Movie Review ~ The Old Man & the Gun

The Facts

Synopsis: Based on the true story of Forrest Tucker and his audacious escape from San Quentin at the age of 70 to an unprecedented string of heists that confounded authorities and enchanted the public.

Stars: Robert Redford, Casey R, Sissy Spacek, Danny Glover, Tika Sumpter, Tom Waits, Elisabeth Moss

Director: David Lowery

Rated: PG-13

Running Length: 93 minutes

TMMM Score: (8/10)

Review: Hollywood legend Robert Redford has decided to call it quits (at least in the acting department) so The Old Man & the Gun can safely be considered his silver screen swan song.  And what a way to go.  Redford (The Company You Keep) stars as Forrest Tucker, a career criminal working with two other men (Danny Glover and Tom Waits) responsible for a series of bank robberies.  When he wasn’t breaking out of prison he was eluding the authorities, all while keeping much of his personal life a secret.  We meet up with Tucker in his later years as his bank robbing days are drawing to a close and he’s contemplating hanging it all up for good.  Helping him with this decision is a burgeoning romance with Jewel (Sissy Spacek, Carrie) who presents an alternative future for him that doesn’t have to involve constantly being on the run from the law.

Casey Affleck (The Finest Hours) is the police detective assigned to the case and we get a peek into his life at home as well, a nice benefit audiences usually aren’t afforded in these quiet types of movies.  Usually, if the family of a police officer is featured prominently in a movie it means they are in some sort of danger down the road but writer-director David Lowrey (A Ghost Story, Pete’s Dragon) has them in the picture to help give Affleck’s character the same depth afforded to Redford’s.

Redford skated so close to an Oscar nomination for All is Lost several years back and it’s looking likely he’ll miss the cut again this year.  His work is so good in The Old Man & the Gun that it would be a shame for it to go unnoticed because the film and the actor have quite a spring in their step.

31 Days to Scare ~ Castle Rock (Teaser)

Synopsis: Based on the stories of Stephen King, the series will intertwine characters and themes from the fictional town of Castle Rock.

Release Date: TBA 2018

Thoughts: Ever since the first announcement for Castle Rock was released in February 2017 the entire production has been shrouded in mystery.  From J.J. Abrams (Star Wars: The Force Awakens and known to be a producer with a Midas touch) and author Stephen King (Gerald’s Game), this Hulu series teased intertwining tales that took characters/events/ideas from King’s canon and gave them new life as residents of Castle Rock, Maine.  Any King fan will tell you the fictional town plays a part in nearly every one of his novels and I’m downright fascinated to see what they’ve come up with.  Boasting solid stars like Sissy Spacek (Carrie), Terry O’Quinn (The Stepfather), Scott Glenn (The Bourne Legacy) along with rising names like Jane Levy (Don’t Breathe), André Holland (Selma), and Bill Skarsgård (IT), this feels like it’s either going to be right on the money or all smoke and no fire.  After this first full trailer, I smell payola for all involved.

31 Days to Scare ~ Carrie (1976)



The Facts:

Synopsis: A young, abused and timid 17-year-old girl discovers she has telekinesis, and gets pushed to the limit on the night of her school’s prom by a humiliating prank.

Stars: Sissy Spacek, Piper Laurie, Amy Irving, John Travolta, Betty Buckley, Nancy Allen, P.J. Soles

Director: Brian De Palma

Rated: R

Running Length: 98 minutes

TMMM Score: (8/10)

Original Release Date: November 3, 1976

Review: Carrie is one of those movies I think I’ve seen a whole lot more than I actually have. I know it’s on TV a lot and I’ve even started watching it on BluRay a few times only to get distracted fifteen minutes in, never to return. So when my scaredey-cat companion agreed to let me tutor him in the ways of horror I decided that Carrie was a good place to start. After all, though the film rests on the horror shelf in between Cabin in the Woods and The Changeling, it’s not your typical exploitation/slasher effort.

Watched as the second film of a prom themed evening (the first being, naturally, Prom Night which liberally borrows a few characters/scenes from Carrie) I finally saw the whole film again and was impressed that it’s held up so well almost 40 years after it was first released. Maybe that’s because the central theme of alienation still has an impact in this day and age of cyber bullying and everyone’s base desire to fit in with their peers.

Also, it’s damn frightening. Director Brian De Palma (Passion) was just starting to refine his filmmaking style, bridging the gap between black comedy and outright horror. From the icky mystery surrounding 1973’s Sisters to the whacked-out camp musical Phantom of the Paradise in 1974 and peaking with 1976’s very Hitchcock-y Obsession, Carrie represented a major step forward for the director. His split screens and distinct framing are all on display here, albeit less emphatically used than they would be in his later work.

Adapted from Stephen King’s novel published just two years prior, certain liberties with the plot were taken that remakes on TV and the big screen tried unsuccessfully to fix and I’m of the mind that De Palma’s Carrie remains the most bang for your buck-ish.

This is thanks in no small part to one of the best casts you’re likely to find in a horror film. From the wicked delights of mean girls Nancy Allen, Amy Irving, and P.J. Soles (Halloween) to the hunky boy toys of John Travolta (Savages) and William Katt, De Palma may not have filled his tale with actors that were believably in high school, but all leave a lasting impression on the viewer. Good too is Broadway belter Betty Buckley as a kindly gym teacher that becomes a mother figure to Carrie (Sissy Spacek) who is otherwise being cared for by her religious zealot mama (Piper Laurie) in their small quaint home.

Ah Spacek and Laurie. Rightfully Oscar-nominated for their roles the two actresses have several whopper scenes together with Laurie truly relishing in the chance to gnash her teeth on the handsome scenery. The film belongs to Spacek, though, and your heart aches for her when she’s humiliated at two of her most vulnerable moments. The product of a mother that seems to fear her own daughter as much as she fears God, the young girl with the power to move things with her mind recognizes she has a gift that needs to be controlled…but when she’s pushed over the edge on prom night all hell breaks loose.

The prom sequence is a textbook example of the perfect marriage of style, cinematography, performance, and sounds as De Palma stages an unfolding nightmare with nail-biting visuals. Aided by Pino Donaggio’s icy score, Mario Tosi’s rich lensing of a series of carefully timed events, and Spacek’s wide-eyed possession my socks were truly knocked off that after all these years and viewings I could still be so terrified. And it doesn’t stop there…after the prom the frights are still coming leading to two climaxes that I’m sure had audiences crawling up the walls in 1976.

It’s a truly effective film, one of the best the genre has to offer. If you’re like me and think you’ve seen Carrie before, fire it up again because you may have forgotten how good it really is.