Movie Review: True Grit

True Grit (2010)
Starring: Hailee Steinfeld, Jeff Bridges, Matt Damon and Josh Brolin
Directed By: Joel & Ethan Coen

I've never had much interest in the Old West genre. There are, of course, a couple of exceptions (the main one being the 1989 miniseries, Lonesome Dove). I haven't read Charles Portis's novel, True Grit, nor have I seen the 1969 film adaptation starring John Wayne. I went to see the 2010 remake solely for the fact that it was directed by the Coen Brothers. I'd watch anything they directed (Fargo and No Country For Old Men are each one of the best films of the 1990s and 2000s, respectively). It goes without saying that I had high hopes for True Grit.


Fourteen-year-old Mattie Ross (Hailee Steinfeld) is on a mission to either kill or arrest Tom Chaney (Josh Brolin), the farmhand who murdered her father for $150 and a couple of gold coins back home in Arkansas. She enlists the help of Rooster Cogburn (Jeff Bridges), a gruff deputy marshal who is fond of the drink. Rooster has "true grit" a quality Mattie requires in the man she hires to go after her father's killer. Her only condition is that she be allowed to accompany Rooster on his quest for Chaney. Texas Ranger LaBoeuf (Matt Damon) is also hunting for Chaney for the murder of a senator, mainly because there is a large monetary award for the man who finds Chaney, dead or alive. Mattie, however, is adamant that Chaney should be brought to trial in Arkansas for her father's murder and not some dead senator. The unlikely threesome sets out from Fort Smith, each with their own personal motivations towards Chaney.

The Coens once again use cinematographer Roger Deakins to capture the dust and filth of life and travel in the America of the mid-1800s. Although not as visually beautiful as No Country For Old Men, Deakins and the Coens use muted colour tones and wide, panoramic shots of the land. It's visual storytelling at its finest: three characters dwarfed by both the land around them and the challenging task of bringing in Chaney.

This is probably the most un-Coen Brothers of their films. I had to keep reminding myself that it was their film. Their wicked sense of humour is absent (no scenes involving body parts protruding from wood chippers here). While there are light-hearted moments, it's obvious that the comedic scenes are lifted from the book and not from the minds of the Coens themselves. The plotting of the film is also much more concise. Not a lot of screen time is used in developing the relationships of the main characters. The reason the end result ultimately works so well is because of the performances of the three lead actors.

Bridges, fresh off his Oscar win last year for Crazy Heart, is at his finest. He's such a consistently excellent actor that he can make someone as gruff and coarse as Rooster a likeable, even sympathetic, unlikely hero. He nails both his dramatic and comedic scenes and his blossoming friendship with young Mattie is the heart and soul at the centre of the film.

Steinfeld is one of the finest young acting discoveries in recent memory. As Peter Howell said in his review of the film for the Toronto Star, "she's fourteen going on firecracker." In a role that could have easily turned into cringe-inducing precociousness in the hands of a lesser actress (or an actress who overplays her role in an attempt to be seen as "one of the grown-up" ...think Dakota Fanning), Steinfeld is a mature actress who understands her character is, ultimately, still a child. Although Mattie is well-educated and has an eviable whip-smart vocabulary, she's still a young girl with long braids mourning the death of her father. Steinfeld measures each emotion, allowing Mattie to have both "wise-beyond-her-years" moments as well as scenes where she shows Mattie's age by suddenly erupting in childish glee or wonder.

Bridges and Steinfeld are both wonderful and each has been courting (much deserved) Oscar buzz for their performances. However, upon leaving the film, it was Damon's role as LaBoeuf (pictured above left) that struck a cord. Here was a man who initially sneered at Mattie's insistence on joining in on the hunt for Chaney and who would punish her like the child she was when he felt she'd misbehaved. His derisive attitude towards her suggests the road travelling with him will likely be a long and unfortunate one for Mattie. However, the gradual friendship that grows between LaBoeuf and Mattie is almost as effective, if not moreso, than her relationship with Rooster. Mattie and LaBoeuf had to work harder for their mutual respect for one another and the chemistry between Damon and Steinfeld is palpable in every scene they share. I think I was most impressed by Damon's performance. He was playing against his usual type (no Jason Bourne-esque action sequences here) and his memorable and understated performance leaves the viewer wanting to know more about the mysterious LaBoeuf. Damon proved he is a damn fine actor, something we only previously caught glimpses of in the Bourne movies and in his underrated performance in The Talented Mr. Ripley. 


In the end, True Grit is a genuinely enjoyable film filled with great performances. Although not the Coen Brothers best effort, it's another solid piece of cinema to add to their filmography. The only two downsides to the film: (1) The concise storytelling didn't aways work in the Coen's favour as I wished we got to know at least a bit more about the three main characters and (2) the ending was so sudden and jarring to the point of being outright distracting and disappointing. The end of True Grit did not have the abrupt beauty and power of the final scene in No Country For Old Men. Instead (without giving any spoilers), it throws a bunch of information at the viewer than cues the end credits. I've always been a fan of "show, don't tell." However, if the director chooses not to let us see it (which is fine), than it would be better just to leave well enough alone (like in No Country).


FINAL GRADE: B+

Movie Review: Tron: Legacy

Tron: Legacy (2010)
Starring: Jeff Bridges, Garrett Hedlund, Olivia Wilde, James Frain and Michael Sheen
Directed By: Joseph Kosinski

I had no idea what this film was about, going into it. I was coerced into seeing it. I wanted to see The Fighter, my friends voted for Tron: Legacy. It all came down to a vote and I lost.

The film was, according to my friends, a sequel to a trippy 1982 sci-fi adventure with a 20-something Jeff Bridges. I'd never heard of it. To me, the trailer for the sequel looked like a blue-hued version of Speed Racer. And, really, who actually liked (or even saw) Speed Racer?

However, sometimes going into a film you have absolutely zero desire to see can work to your advantage. I had no preconceived notions, no expectations. I couldn't have cared less whether Tron: Legacy was a great action sequel or a complete dud. Now that I've seen the film, I realize how hard it is to review. As my sister (and countless others) pointed out, critics should not attempt to review action films. But, I'll give it a go.

The premise (and I will try my best to get all the lingo right): Sam (Garrett Hedlund) is the son of Kevin Flynn (Jeff Bridges), a "virtual world designer" who went missing more than 20 years ago. During his renewed search for his father, Sam is accidentally pulled into the same computer world as his father. Sam encounters violent Programs, a sexy sidekick named Quorra (Olivia Wilde) and an evil (and younger) digital alter-ego creation of his father named Clu. Sam, his father and Quorra race across a virtual universe (the digital world is referred to as The Grid) in order to return to the real world after defeating Clu (a creepy CGI version of Bridges).

The film, like The Grid itself, is in a state of near-constant gamer warfare. As Clu schemes to steal Flynn's memory disc (something everyone in The Grid has strapped to their backs), he stages gladiator-esque duels between Programs. Clu's intention is to abandon The Grid and travel into the real world to kick human ass, with all of Flynn's genius creations (physically) in hand. Somewhere in the last 20 years, Flynn had lost his power to Clu, who lords over The Grid like an emperor while Flynn has retreated to a temple-like abode away from all the havoc.

Everything is coloured in cold (and eerie) shades of blue, black, white and the occasional orange. The visuals and animation are all excellent. Having computer programs fight one another, with the defeated ones crumbling out of existence, makes for entertaining action sequences. I can't recall having ever seen a film where computer programs faced off against one another by throwing memory discs at each other like Frisbees. My only major qualm, in terms of animation, was the horrible CGI face on Clu. Seeing a younger version of Bridges' face on another actor's body is unnerving and ridiculously phoney looking (and, considering the whole film is essentially CGI and special effects, it should have looked more realistic).

The film is, if nothing else, pure adrenaline. Granted, the premise is a little lacking (having a son go back to rescue his father has a very "been there-done that" quality to it) but many aspects of it still work as an action-packed sci-fi adventure. The cast plays a role in helping Tron: Legacy rise above other mundane films of the genre. Bridges is a great actor and, while this is far from his best work (hearing him say lines like, "You're messing with my Zen thing, man!" made me laugh for the wrong reasons), he seemed to be having a great time and that comes across to the audience. Hedlund and Wilde, on the other hand, are charming as Sam and Quorra, but there's not much else to say beyond that fact.

Two casting choices, in particular, surprised me. James Frain (as Clu's henchman, Jarvis) and Michael Sheen (as the all-knowing Castor) are two excellent English actors who have done much better work in much better films. Seeing Frain as a bald, silver-lipped computer program and Sheen (pictured above) as an all-white merry prankster who looks (and acts) like the love-child of David Bowie and Alex DeLarge (Malcolm McDowell) from A Clockwork Orange, was bizarre, to say the least. However, Sheen comes out as the stronger of the two, stealing all of his scenes from the other actors and providing much-needed comic relief. Even in a silly sci-fi movie, he's wonderful.

In the end, my favourite aspect of the film turned out to be the soundtrack, provided entirely by the French electronic duo, Daft Punk. I'm not, by any means, familiar with their work; however, in the context of this film, their musical creations worked perfectly. It added both an ominous and rave-like quality to action sequences that were already pretty trippy to begin with.

Overall, Tron:Legacy was a lot more enjoyable than I expected it to be. Granted, I know nothing about the original film, so I can't say whether or not it was a faithful sequel. It's one of those films where you leave the theatre thinking, "that was cool" before putting it out of your mind almost instantly. A part of me had fun while the other half still wished I'd seen The Fighter instead.

FINAL GRADE: B-

Classic Film Review: The Last Picture Show (1971)

THE LAST PICTURE SHOW (1971)
DIRECTED BY: Peter Bogdanovich
STARRING: Timothy Bottoms, Jeff Bridges, Cybill Shepherd, Cloris Leachman, Ben Johnson and Ellen Burstyn


"I guess if it wasn't for Sam, I'd have missed it, whatever it is. I'd have been one of them amity types that thinks that playin' bridge is about the best thing that life has to offer." 
~Lois Farrow (Ellen Burstyn)~


There are few towns in the world that are smaller than Anarene, Texas. Set in 1952, a time of gender inequality and sexual repression, The Last Picture Show revolves around the growing pains of high school football captain, Sonny Crawford (Timothy Bottoms). Sonny is attracted to Jacy Farrow (Cybill Shepherd, in her film debut), the girlfriend of his best friend, Duane Jackson (Jeff Bridges). Though unsuccessful in most of his relationships, Sonny strikes up a spontaneous affair with the lonely wife of his football coach, Ruth Popper (Cloris Leachman). This slice-of-life film is based on the novel by Pulitzer Prize winning author, Larry McMurty, and it traces Sonny's tumultuous relationships with all of these different characters during a few short months in the town of Anarene.  


As a fan of Larry McMurtry (his Lonesome Dove being one of the greatest novels ever written), I'd been curious about this film for a few years now, however, I never got the chance to see it until recently. McMurtry, who also co-wrote the screenplay with Bogdanovich, has the ability to create wonderfully flawed human beings who lead regular, if not outright boring, lives. The things that happen to his characters are situations that could happen to anyone. McMurtry does not shy away from the prospect of his audience disliking some, if not all, of his characters at some point in the course of his novels. It's part of what makes his storytelling so compelling. The Last Picture Show is no different.


The decision to film it in black and white only serves to amplify the bleak and melancholy atmosphere that hangs over the action onscreen. The Last Picture Show is a frank look at sexuality in a small town where everyone knows each other's business. 

The performances are all subtle, understated and add to the unique qualities of its characters. As Sonny, Timothy Bottoms never fails to gain the viewers sympathy, despite his mistakes, as he moves from relationship to relationship as each one breaks down. Little is known about Sonny's past or his family life, yet Bottom manages to portray Sonny as both a confused, listless teenager and a young man slowly coming to terms with what he wants from life. It's easy to understand why he would be drawn to Ruth Popper, a woman who is more than twenty years older, yet just as lonely and longing for companionship. It's not so much sexual chemistry they share, but a mutual sadness and desire for something more than their little town can offer.


As Ruth, the unhappy wife of the town's football coach, Cloris Leachman is the standout in an already stellar cast. The winner of Best Supporting Actress for her performance, Leachman instills Ruth with the range of mixed emotions a woman in her situation would feel. She never goes over the top and gives a beautifully realized performance of a woman looking for a human connection. 


Jeff Bridges, Cybill Shepherd and Ellen Burstyn are also at the top of their game, although Ben Johnson, like Leachman, is a standout in a strong cast. The winner of Best Supporting Actor for his performance, Johnson plays Sam the Lion; Anarene's longtime resident and its heart and soul. When he gives his climactic speech to Sonny about the love he lost in his youth, you can't help but realize that he represents (and carries) the melancholy and regret of the entire town. 


The films trajectory is interesting as it matures at the same point that Sonny does. The first half is all hormonal teenage angst, before gradually gaining an almost resigned adult air. The film moves past the sexual content leaving its rash teenage notions aside for its more adult consequences. 


This bleak coming-of-age film is also a love letter to film, in general. The title refers to the small town's rapidly declining interest in film. Sam the Lion runs the Royal, the only theatre in town. However, with the advent of the television, the people of Anarene scarcely attend the Royal anymore; they have better things they could be watching in the comfort of their own home. With little profits, the theatre cannot survive. The last picture show screened at the Royal is Tom Ford's 1948 classic, Red River, with its climactic scene of hollering cowboys who are leaving town for a cattle run. Like the cowboys in the film, Sonny and Duane are moving on.


Though not a perfect film, The Last Picture Show has characters and an overall effect that lingers. Like many of McMurtry's novels, you find yourself drawn into this strange little world of quirky, isolated people without fully understanding why: you just know that you want to learn more about the people and their story.


FINAL GRADE: A