the thing that puts it over
the top for me is the presence of the woefully underrated William Smith and the
cool relationship that his Jack Wilson and Eastwood's Philo Beddoe enjoy.

. . .

#4) Magnum Force (1973)

Once again, I'm picking a sequel, and this may come as a surprise given the quality of Dirty Harry, Eastwood's first outing as the prickly but lovable Harry Callahan.  Hey, I love Dirty Harry.  It's a fantastic movie and it introduced us to a legendary tough guy, but Magnum Force is even better.  I give a lot of the credit for this noteworthy achievement to John Milius, who came up with a really neat idea for the sequel.  What if our maverick lawman, a hero who does things his way, went toe to toe with some hotshot vigilante cops who had taken this approach too far?  Michael Cimino helped the mighty Milius turn that curious notion into a riveting screenplay that bolstered this stellar follow-up to one of Eastwood's biggest hits.  Hell, throw Hal Holbrook's smarmy Lt. Briggs into the mix, insert some humor and a few nifty setpieces, and the end result is one of Eastwood's best movies, as well as one of those exceptionally rare sequels that somehow manage to outshine the original.  Obviously, Clint was a perfect fit for the part of Dirty Harry, and few big screen policeman have been so charismatic or entertaining.  Yes, I'm a huge fan of this series.  True, things started well with Dirty Harry, reached new heights with Magnum Force, and then gradually began to descend before bottoming out with The Dead Pool in 1988.  In the end, it doesn't matter--Dirty Harry is an iconic character in the cinema landscape and he enjoyed two stellar adventures and two solid pictures before that lackluster final entry reared its ugly head.  People don't think about The Dead Pool when they think about Dirty Harry; they think about Clint saying "Make my day" or asking some poor punk if he feels lucky.  I know there are many of you who prefer Dirty Harry and I understand that picking Magnum Force here will give some of you pause, but it's an easy decision for me.  Magnum Force is my favorite Eastwood venture that didn't require him to wear a six-shooter on his hip or dress up in combat fatigues.

Dirty Harry may be the first time Eastwood portrayed maverick lawman
Harry Callahan, but this 1973 sequel is a superior motion picture.
In other words, a man has to know his limitations, but a sequel doesn't.

. . .

#3) Kelly's Heroes (1970)

Like most everyone reading this, I dig Clint's westerns and his gritty thrillers.  However, when I put Any Which Way You Can at #5 to start this list, that clearly signified that some of Eastwood's lighter films also rank among my favorites.  One such movie that seldom gets its due is Kelly's Heroes, an irreverent gem.  Hey, the very notion of a comedic and borderline absurd take on WWII might sound downright blasphemous to some.  It should be noted that in addition to poking fun at the establishment and lampooning the military, this one does have a bit of heart, and there are some serious themes buried beneath all the bluster.  Eastwood's cool lead (his Kelly may be totally fearless--or maybe he just has a serious hard-on for gold bars) and the fantastic supporting cast never fail to entertain.  Telly Savalas is fabulous as Kelly's hard-nosed commander and Don Rickles is equally captivating as Crapgrame.  Of course, the true star of the show is Donald Sutherland as Oddball.  Yes, the character belongs to another era, but Kelly's Heroes is far more interested in entertainment than plausibility--though it never grows so outlandish that it becomes an outright farce.  Purists probably don't favor Kelly's Heroes as much as I do, and modern audiences who are more familiar with films like Saving Private Ryan or Fury (read my scathing review of that one here) may not appreciate this quirky romp either.  I like gritty and realistic war movies too, but I may enjoy a quality satire even more.  I have no qualms about putting Kelly's Heroes at #3 as I break down my Top 5 Clint Eastwood Movies.

Bonus Points: I find the opening reel to be among the best title sequences of all time.  The way the images and the music clash set the stage for something totally unique.  It's damn near Tarantino-esque, and the entire score (c/o jazz maestro Lalo Schifrin) is nothing short of wonderful.  Additionally, the big tank showdown that closes out the picture is extremely impressive and even takes the satire to another level at one point when the picture playfully pays homage to The Good, the Bad, and the Ugly.

Sutherland is out of this world as Oddball, and Eastwood nails the part
of Kelly, a somewhat dubious and incredibly determined leader of men.

. . .

#2) Unforgiven (1992)

When Eastwood rose to fame, he did so by virtue of the western, though he would later prove himself equally adept at other genres.  Regardless, when he returned to the western in 1992 with Unforgiven, it's rather fitting that he gave us one of the finest American movies of them all.  Poignant, gripping, violent, heartfelt, and exceptionally well-made, Unforgiven is an epic film.  The cast is sensational, the plot is riveting, and the cinematography is a joy to behold, though the material and the mood give the picture serious weight.  It may not be an easy watch, and it may not be nearly as warm or as hopeful as many of the classic westerns that fans of the genre know and love, but it is a wonderful movie that boasts considerable riches.  Eastwood is sheer perfection as William Munny, a retired gunslinger who thought that he had left his wicked ways behind.  Morgan Freeman is equally sublime as his pal Ned, while Gene Hackman chews scenery as a sadistic lawman named Little Bill.  Richard Harris shines as English Bob and the entire cast does a terrific job of telling this story.   The movie is a meditation on many things, to include the thin line between heroism and villainy.  It also ponders society's difficult relationship with the truth as opposed to the more palatable myths that we tend to promote.  This is surely even more impressive when you take into account that Unforgiven somehow manages to succeed at paying homage to the western while it is also keenly dissecting the genre and shedding new light on many of the most familiar aspects of this beloved portion of the cinema landscape.  David Webb Peoples obviously did a tremendous job with the script, and it would have been a crime for anyone other than Eastwood to direct and star in this landmark picture.  I don't think it's Eastwood's best film, nor I do think that it is his best western--those honors belong to the movie sitting at #1 on this list.  However, if you're one of the many who feel that this is Clint's finest offering, I certainly understand where you're coming from.  It really is a stellar movie that boasts one of our most gifted performers at his very best, and few films are as thoughtful or as rewarding as Unforgiven.

Unforgiven isn't just one of Eastwood's best films, it's a legitimate American classic.

. . .

#1) The Good, the Bad, and the Ugly (1966)

There are good movies, there are bad movies, and there are ugly movies.  Then there are great movies.  I'm talking about epic creations that not only stand the test of time, but often shape the cinema landscape for years to come.  One such film is The Good, the Bad, and the Ugly, which many see as master director Sergio Leone's most inspiring accomplishment.  Everything works to perfection in this mesmerizing treasure, to include the cast, the iconic score, the wonderful camera work, and the presence of a director with tremendous flair and vision.  No one made movies quite like Leone, and with Eastwood, Eli Wallach, and Lee Van Cleef in tow, he provided us with an operatic descent into greed and war that should be experienced by anyone who enjoys movies.  The scope and the grandeur of this colorful epic makes it a worthy treat for those willing to trade a few hours of their time for a surreal journey that is blessed with an embarrassment of riches.  Chief among those riches is Clint's performance, a case of perfect casting if ever there was one.  With The Good, the Bad, and the Ugly, Eastwood emerged as a star, and while he continues to provide us with quality motion pictures, this feast for the senses remains his greatest achievement.  This shouldn't come as much of a surprise, for few films aim to be as robust or as magnificent as this one.  Of those that strive for such significance, many collapse under their own weight, many arrive as bloated affairs that miss the mark, and only a precious few actually come close to delivering the goods.  It is certainly a rare occasion when such a production somehow manages to meet the expectations of those daring souls who saw fit to launch such a venture.  The Good, the Bad, and the Ugly is one case where a massive undertaking of this sort actually yielded a glorious success.  This was Clint's third film in which he starred for Leone, and for many he will forever remain The Man With No Name.  Of course, those who are paying attention will notice that Clint is playing a different character in each of these films and all of these characters have names--so long as we're willing to count "Blondie" as a name in The Good, the Bad, and the Ugly.  So perfect is he for these roles that it almost seems as though Eastwood doesn't even have to try to deliver a rousing performance.  Yet portraying a character who squints more than he talks surely requires a degree of subtlety and a knack for nuance that is difficult (if not impossible) for many to summon.  Eastwood's icy cool demeanor and Leone's vibrant imagination were quite a potent combination, and The Good, the Bad, and the Ugly is one of the best movies ever made.  I treasure Clint, and narrowing down his fabulous filmography to 5 movies was daunting, but putting this dazzling masterpiece at #1 was an easy call.

All three of the westerns that Clint starred in for legendary director Sergio Leone
are terrific pictures, but it's The Good, the Bad, and the Ugly that still towers
over the genre nearly 50 years after it was originally released.

Journey of the Dead by Loren D. Estleman (from 2011)

Journey of the Dead is an interesting take on Pat Garrett's later years that aims to be something more.  Entwining Garrett's tale with the story of an aging alchemist in pursuit of the fabled Philosopher's Stone, Estleman tries to elevate the famous lawman's inevitable decline into a meditation on time and destiny.  To some extent the author succeeds, but I could have done without it; I don't feel that the alchemist subplot was necessary for those themes to be featured in the book.  In truth, the alchemist's role in Estleman's novel is exceptionally minor, and while Estleman is able to wring some thoughtful and hauntingly poetic moments out of this character's presence, it seldom feels like more than a gimmick or a distraction.  This is Garrett's story, glossing over his early years and his fateful date with his poker buddy Billy the Kid in favor of exploring his efforts to live up to his monumental reputation as he aged and society evolved.  When the book focuses on Garrett (as it does for the bulk of the tale--I would say that Book of the Dead is 95% Pat Garrett and 5% nameless alchemist), it is intriguing and complex, expertly depicting a man whose greatest skills are becoming less relevant as the times change even as his ambition grows.  He grapples with guilt and his own wants and desires, which are frequently foolhardy and self-destructive.  All the while, he remains compelling and likable.  I enjoyed Book of the Dead and I would recommend it to fans of this material, but I think I would have given it a better grade if it was a more direct exploration of Pat Garrett's waning years.

Final Grade: B-