The Old Man & The Gun (12A)
Judgment: Whimsically fascinating
Robert Redford gives what he has said, his farewell camera performance in the Old Man & The Gun, before he shuffles, or at least walks with the deliberate but rather stiff course of the coder he is now inevitable, retiring.
It seems that the big man, now 82, might return to his plans to stop acting.
But this is the perfect film for his swan song, as it turns out to be swansong, not in the last place because 50 years have passed, give or take, because he played his most famous title role.
He was then a "Kid", albeit a mustachioed, and now he is the titular old man. But not everything has changed.
Just like in Butch Cassidy And The Sundance Kid, the tool of his profession is a gun again, and he keeps his banks again.
Robert Redford, now 82, gives what he said his farewell camera performance in the Old Man & The Gun
The film by writer-director David Lowery talks rather loosely the true story of Forrest Tucker (Redford), a lifelong villain who in his teens began to rob banks and could not stop. He remained caught and sentenced and continued to escape.
In total he escaped 18 times. We see these prison breaks in a fleeting but joyful montage of flashbacks, allowing Lowery to use a clip of the youthful, impossibly beautiful Redford in The Chase (1966), even before his name became an abbreviation for male pulchritude worldwide.
If you are as old as I am, you remember those exchanges at bus stops and laundries in the 1970s and well into the 1980s, before anyone had ever heard of George Clooney or Brad Pitt.
"Hey, Sharon, what does the new boyfriend of Janice look like? & # 39;
"Well, he is not exactly Robert Redford."
This is partly why The Old Man & The Gun, with its soft jazz soundtrack, is about as elegant as a portrait of a hardened criminal might be.
It not only reminds Forrest (who died in 2004 at the age of 83), but also Redford
When Forrest tells his aging girlfriend, played by Sissy Spacek, that he has never ridden a horse in his life, we know that he is fiddling, that here is a man who is practically born in the saddle.
Very consciously there is more than one touch of the Sundance Kid in this old villain, who does not need the money from all the banks he robs (very politely), he only needs the spades.
I'm not talking about earning money, & # 39; he says. I'm just talking about life. & # 39;
Famous for his role in Butch Cassidy And The Sundance Kid, Redford is now the titular old man. But not everything has changed
He does not do it all alone. He has a pair of equally over-accomplished accomplices, neatly played by Danny Glover and Tom Waits, and a stubborn agent (Casey Affleck) at his tail. Again, the parallels with George Roy Hill's 1969 classic are hardly hidden.
The trio of bank robbers will be the "over-the-hill hallway". called almost as if the Butch gang had secured itself until they were old and wrinkled.
And what is Forrest's disguise as he strolls at unsuspecting bank managers and slowly opens his coat to show them (but, more importantly, us) his gun? Well, of course a permanent Sundance mustache.
The Old Man & The Gun is not a thriller. It is not really a robbery film, despite the number of robberies.
And it is not really a caper film, although there is a soft undercurrent of comedy.
It is more of a romance, both in the obvious sense – while Forrest courtesy of the character of Spacek, the elegant jewel, marveling – and in a more crooked way, in the sense that it invites us to fall for a career criminal whose friendly style does not blind us to the terror he causes in those whom he threatens to shoot in a charming way if they do not give up the loot. And yet we fall.
Forrest, played by Redford, politely casts Sissy Spacek's character into the film, the elegant jewel
The story begins in 1981. During a quick chase after his last strike, Forrest retreats to help a woman in a broken car.
This is Jewel, who unintentionally offers him cover while the police cars are passing by.
They radiate each other out and the gentle chemistry that fizzles between Redford and Spacek in this film is one of his greatest dignity.
Lowery knows it, allowing his camera to linger on their twinkly-eyed banter for as long as he dares.
The inborn dishonesty of Forrest also extends to Jewel. He tells her a series of lies, of which she believes, and one truth – that he robs banks – which she rejects.
She is deceived by him, but we do not regard her as one of his other victims, because Spacek does not act as a dupe to her, but as a woman of strength and content. It is a beautiful version.
Affleck is also great as a detective, John Hunt, who sees it as a personal insult that one of Forrest's subdued raids took place right under his nose, yet admires his quarry for the unique way he does his business.
Lowery shows us a bit about Hunt's domestic life, because he actually makes three separate stories, which occasionally come together – that of the obsessed agent, of a twilight romance and of the robbery of the bank.
It is a whimsical film, which will probably never become a classic, but written and directed with a huge lightness of touch and sufficient accuracy to keep it for 93 minutes.
The most recent photo of Lowery, the acclaimed A Ghost Story from last year, was also short. How refreshing to find a filmmaker who knows how to tell a story.
Of course it helps a leading man as naturally laconic as Redford has always been.
It is not a reflection on his acting ability that, while Spacek and Affleck are enveloped by their characters, he and Forrest Tucker are always together in one way or another. The old man and the icon.
If these are really curtains, this is a great way to bend.
THIS SMOOTH OPERATOR WILL BRING A SMILE TO YOUR DIAL
Sorry to disturb you (15)
Pronunciation: Zany, energetic, mind-boggling satire
Boots Riley's feature debut is a wild satire set in Oakland, California, which pursues a broad goal – not so much spreading as blunderbuss – in terms of race, class, capitalism and much more.
It starts promising and becomes a little incoherent, but the least you can say about it is that it has no shortage of ideas.
Boots Riley & # 39; s feature debut is a wild satire set in Oakland, California with young African-American Cassius Green as the hero
Our hero is the young Afro-American Cassius Green (Lakeith Stanfield), better known as Cash.
He struggles in a new job in telesales until the old man in the cubicle next to him (Danny Glover) advises him to use & # 39; white & # 39; to talk. Suddenly he makes sales after sales and gets a series of lavish promotions.
This brings him up to date with a slick tycoon called Steve Lift (Armie Hammer), which is a sinister lifestyle & # 39; corporation, called WorryFree.
In fact, Cash has enough to worry about, because his rise of the business ladder has alienated him from his beloved (Tessa Thompson) and many friends.
Made for a relative pittance, Sorry To Bother You is already a modest commercial hit in the United States and is praised by some critics as a comic masterpiece.
It is very far from that unless you find your comedy amazingly meaningless. Sometimes it loses the plot both figuratively and literally. Nevertheless, it has heart and energy and laughs.
HE GOTS THE WALK … BUT RICK STILL A PAIR OF TRICKS
White boy Rick (15)
Verdict: Inadequate crime drama
The French director Yann Demange has admitted that, in many ways, I have bitten more than I can chew & # 39; in making White Boy Rick, the true story of a teenage criminal who became an FBI informant in crime-ridden Eighties Detroit.
Unfortunately, it shows. Demange is a talented filmmaker whose nail worker & # 39; 71 is still one of the most moving thrillers ever made on The Troubles in Northern Ireland.
But White Boy Rick, ruthlessly hard as it tries to pull our emotions, and despite that Matthew McConaughey gives his all as one of those shady but benevolent losers he is so good at, never completely succeeds.
The French director Yann Demange has admitted that, in many ways, I have more bite than I can chew & # 39; when making White Boy Rick
McConaughey plays Rick Wershe Snr, an arms dealer whose idea of healthy parenting is to give his son, also Rick (Richie Merritt), a good basis when buying and photographing modified AK47 guns.
Young Rick's crack-addicted sister, Dawn (the English actress Bel Powley, in a role somewhat removed from her haughty Princess Margaret in the A Royal Night Out 2015), is less charmed by their father. She hates him.
That is the homely background, while young Rick is inexorably sucked into Detroit's dangerous gang culture.
He walks the walk, talks the talk and carries the necessary horrible gold jewelry.
But, unusually, he is not African-American, hence the nickname. It is also why the FBI steps on him as a potential informant.
The story is occasionally unveiled in the mid-1980s and is never less than viewable, mainly thanks to a handful of truly engaging supportive acts, from McConaughey, Powley, Jennifer Jason Leigh as an FBI agent and veterans Piper Laurie and Bruce Dern as Rick's bewildered grandparents, with a lot to be baffled about.
Unfortunately Merritt is strangely enough in the title role. With a more charismatic lead performance, Demange may have found more joy to let us root for a young man who eventually becomes predictably a huge cropper.
As it is, he seems to get quite what he deserves.