Tommy Lee Jones in ‘The Homesman’ (Roadside Attractions)
In the quasi-Western The Homesman, Tommy Lee Jones plays a claims-jumper in 1850s Nebraska who gets roped into helping a tough-minded spinster (Hilary Swank) cart three insane women to safety in Iowa. Jones, who looks less and less comfortable in modern garb these days, also directed and co-wrote the screenplay.
The Homesman opens this week. My review is at Film Journal International:
“I live uncommonly alone,” says Mary Bee Cuddy (Hilary Swank) in Tommy Lee Jones’ adaptation of Glendon Swarthout’s novel about a raw frontier where solitude and madness are constant companions. The Homesman tries to cut a mordant, witty Coen Brothers line between tragedy and comedy and can’t quite manage either. More particularly, it never knows quite what to make of Cuddy, who is at once valorized as a heroically staunch figure and at the same time mocked for her stiff manner and panicky ways…
Here’s the trailer:
Schultz (Christoph Waltz) and Django (Jamie Foxx) get ready to dispense justice and bon mots aplenty
Quentin Tarantino’s Christmas 2012 genre mashup bloodbath Django Unchained gets released on DVD and Blu-ray today. It’s no classic by any measure (that writing Oscar wasn’t exactly earned), but at least half of it is better than just about anything else out there right now.
My original review ran at Film Journal International:
Tarantino works fast in these early sections, delivering several loose riffs on typical western showdowns and balancing them out with a couple of comic scenes that land in a pleasing middle somewhere between Blazing Saddles and (particularly in a “Who’s on first?”-type routine with a masked lynch mob hunting Django and Schultz) O Brother, Where Art Thou? A high point of bafflingly hilarious absurdity comes when Don Johnson appears as a plantation owner given to Colonel Sanders suits and prolix verbosity. The humor plays well throughout (Django even gets a catch-phrase: “The ‘D’ is silent”) but at the disadvantage of dulling the edge of the script’s visceral portrayal of the savagery of slavery—a problem that gets more pronounced by the film’s gory climax…
Here’s the trailer:
In the history of legendary cinematic disasters, there are flops and then there is Heaven’s Gate:
In his interview on the Criterion Collection release of the 1980 Michael Cimino film Heaven’s Gate, a craggy-looking Kris Kristofferson makes a strong appeal for the roundly maligned Western as being a potent work of political cinema. Kristofferson sticks up for Cimino’s indictment of Manifest Destiny and robber baron greed at the end of the 19th century. Of course, he did star in the thing. But still, this is the iconoclast’s take, and an unpopular coming after more than two decades of popular film history telling us that not only was Heaven’s Gate one of the greatest disasters in film history (it took in less than ten percent of the $40 million budget at the box office) but that it single-handedly ended the free-wheeling era of American filmmaking…
The Criterion Collection now offers Heaven’s Gate on DVD and Blu-ray, with plenty of the usual extras. My full review of the DVD edition is at PopMatters.
You can see the trailer for the original film release here: