This Is a Movie Review: ‘The Hate U Give’ Confronts Racism and Police Brutality via High School Cinema

October 5, 2018

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CREDIT: Erika Doss/Twentieth Century Fox

This review was originally posted on News Cult in October 2018.

Starring: Amandla Stenberg, Regina Hall, Russell Hornsby, KJ Apa, Algee Smith, Lamar Johnson, Issa Rae, Sabrina Carpenter, Common, Anthony Mackie

Director: George Tillman Jr.

Running Time: 132 Minutes

Rating: PG-13 for Uneasy Race Relations and the Dangers of Living in a Volatile Neighborhood

Release Date: October 5, 2018 (Limited)/Expands October 12, 2018/Expands Nationwide October 19, 2018

About two-thirds of the way through The Hate U Give, Starr Carter’s father Maverick (Russell Hornsby) lines his children up on their front yard and has them recite a creed he has instilled in them since birth: “Reasons to live give reasons to die.” If you have ever worried, or experienced, how living up to your ideals can put you or your loved ones in danger, this moment is essential viewing. If you can be upstanding and strong-willed enough to avoid being taken down by scandal or shame, then you do not have to worry about too many vulnerabilities. But you can still be devastated if you have a lot of love. Maverick defiantly insists that his children make peace with that for the sake of their family, and his example is a wonderful expression of what parents should demand of their children, or indeed what everybody should demand of their fellow human beings.

This is the inflection point that brings into focus the dilemma that Starr (Amandla Stenberg) is struggling with throughout The Hate U Give. She is the only witness to her childhood friend Khalil (Algee Smith), an unarmed black teenager, being fatally gunned down by a white police officer during a routine traffic stop. She is thus Khalil’s best potential advocate for justice, but she must weigh going public with her account against the potential consequences. She risks alienation from her classmates at the predominantly white high school she attends, as well as much worse from the local drug dealer (Anthony Mackie) who would seek retribution for the wrong secrets getting out. Not to mention the moral and emotional responsibility of possibly becoming a symbol for an entire movement.

The power of The Hate U Give is in the well-realized vision of its lived-in community. Starr and her siblings are growing up in a classically American code-switching existence: living in a low-income, predominantly black community while getting educated at an upper-class, majority white school. The Carters have the means to move out of their home, but their familial and cultural connections make that decision a little complicated. Theirs is a family that has close blood relations with both police officers and career criminals in a manner that makes perfect sense.

The portrait of Starr’s high school, though, does not quite have as much depth. While the casual racism that her classmates display is believable, the white characters are not always fully fleshed out, occasionally sounding like little more than stereotypes. One partial exception is Starr’s boyfriend Chris (KJ Apa), who may say some clueless or insensitive things, but when confronted with a real crisis, he asks Starr genuinely, “How can I help?” This is absolutely no white savior narrative, but it is a story that recognizes the importance of communion and reconciliation.

The film’s title is inspired by the lyrics of 2Pac, who philosophized that communities of color were oppressed by outside institutions influencing them towards fulfilling their worst stereotypes. Ultimately, Starr realizes however that communities must heal themselves, as they are kept down not just by the hate they receive but also the hate that they self-inflect. The truest explanation is that it is really a combination of both, and while The Hate U Give attempts to end on a somewhat overly simplistic note, it does otherwise present a scenario that sincerely conveys that complication. There is hate out there, whether or not you give it or only receive it, but ultimately it is up to every individual to choose to live for love.

The Hate U Give is Recommended If You Like: John Hughes Films, Social Justice

Grade: 4 out of 5 Reasons to Live

This Is a Movie Review: ‘A Star is Born’ is Reborn Eternally

October 5, 2018

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CREDIT: Warner Bros.

This review was originally published on News Cult in October 2018.

Starring: Lady Gaga, Bradley Cooper, Andrew Dice Clay, Sam Elliott, Anthony Ramos, Dave Chappelle

Director: Bradley Cooper

Running Time: 135 Minutes

Rating: R for Mumbled Profanity, Intense Alcoholism, and a Few Intimate Moments

Release Date: October 5, 2018

Bradley Cooper’s dialogue is often difficult to understand throughout A Star is Born, and I think that is part and parcel of the sort of storytelling he is presenting here in his directorial debut. This isn’t a film that is meant to be processed perfectly concretely, in which you hang on to every last word and every frame is a piece in the puzzle. Instead, it is about the overall experience, in which you let all wash over you. Logic and slavish accounting of details are beside the point. Does it make sense that someone could so suddenly become so famous and beloved on the basis of talent alone? And how come we never know how much time has passed? These are often worthwhile questions, but A Star is Born is more concerned about emotional and aesthetic truth within its improbable framework.

This is the fourth Star is Born film, with each of them telling the story of an unknown female entertainer discovered by a famous male performer who is on a bit of a decline. In this case, country-blues-rocker Jackson Maine (Cooper) stumbles across Ally (Lady Gaga) at a drag queen bar after one of his concerts. Immediately enthralled, he brings her onstage during his show the very next night, and thus begins a massively successful career and a whirlwind romance. This edition does not introduce anything particularly groundbreaking to the Star is Born template, but it is in the retelling that it derives its power. By emerging once again into the popular consciousness, it reaches the level of myth, as the rise-fall-endure narrative is how we continue to understand and process the fame narrative.

A myth story tends to work best when it is timeless. The fact that A Star is Born is set in the present day thus makes things a little tricky. Whenever specific markers of this day and age (Ally signing to Interscope Records, Ally performing on SNL with Alec Baldwin hosting, Halsey appearing as herself as a Grammy presenter) appear, it’s a little jarring. But these moments could be even more unsettling; instead, they go along with a dreamlike quality in which everything is woven into the timeless fabric. The details could be specific, as when Ally’s first duet with Jackson goes viral and her father (Andrew Dice Clay) marvels at how many views the video has gotten online, without ever mentioning the actual number of views. But that’s the thing about a star being born: it’s not a specific number of viewers that determine it, but when enough people are watching, you can feel that the birth has happened.

A Star is Born is Recommended If You Like: Creation and Rebirth myths, Lady Gaga as person and entertainer, Actors really flexing their directorial muscles

Grade: 3.5 out of 5 Discoveries

 

This Is a Movie Review: ‘Smallfoot’ is a Bighearted, Non-Abominable Delight

September 28, 2018

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CREDIT: Warner Bros. Animation

This review was originally publshed on News Cult in September 2018.

Starring: Channing Tatum, James Corden, Zendaya, Common, LeBron James, Gina Rodriguez, Danny DeVito, Yara Shahidi

Director: Karey Kirkpatrick

Running Time: 96 Minutes

Rating: PG for Falling Thousands of Feet with Few Lasting Consequences

Release Date: September 28, 2018

A surefire formula in storytelling is the whole ol’ switcheroo. Taking a timeworn trope and turning its perspective inside out has proven to be valuable on many occasions. Smallfoot runs with that idea, getting a lot of mileage out of reversing its approach to a common myth. It does not just presuppose a world in which Yeti do exist, but one in which there is an entire race of them with their own advanced society. Furthermore, to the Yeti, the existence of humans is the stuff of legends, thus the moniker of the mythical “Smallfoot.” It’s not the most profound premise, but it’s delightful enough to tickle those in the mood for wonder.

It all comes down to, as so many of these animated jaunts do, an interspecies friendship. Migo (Channing Tatum) is a Yeti on the verge of taking on some adult Yeti responsibility when his world rocked by the appearance of a creature with a less-than-gigantic footprint. He proceeds to venture down below the clouds to find the truth behind this encounter, which is when his path crosses with Percy Patterson (James Corden), a nature TV host desperate to restore his popularity. Both man and beast can speak intelligently, but Migo’s words sound like growls to Percy, and Percy’s sound like squeaks to Migo. Yet somehow a connection is forged, and the repartee is quite charming from Tatum and Corden, as well as Zendaya as a fellow Yeti who is especially enthusiastic about the existence of Smallfoots. Providing the ominous (but also unnervingly wise) counterpoint is Common as the Stonekeeper, a Yeti elder who knows the reality of Yeti-human history but propagates an elaborate mythology designed to prevent the truth from being exposed.

As you might guess based on its genre and some of its cast members, Smallfoot is a musical, which I found to be a tad exhausting. To be fair, that is my typical reaction to musicals, what with their inherently overly dramatic manipulation of emotions, and Smallfoot‘s songs do not do much to change my mind. But there is one number rapped by Common that wonderfully reveals the foundation of Yeti society and serves as the crux of the film. The tension driving the best moments of Smallfoot are all about being lost (or not quite lost) in translation. The fear and anticipation mixed up by this inherent confusion leads to a bunch of hijinks and a lot of intrigue and ultimately an attempt at peace and integration that offers hope that this motley world can make it with all of its mixed-up parts working together.

Smallfoot is Recommended If You Like: The search for Bigfoot and the Abominable Snowman, Happy Feet, Storks

Grade: 3 out of 5 Footprints

This Is a Movie Review: ‘Monsters and Men’ Knows How to Recreate a Tough Reality, But It’s a Little Undercooked

September 27, 2018

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CREDIT: NEON

This review was originally posted on News Cult in September 2018.

Starring: John David Washington, Anthony Ramos, Kelvin Harrison Jr.

Director: Reinaldo Marcus Green

Running Time: 95 Minutes

Rating: R for Language, But Nothing Particularly Explicit Given the Subject Matter

Release Date: September 28, 2018 (Limited)

Monsters and Men, which details the fallout of a police officer fatally shooting an unarmed black man in Brooklyn, is emblematic of a certain strain of realistic film that leaves you hanging but justifies its anticlimax by ensuring verisimilitude. While its lack of a firm ending – or even a firm thesis statement – may be true to life, it is not exactly a formula for great cinema. It is respectable enough and hard to get angry at, but it is entirely legitimate if, as a filmgoer, you would prefer more satisfaction. A happy ending is not necessarily what we’re looking for here, but a firmer political stance or a clearer artistic point of view would have been beneficial.

The action is divided into three vignettes centered around three young men of color in Brooklyn’s Bed-Stuy neighborhood. There’s Manny (Anthony Ramos), the boy who recorded the shooting on his phone and struggles with the potential consequences of releasing the footage; Dennis (John David Washington), a black police officer who explains the racism he has experienced to his colleagues and the officer’s perspective to his friends and relatives; and Zyrick (Kelvin Harrison Jr.), a high school baseball star being courted by the major leagues who feels drawn to activism despite his father’s fears for his safety.

Manny and Zyrick’s dilemmas are compelling but ultimately thinly sketched. Dennis’ predicament, however, could have been meaty enough to build an entire film around. Washington has already played another code-switching cop this year in the much rowdier and more effective BlacKkKlansman. That film, in attempting to explain how a black man could justify a job in law enforcement, had the benefit of digesting the past, noting for one thing the significance of breaking racial barriers. Explaining this dilemma in 2018 may be an even thornier issue; it’s a topic worth tackling by a bold film, but Monsters and Men isn’t quite bold enough.

Monsters and Men is Recommended If You Like: The long journey of racial equality, Slice-of-life short stories

Grade: 3 out of 5 Dilemmas

This Is a Movie Review: ‘Fahrenheit 11/9’ is Most Valuable When Michael Moore Cedes the Spotlight

September 21, 2018

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CREDIT: State Run Films/Briarcliff Entertainment

This review was originally posted on News Cult in September 2018.

Starring: Michael Moore, Donald Trump, Rick Snyder

Director: Michael Moore

Running Time: 120 Minutes

Rating: R for Gross Insinuations About the State of the Nation

Release Date: September 21, 2018

Michael Moore is incorrigible, but as Fahrenheit 11/9 demonstrates, he has actually mellowed a bit. Or maybe it just seems that way because the political status quo has shot way past his default incendiary mode. His starting point is the election of Donald Trump as the 45th United States president, with Moore intoning, “Was it all a dream?” The initial moments recapping election night then play out like sports highlights that will have certain viewers entertaining the possibility that there could somehow be a different outcome this time. Moore, unsurprisingly, has no interest in treating Trump as legitimate in any way, and he gives into his corniest impulses in the opening section, overlaying opera numbers over footage of Trump’s campaign events and election celebration.

But the real subject of this documentary is not Trump so much as it is America in the wake of its current leader’s rise and reign. The moments that resonate the strongest come when Moore cedes the spotlights to the people he is championing, i.e., the rising voices in a leftist populist uprising. This includes first-time Democratic Congressional candidates fighting back against a rigid party machine, folks like New York’s 28-year-old Alexandria Ocasio-Cortez, West Virginia’s defiantly blue collar Richard Ojeda, and Michigan’s Rashida Tlaib (who could become the first Muslim elected to Congress).  Also spotlighted are the Parkland student gun control activists (whose efforts have already resulted in real electoral results) and striking public school teachers in West Virginia and throughout the country, who have defied threats of retribution, including potential imprisonment.

A huge chunk is devoted to the water crisis in Moore’s native Flint, Michigan. There is frankly enough material here for a separate, entirely Flint-focused doc. Despite public assurances to the contrary, health experts are still warning that the city’s drinking supply is poisoned with lead, but their concerns have been hidden by a massive cover-up. Moore makes no bones about his belief that Michigan Governor Rick Snyder deserves criminal consequences for this scandal, and in the film’s most memorable stunt, he shows up to the governor’s residence to attempt to carry out a citizen’s arrest. Moore’s ire is also directed at the Democratic establishment, and we see the most damning example of that in the Flint segment, when President Obama makes a much-maligned, devastatingly gimmicky appearance to assuage concerns about the water crisis. Here we see laid bare the limits of hope that alienated a good portion of the country in the past decade.

Moore concludes everything by comparing Trump’s fascistic tendencies to the rise of Hitler in 1930s Germany. The parallels are viscerally frightening: scapegoating of ethnic groups, bullying of the media, condemnation of athletes for their lack of loyalty, etc. It’s hard to argue with the case that Moore is making here, but he does hit the apocalyptic button a little too hard. If he wants people to take action upon seeing this film – and I believe he does – then it’s better to end on a note of actionable hope than one of hopeless devastation.

Fahrenheit 11/9 is Recommended If You Like: Michael Moore’s Filmography, Leftist populism, Labor unions

Grade: 3 out of 5 Political Rookies

This Is a Movie Review: There Are Spurts of Cinematic Magic Within ‘The House with a Clock in Its Walls’

September 21, 2018

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CREDIT: Quantrell D. Colbert/Copyright: © 2018 Universal Pictures and Amblin Entertainment

This review was originally posted on News Cult in September 2018.

Starring: Jack Black, Cate Blanchett, Owen Vaccaro, Kyle MacLachlan, Renée Elise Goldberry, Sunny Suljic, Lorenza Izzo, Colleen Camp

Director: Eli Roth

Running Time: 105 Minutes

Rating: PG for Children in Danger and Creepy, Occasionally Macabre, Magic

Release Date: September 21, 2018

Despite some spirited performances and thorough production design and effects work, The House with a Clock in Its Walls ultimately feels rather perfunctory. But would I have this way if I saw it for the first time when I was eight years old, or would I have instead been truly excited? And as a PG-rated fantasy flick, perhaps we should primarily be asking what pre-teens will think about it. But maybe we should also be asking if it is good enough for them to continue to cherish it (beyond nostalgia value) as they grow older.

There is definitely plenty in here for kids to identify or empathize with, as recently orphaned 10-year-old Lewis (Owen Vaccaro) makes his way to his uncle’s house in New Zebedee, Michigan. Any youngsters who have ever struggled to fit in – whether because of a new school, a weird new home, cruel classmates, or whatever else – will be able to see themselves in Lewis, and that shouldn’t be discounted. But beyond his fashion signature of goggles based on his favorite sci-fi TV show, he doesn’t have the most memorable personality.

Luckily, the adults around Lewis do make more of a lasting impact. Jack Black leans into his bumbling side as Uncle Jonathan, a warlock who constantly downplays his own abilities, perhaps to his detriment. His neighbor Florence (Cate Blanchett) is a much more regal magical presence. Black and Blanchett have decent platonic chemistry, with their insistence that they are nothing more than friends never undercut by their repartee. As Jonathan’s sinister former partner Isaac, Kyle MacLachlan displays plenty of charisma despite working under mounds of makeup. And the house itself, in which the furniture acts like a pack of friendly dogs, is fun enough, with director Eli Roth demonstrating his knack for rendering fully realized, character-rich settings (but obviously more kid-friendly than what we’re used to from him). But at the end, you’re liable to be left thinking, “Welp, that all happened.” The stakes are apocalyptic, but they never feel that dire. Lewis saves the day, and that’s nice and all, but there could have been more zip and zaniness.

The House with a Clock in Its Walls is Recommended If You Like: The Pagemaster, Bedknobs and Broomsticks, The NeverEnding Story

Grade: 2.5 out of 5 Magic Keys

This Is a Movie Review: ‘Life Itself’ Has a Few Too Many Twists and Way Too Many Tragedies

September 19, 2018

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CREDIT: Jose Haro/Amazon Studios

This review was originally posted on News Cult in September 2018.

Starring: Oscar Issac, Olivia Wilde, Mandy Patinkin, Olivia Cooke, Laia Costa, Annette Bening, Antonio Banderas, Alex Monner, Jean Smart, Sergio Peris-Mencheta, Lorenza Izzo, Samuel L. Jackson

Director: Dan Fogelman

Running Time: 117 Minutes

Rating: R for Violent Accidents and Millennial Hipster Profanity

Release Date: September 21, 2018

Thanks to Crazy, Stupid, Love. (which he scripted) and This Is Us (which he created), Life Itself writer/director Dan Fogelman is now as synonymous with the game-changing twist as M. Night Shyamalan. He’s due for a backlash, and Life Itself is the perfect specimen to engender that anger. The film itself is not so much about the twist itself so much as it is about the entire concept of twists. Fogelman withholds essential information that prevents us from knowing until he wants us to know how various generations of people are related by coincidence or even closer connections. But he constantly shows his hand, or at least part of his hand, to let us know that a reveal is coming. In fact, this is all kind of a deconstruction about how we tell stories and save twists for maximum impact. I actually believe that such a theory-heavy idea could work, but the product we have here is filled with characters and events that are just exhausting.

The action is split by time and the Atlantic Ocean. In New York City, we’ve got Will (Oscar Isaac) and Abby (Olivia Wilde), a mostly happy couple who might have some insidious relationship issues lurking. Meanwhile, over in Spain, Javier (Sergio Peris-Mencheta) works the field and romances the waitress Isabel (Laia Costa). Along the way, we meet some of their parents, children, and employers. We immediately know how some of them are connected, while we then watch the other puzzle pieces come together in non-linear fashion to discover the rest of the connections. There could be a satisfying thrill to how the final twist weaves everyone together, but instead it is just exhausting, as all the misfortunes that these characters endure and the bad decisions that they make make for an excess of tragedy that is too much for any audience to bear.

Still, the ultimate lesson that Fogelman wants to convey is worth listening to and following: no matter what our history, no matter how much life has brought us to our knees, there is still a future worth pursuing. Life Itself does not need to be as excruciating as it is to make that point, but it is a valuable point nonetheless. And despite my misgivings, I still found this film oddly compelling, although that could just be because I like keeping track of how people are related to each other. Ultimately, I wish Fogelman had done more with the concept of playing around with the unreliable narrator, which he is clearly enamored with but ultimately a little tepid in how he examines it. It actually starts off promisingly, as the initial narrator shows up in person as himself to basically say, “Hey look, I’m really here!” But afterwards it’s pretty straightforward, but if that adventurous spirit had hung around, Life Itself coulda been something.

Life Itself is Recommended If You Like: This Is Us at its most emotionally manipulative

Grade: 2 out of 5 Unreliable Narrators

This Is a Movie Review: A Hacker Spurs a Town Into Nightmarish Vengeance in the Uncompromising ‘Assassination Nation’

September 19, 2018

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CREDIT: NEON

This review was originally posted on News Cult in September 2018.

Starring: Odessa Young, Suki Waterhouse, Hari Nef, Abra, Joel McHale, Bella Thorne, Bill Skarsgård

Director: Sam Levinson

Running Time: 110 Minutes

Rating: R for Very Bloody Violence, Scandalously Lascivious Behavior, and Casual Drug Use and Profanity

Release Date: September 21, 2018 (Limited)

Assassination Nation paints the picture of what might happen if online rage riots coalesced beyond the screens. A hacker who goes by “Er0str4tus” dumps the personal files of the Salem, Massachusetts mayor, exposing him for the hypocrisy of running as a family values, anti-LGBTQ candidate while he gets up to lascivious behavior with other men. The moral calculus is a lot harder to square when the next data dump victim is the local high school principal, who gets labelled an abuser for having nude photos of his young daughter in the bath. He (justifiably) insists that he has done nothing wrong and refuses to resign, further inciting the mob that the entire town is becoming.

We see the consequences of the hacking play out through the lens of the high school, particularly four tight-knit friends: Lily (Odessa Young), Sarah (Suki Waterhouse), Bex (Hari Nef), and Em (Abra). They all demonstrate their bona fides when it comes to having a social conscience, Lily especially so. She is wise beyond her years, but angry in a way that belies her youth. She has insightful thoughts about feminism, the male gaze, and just generally treating people with respect. Whenever someone is the target of rage, she considers them fairly and compassionately, recognizing that everyone is a person and contains multitudes. But she is far from perfect, as she is carrying on a rather sleazy emotional affair with her neighbor Nick (Joel McHale), the father of a girl she used to babysit.

When Lily’s secrets are exposed and evidence suggests that she might be behind the hack, she and her friends become the target of the town’s unhinged id, as a full-fledged vengeance-seeking posse takes bloody devastating form. Plenty of women have been threatened with rape and murder for the mistakes that Lily has made (or even milder sins), and the climax of Assassination Nation illustrates how terrifying it would be if a mob of people made good on those promises. While she has transgressed, it is nothing to be killed over, and her attackers correspondingly look insane and inhuman. Ultimately, Lily and her friends are able to fight back in some stylish red leather outfits. It might strain a little credulity that they are suddenly so capable in guerrilla combat, but this film is more feverish than believable, and besides, they have the power of righteousness on their side.

Assassination Nation is Recommended If You Like: The Purge, ’80s John Carpenter, American Horror Story: Cult, South Park Season 20

Grade: 4 out of 5 Red Leather Jackets

This Is a Movie Review: ‘Love, Gilda’ is a Personal Gift to All Fans of Gilda Radner

September 18, 2018

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CREDIT: Magnolia Pictures

This review was originally posted on News Cult in September 2018.

Starring: Gilda Radner

Director: Lisa Dapolito

Running Time: 88 Minutes

Rating: Unrated, But Basically PG-13 Territory for an Honest Examination of a Showbiz Life

Release Date: September 21, 2018 (Limited)

Love, Gilda is not the most formally inventive documentary, but do you need to break the mold when the subject is this delightful? Gilda Radner, one of SNL‘s original Not Ready for Prime Time Players, has been an inspiration to a generation (or two) of comedians who have followed, a source of pleasure to anyone who has seen her perform, and a dear friend to anyone who spent quality time with her. As long as a biographical doc can capture her spirit, it ought to be considered a success. And Lisa Dapolito’s Love, Gilda certainly meets that necessary criterion.

The formula is typical showbiz bio-doc fare, with a few unique flourishes. You’ve got your chronological timeline, starting with the home movies from childhood, moving on to the rarely seen early performance footage, and then clips from some of the most beloved credits. Interspersed are interviews with relatives, friends, collaborators, and admirers. Recent and current SNL performers like Amy Poehler and Bill Hader are given the special treat of flipping through Gilda’s personal journals. That strong sense of intimacy is present throughout the film. All biographical documentaries are by their nature intimate, but Love, Gilda is a special instance that is particularly self-aware about it. We don’t just get to learn that Gilda was put on diet pills at age 10, and discover the details of her romances, and get to see footage of her at home and in the hospital from when she was dying of ovarian cancer. We also get to hear her recite her most personal notes as we learn how important it was to her to share everything she had with the world. Gilda Radner was one of those people who tried to make this Earth a happier place, and now we have recorded evidence of her efforts assembled into a package that is sure to make plenty of people happy.

Love, Gilda is Recommended If You Like: Gilda Radner, of course

Grade: 3.5 out of 5 Personal Journals

This Is a Movie Review: ‘The Sisters Brothers’ is the Ultimately Charming Tale of Two Fraternal Wild West Hitmen

September 17, 2018

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CREDIT: Magali Bragard/Annapurna Pictures

This review was originally posted on News Cult in September 2018.

Starring: John C. Reilly, Joaquin Phoenix, Jake Gyllenhaal, Riz Ahmed

Director: Jacques Audiard

Running Time: 121 Minutes

Rating: R for Wild West Gunfire, Saloon-Based Vices, and the Aftereffects of a Spider Crawling Into Someone’s Mouth

Release Date: September 21, 2018 (Limited)

John C. Reilly and Joaquin Phoenix have teamed up as a couple of brothers whose last name is “Sisters.” Reilly is Eli and Phoenix is Charlie. They’re killers-for-hire out on the frontier in the middle of the 19th century, but eliminating their marks just is not their preferred way of spending their time, plain and simple. Charlie is too busy drinking and whoring, while Eli has too much of a conscience to last too long in this business (and honestly so does Charlie). There are plenty of people who don’t like their jobs, and plenty of movies about that predicament. Certainly, “the hitman who wants to get out of the game” is a tried-and-true trope. But this is different from your John Wick‘s or your Sexy Beast‘s. Eli and Charlie aren’t hard-bitten, they’re just tired and would prefer to find something to be happy about.

The Sisters’ target is Hermann Kermit Warm (Riz Ahmed), a chemist who has devised a new method for discovering gold. It seems a little fantastical in theory, but Warm sounds like he knows what he is talking about. So when Eli and Charlie catch up to him, they decide they would much rather collaborate than kill. Same goes for Detective John Morris (Jake Gyllenhaal), who was supposed to be aiding the Sisters in this assignment but instead becomes drawn into Warm’s machinations. (This team-up is miles away from Gyllenhaal and Ahmed’s partnership in Nightcrawler, with the two giving performances that barely share any DNA with those earlier roles.) It’s heartening watching this quartet work together, for while riches do play a motivating factor, they are really more after a more general sense of fulfillment. The menace of the boss coming to collect is always lurking, but the moments of finding a mutual understanding (along with Alexandre Desplat’s surprisingly jazzy score) are enough to convince you to focus on life’s pleasures where you can find them.

The Sisters Brothers is Recommended If You Like: Butch Cassidy and the Sundance Kid, John C. Reilly and Joaquin Phoenix When They’re a Little (But Not Completely) Goofy

Grade: 3.5 out of 5 Gold Sifters

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