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.

Short Attention Span Review - Dragged Across Concrete (2018)

Short Attention Span Review - Dragged Across Concrete (2018)

Some might bill Dragged Across Concrete as a dark thriller, but I'm not so sure.  Yes, it is punctuated by shocking acts of violence, and yes it centers on some cops and robbers interplay of a sort that we often see portrayed on the big screen.  However, its more about the characters and their circumstances than their actions.  Dragged Across Concrete struck me as a hard-boiled drama, a stark departure from a garden variety police procedural or a guns blazing shoot 'em up.  More to the point, everything is painted in murky shades of gray, and the picture is bereft of any classical good guys.  The standard rules don't apply either, and this gives the picture a few jolts that most movies in the same vein are lacking.  This is a movie about desperate people making desperate choices and hoping to survive in the wake of these fateful decisions.  The pace is methodical; a stakeout is explored with incredible attention to detail, and though shots are fired and bodies are shredded, Dragged Across Concrete is always more concerned with what its characters are doing between these outbursts of carnage and death.  This is Craig S. Zahler's third film, and it's clearly his most deliberate effort to date.  It is both a throwback and a subversion of the genre, and it will excite many viewers for the very same reasons that it will bore others.  Zahler also pushes a lot of buttons, with a lot of social issues coming into play, though he doesn't seek to preach or provide answers as much as he allows his characters to offer up pointed questions while grappling with life as they know it.  Stars Mel Gibson and Vince Vaughn fully embrace the material, and they invest such gravity into their performances that both disappear into parts that don't cater to their usual strengths.  Gibson simmers where he usually boils over, while Vaughn is more subdued and inquisitive than showy or declarative.  Tory Kittles upstages everyone as the unofficial third lead, an equally complex ex-con with a fluid knack for survival that serves him better than brutality or strategy serve his counterparts.  From the onset, we like all of these players in spite of their flaws, which are many, just as we recognize that this is not a happy ending kind of show.  While the gritty drama steadily nears a gruesome conclusion, we are continually surprised by the all too familiar yet oh so foreign plot.  It's not quite a masterpiece, but Dragged Across Concrete is really fresh, really intricate, and thereby really damn good.

Final Grade: A-

Vaughn and Gibson make an excellent pair in this gritty drama masquerading as a thriller, a grim saga where nothing comes easy and no one is safe.

Short Attention Span Review - Hell or High Water (2016)

Short Attention Span Review - Hell or High Water (2016)

Hell or High Water is a little slow, rather grim, genuinely interested in those areas where morality and integrity stand at odds with the foundations of society, and built on the bonds of family and loyalty.  The violence is realistic, the choices are dire, and the cost of living is high.  It's a movie that boasts many robberies and a couple of shootouts, but it offers much more in the way of drama than excitement because we care so deeply about the players.  This is due to an excellent script, some rich characters, and a wonderful cast that really grasps what the picture is all about and brings it to life with gut-wrenching authenticity.  We sense doom for some of these players from the moment the picture opens, and while we are propelled forward by the choices required of them, we never fully accept their fates, and are reluctant to see just how this uncompromising landscape will break them.  Jeff Bridges does an astounding job as a fair and likable lawman who is as human as he is larger than life--kinda sounds like a Jeff Bridges sort of role, doesn't it?  Gil Birmingham should not be overlooked as perhaps the most dignified person embroiled in this unforgiving saga.  Chris Pine and Ben Foster make the whole thing click on another level altogether as two very different siblings, with their work here draped in authenticity and crackling with purpose.  Pine is a bit reserved as the more introverted of the two, allowing Foster to light the screen up in one of his best performances to date.  Foster plays the most flawed and also the most generous of all these characters, and in a story like this, those who are willing to give of themselves are issued a bloody receipt for their efforts.  That's okay, though, because he plays the kind of man who is more than willing to man up and pay his dues, especially if his family is at stake.  Hell or High Water is another top-notch film from the mind of Taylor Sheridan, who also gave us 2017's unofficial best picture, Wind River.  Director David Mackenzie does a stellar job of bringing this deft combination of a modern western and an essay in noir to fruition, and I rate Hell or High Water as an absolute must-watch for those who like tough movies about hard choices.

Final Grade: A

Jeff Bridges remains an American treasure, but the work that Pine and Foster do here 

Short Attentin Span Review: Wind River (2017)

Short Attention Span Review: Wind River (2017)

How often does a great movie come along?  I'm a big fan of motion pictures and I'm very picky about what I sit down to watch, so I enjoy much of what I see.   I often use my blog to tell you about really good movies--or movies I enjoyed in spite of some rather obvious flaws. Wind River isn't entertaining in spite of its flaws and it wouldn't be fair to describe it as merely "really good" either.  Wind River is a great movie.  Dark, mystifying, and thoroughly engrossing, it boasts several setpieces of significance, to include both powerful jolts of excitement and poignant flourishes of staggering emotional depth.  Founded upon a splendid script and masterful direction from Taylor Sheridan, the picture also sports a phenomenal cast.  The supporting players never falter, and Elizabeth Olsen is perfectly case as one of the two leads, but the star of this one is clearly Jeremy Renner.  He may not be included in such conversations, but I firmly believe that Renner is one of the finest actors working today.  He is a joy to behold here, offering up a landmark performance with admirable restraint.  He endows Wind River with an abundance of heart and fire, but does so with impeccable nuance and subtlety.  Renner is truly exceptional here, and Wind River is a brooding masterpiece.  I think this is the best movie I've seen in 2017, and it has the substance and authority to stand the test of time.

Final Grade: A+

I firmly believe that Jeremy Renner is one of this generation's finest actors.  His work in Wind River is far less explosive but just as impressive as his more dynamic turns in great films like The Hurt Locker and The Town.

 

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.

Short Attention Span Review: Silverado (1985)

 For my money, it's hard to beat a great western, and Silverado is one of the best westerns that you're apt to see.  Everything about this one is grand, to include the magnificent cast, the epic locations, the fabulous script, and the stellar direction.  A big picture that deftly intertwines several gripping stories on the road to a corrupt town where all these stories come to a rousing conclusion, Silverado is a love letter to all the wonderful westerns that came before it.  It's also a reminder that genres may rise and fall, but so long as a top-notch script and the right talent join forces, no genre is ever truly forgotten.  The western may never be as important to the film industry as it once was, but it will always present the right people with an opportunity to tell a powerful story.  That's precisely what director Lawrence Kasdan did with this vibrant gem that he penned alongside his brother, Mark.  A good western can make adults feel all warm and fuzzy inside while encouraging their children to run around pretending that they're cowboys making a stand for all that is right.  Silverado is precisely that kind of film, and as such it is just as adept at presenting us with sound characters facing difficult decisions as it is at offering up thrilling shootouts.  There's also a lot of warmth and humor riding shotgun with the heroic antics that are the backbone of the western genre.  Kevin Kline, Scott Glenn, Kevin Costner, and Danny Glover shine as the heroes, while Brian Dennehy makes for an excellent villain.  Linda Hunt, Rosanna Arquette, Jeff Goldblum, and John Cleese are among the supporting cast, and Jeff Fahey makes an impression as a grimy henchman in one of his earliest roles.  The movie is certainly not lacking for star power, but then I don't see where Silverado is lacking anything.  A stunning example of what could be my favorite genre of film, this is a fantastic movie that I would heartily recommend to anyone.

Final Grade: A+ 

There are numerous established stars playing robust parts in Silverado, and then
there's my man Jeff Fahey hitting the scene and striking a chord as a sleazy deputy.

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-

Short Attention Span Review: Firefox (1981)

Firefox is another curious entry in Eastwood's filmography.  While no one was better at portraying hardened gunslingers, be they cowboys or cops, he was never opposed to trying his hand at something new and different.  Firefox is a special effects treat from 1981 that stars Clint as a troubled pilot who is thrust into a daring bit of Cold War espionage despite suffering from some serious PTSD.  It seems that the Russians have assembled a visionary aircraft and the U.S. is determined to steal this plane in the name of all that is fair and good.  Surprisingly, while the early stages of the picture lead one to think that this movie won't really take off until Clint gains control of the titular aircraft, it's actually the cat-and-mouse game between Eastwood and the KGB that takes place prior to the big dogfight at the end that makes Firefox worthwhile.  Now, to be fair, once the movie takes to the air, we're treated to some thrilling aerial warfare and the special effects are solid.  It's just that the intense and grim second act of the film is far more riveting and dramatic.  Eastwood directed the film with flair and while there aren't any other major stars in the mix, Firefox is loaded with potent performances.  I thought Warren Clarke was nothing short of sensational as Pavel, a gruff ally who sacrifices everything for Clint's mission even though he doesn't seem all that impressed with Clint himself.  In the end, Firefox isn't typical Eastwood fare, but he does a fine job as the lead.  I like the fact that the character he plays is engaged in a fierce battle with his inner demons as that makes him far more intriguing than most of the dependable heroes featured in similar pictures.  This may not be one of Clint's best efforts, but it's still an exciting motion picture that benefits from his charisma and his passion for filmmaking.

Final Grade: C+

Firefox is a serviceable thriller despite the fact that the events leading up to
Eastwood climbing inside the titular aircraft are far more exciting
than the big finale that ensues once he's in the cockpit.

My Sleeping Brain Writes Good Lines for Sam Elliott

There are three things that stand out about a recent dream that I had:

1) The dream was pretty damn weird.

2) While dreaming, my mind is apparently capable of writing killer lines for Sam Elliott.

3) The way my brain works, when my mind writes a killer line for Sam Elliott while I'm dreaming, this experience is potent enough to wake me up.  Whereas some people might wake in the midst of a nightmare, scared out of their minds, dreaming up good material for Sam has the same effect on me.  I was literally jolted awake.  I sat there in the darkness thinking, "Wow, that was a really good line."

So, the dream involved a woman I do not know and Sam Elliott.  These two had partnered in an attempt to operate a video rental business.  Given that my dreams tend to be rather absurd, this venture was located in a canyon and their inventory consisted of VHS tapes from the 80s.  The fact that this operation utilized VHS tapes from the 80s makes a bit more sense when you take into account that the Sam Elliot present in my dreams was also from the 80s--think The Quick and the Dead.  The canyon location is a bit more puzzling, particularly since I should probably specify that there was no structure situated within the canyon.  The VHS tapes were displayed on natural formations of rock that were roughly akin to shelves. 

Anyway, some marauding band of raiders vandalized this burgeoning enterprise one night, shooting up all the tapes.  Naturally, upon discovering this carnage the following morning, the woman and Sam Elliott were both greatly upset.  The woman was crying, lamenting the fact that they had not built a structure to house and protect their merchandise as well as her inability to find those responsible and make them pay for the damage.  Sam was equally distraught, but he was too pissed off to show it.  As he climbed atop a horse and prepared to go out looking for revenge, he said the line that I'm still stuck on.

"You're wishing you had done one thing and you're wishing you would do something else," Sam growled, yanking his six-shooter from its holster and proudly displaying it with a grin.  "Well, I'm fixing to do something--and it ain't wishing."  Then he promptly holstered his weapon and rode off, blazing a path toward a violent revenge, all while I sat up with a start, pondering my brain's ability to generate quality Sam Elliott material while I'm snoring.

If you somehow wind up in one of my dreams,
I strongly advise you NOT to fuck with Sam Elliott's VHS tapes.

Short Attention Span Review: Slow West (2015)

Some of the best movies ever made are westerns, yet that's a genre that doesn't yield many motion pictures in this day and age.  Given the short supply, the odds of landing upon a quality western has greatly decreased, but then along comes a movie like Slow West.  While both the pace and the brooding nature of this movie are staples of the genre, the humor and the keen wit that permeate the piece make it unconventional enough to emerge as a distinct creation.  It doesn't really feel like modern fare and yet it is a far cry from the type of picture that Clint Eastwood or John Wayne would have starred in despite some potent similarities.  Director John Maclean takes his time with the tale and it's hard to believe that the sometimes leisurely and wildly unpredictable journey that we're treated to is confined to a mere 84 minutes.  At the forefront of the picture are Kodi Smit-McPhee as Jay Cavendish, a curious lad who is traversing foreign soil in search of his beloved, and Michael Fassbender as the wily bounty hunter who decides to chaperone this lost cause of a human being.  The film belongs to these two actors and they both offer up stirring performances.  Even as a series of flashbacks clearly display Jay's affection for Rose Ross (Caren Pistorious), those same glimpses of his former life lead us to believe that his heart is leading him astray.  Fassbender's Silas Selleck has his reasons for leading the lovestruck young man across the country, and it becomes obvious that what he decides to do when Jay and Rose are reunited will define him as a man.  Jay and Silas cover a lot of dangerous ground and meet some interesting people, all while a band of outlaws that Silas once rode with lurk in the background.  In the bloody finale, Maclean manages to deliver several surprises, a couple of delightful sight gags, a bit of meditation on the meaning of life, and a worthy conclusion to an intriguing western that I greatly enjoyed.

Final Grade: B+

Fassbender oozes cool as a gritty survivor type who could easily be confused
with Eastwood's "Man with No Name" if he wasn't so talkative.
Well, it would also help if he could hold his liquor.  That too.

Short Attention Span Review: Broken Trail (2006)

I'm a big fan of Walter Hill's work--in fact, I think he is one of the most underrated directors of all time.  He's the man responsible for hit movies like 48 Hrs. and The Warriors, as well as unheralded gems like The Long Riders, Southern Comfort, and The Driver.  Most of his pictures (to include those set in modern times) rely on western themes and feature tough heroes and despicable villains at odds over their individual views on justice and the law.  Until recently, I had never viewed Hill's 2006 miniseries Broken Trail, which originally aired on AMC.  I'm glad I finally gave it a look--Broken Trail is an excellent western, and excellent westerns are hard to come by these days.  Robert Duvall stars alongside Thomas Haden Church and it's no surprise that Duvall excels as an ornery cowpoke with a soft and gentle side he works very hard to conceal.  Church is a bit of a revelation here, though, and that did surprise me.  Tough, brooding, and direct, it's his performance as Tom Harte that really steals the show.  The picture is built around an attempt to drive horses across the country that becomes more and more complicated as various twists of fate test our capable leads.  Broken Trail contains a few riveting setpieces, but it relies more on character development and intrigue than shootouts to tell its story, and as such it won't appeal to those who measure a good western by how many shots are fired.  There's as much time devoted to the relationships forged with a handful of Asian women who wind up under the care of our hardened cowboys as there is time devoted to their struggles with the various bad men who they encounter along the way.  Broken Trail may disappoint those looking for an action-packed jaunt through the wild west, but it will greatly please those who want to see a detailed saga about good people faced with difficult choices.  I often put Hill's work on a pedestal, and I feel that Broken Trail ranks among his very best.  In fact, it may be his most thoughtful and moving effort, and I highly recommend it to those who enjoy a rich story with a lot of scope. 

Final Grade: A

A Fistful of Satchels

I just had a chance encounter with a gritty old man who was carrying a satchel.  It was a minor incident that occurred during an otherwise mundane trip to the grocery store to get bread and milk.  No, this wasn't one of those "Oh no, it's cold outside and there may be bad weather" freakouts, this was business as usual.  We're a family of six.  We always need bread and milk.

Anyway, as I was walking through the parking lot, I passed an old man with a satchel.  He was wearing a leather jacket and he had his hair slicked back. The presence of his satchel required him to thrust his chest out and throw his shoulders back.  Sometimes you can read another person's thoughts.  This old guy was challenging the world, daring someone to say something about his satchel.  Yes, satchels have a bit of a stigma, and this dude was well aware of that, and he wasn't going to take any shit about it.  He paused long enough to regard me with a steely gaze.  Okay, that last bit was an example of poetic license--he did pause, but he had on mirrored sunglasses.  Honestly though, I'm willing to bet that there was a steely gaze beneath those sunglasses, and aren't mirrored sunglasses the eyewear equivalent of a steely gaze anyhow?  But I digress.  He studied me, his satchel at his side and his teeth clenched together.  He was going for that expression that Clint Eastwood used to make whenever he had a chance encounter with a bad guy in the saloon.  Typically, this was followed by a confrontation that ended with Clint pulling his six-shooter and shooting three or four goons in the blink of an eye.  Honestly, the old guy was doing a pretty good job with the expression, but if I'm going to be completely transparent here, the satchel did keep him from nailing it.

Regardless, he looked at me, wanting me to say something about the satchel.  "Dude, I'm wearing slippers.  Your beef's with them, not me," I wanted to say, but I didn't.  I probably should have.  It could have been the start of a truly unique conversation.  Of course, it also could have been the catalyst for a beating at the hands of a tough old man with a satchel, and you can't walk away from something like that with your pride intact.  In closing, all of this begs the question: if you get beat up by an old man, do you save face or lose face if he had a satchel that he used as a weapon?  I'm thinking that you probably lose face.  Even if he had a brick in there and he thumped you with it, it's still a satchel.

The Good, The Bad, and The Ugly

It's hard to fathom precisely what it is that makes The Good, The Bad, and The Ugly so compelling.  Surely it's a combination of many things, but is there one essential, one key to the picture's timeless success?  And if so, what would it be?  It is Leone's majesty?  The director's shot composition and pacing are damn near perfect, creating a mood and an atmosphere that is equal parts stark realism and surreal mythology.  Is it Morricone's incredible score?  Surely the music plays a critical role in the operatic nature of the piece, transforming the action playing out so leisurely before us into drama of the highest order.  Or is it that magnificent cast?  Both Eastwood and his effortless cool and Van Cleef and his deathly stare are frequently overshadowed by Wallach's fire and gusto.  Yet these three performances are interwoven to such an extent that (as the title suggests) there is no way to weigh them individually, for none of these powerful figures could be drawn so neatly without the presence of his peers in this celebrated classic.

No, it can't be that one of these ingredients rules the recipe, for what this picture represents is surely a stew, expertly seasoned, never failing to entertain not by virtue of a key component but rather because everything comes together in perfect harmony.  Some classics can't help but age; maybe they were stellar examples of quality films for their era, or perhaps some were vastly overrated to begin with.  Some, however, are cut from such a different cloth and executed to such perfection that they retain all of their glory and wonder throughout the ages.  Nearly fifty years after it revolutionized the western genre, The Good, The Bad, and The Ugly is still fresh and damn near hypnotic, drawing us in and mesmerizing us with a winding tale that never ceases to delight.  That it manages do so can't be explained simply with a nod to Leone, Morricone, or any of the gifted actors who worked wonders with a script that would have fallen flat had one of them lacked the required charisma.  Leone excels, as always, Morricone gives the picture wings, and Eastwood, Van Cleef, and Wallach shine; as a result, there can be no doubt that The Good, The Bad, and The Ugly will forever remain perhaps the finest example of what a western can aspire to be.

Sabotage

I watched Sabotage last night and I enjoyed it as much as one can enjoy such a dark piece.  It wasn't your typical Schwarzenegger thrill ride, that's for sure.  This one was seriously grim at times; the good guys were seldom that good, though the bad guys were surely that bad.  It was fast-paced, complex, and it was centered by a solid performance from Arnold, who seemed to be summoning Clint Eastwood.  There was definitely a western vibe to the picture and there were enough twists and turns to keep the audience guessing.  Sabotage is a difficult watch in many ways, but it was highly-entertaining, with a game cast and a dark heart to go along with an abundance of violence and profanity.