I join “CTV News Toronto at Five” with anchor Zuraidah Alman to talk about the charming “Shaun the Sheep: The Beast of Mossy Bottom,” the historical drama “The Weight” and the bloody good time of “Resident Evil.”
Watch the whole thing HERE! (Starts at 12:01)
Watch the whole thing HERE!
Watch the whole thing HERE!
Listen to the whole thing HERE!
Watch the whole thing HERE!
Listen to the whole thing HERE!
CAST: Ethan Hawke, Russell Crowe, Julia Jones, Austin Amelio, Avi Nash, Lucas Lynggaad Tonnesen, George Burgess, Cameron Brady, Avy Berry, Alec Newman, Sam Hazeldine. Directed by Padraic McKinley.
REVIEW: A showcase for Ethan Hawke, “The Weight” is an effective historical drama elevated by the actor’s emotionally charged study of a desperate man pushed to the limit.
Set in 1933, four years into The Great Depression, the story focusses on Samuel Murphy (Ethan Hawke), a recently widowed War World I veteran and father to Penny (Avy Berry). A jack of all trades, he can fix anything with a motor but is having a tough time finding work or keeping a roof over his daughter’s head.
Arrested after misunderstanding, he’s sentenced to a hard labor camp while Penny is sent to foster care and will soon be put up for adoption.
Samuel’s obvious intelligence and problem-solving skills catches the attention of the plain-spoken Warden Clancy (Russell Crowe) who offers Samuel a way he could be released before Penny is adopted and gone out of his life forever. “I have a friend who needs a little help,” he says. “I don’t trust any of these boys, but I trust you. You do this thing, your time is done.”
The offer, however, comes with strings attached. Clancy wants Samuel, and three other inmates, to transport precious cargo across very unforgiving terrain. When the job is complete, the warden will sign Samuel’s release papers, and he’ll be reunited with his daughter. But if he fails, he may never see his daughter again. “You ain’t getting your kid back if you’re dead.”
“The Weight” contains elements of a survival thriller and a crime drama and does a nice job of painting a picture of The Great Depression, but those are just some colors director Padraic McKinley uses to create a vivid portrait of his main character Samuel.
On the page and through Hawke’s layered performance, we see a story of a desperate man, not driven by greed, but by his love for his daughter. It raises the emotional stakes and allows Hawke to reveal the width and breadth of Samuel, from his doting dad side to hardened WWI vet and tactician.
McKinley doesn’t hesitate to put Samuel in precarious situations. The action scenes are deliberately paced in keeping with the historical nature of the story, but a sequence on a rickety rope bridge strung high above a deep canyon is low fi, but packs a punch.
“The Weight” has atmosphere to burn and some visceral violence, but it is Hawke who elevates and entertains. Samuel is the film’s most interesting character, and it’s not even close. The rest of the ragtag crew are colorful but broadly drawn place holders who are overshadowed by Hawke and Samuel’s story of resilience and family.
Last year Taylor Sheridan helped breathe new life into the western genre with the script to Hell or High Water. It was a hot and sweaty West Texas crime drama that earned four Oscar nominations. Before that he penned Sicario, the Emily Blunt, Benicio del Toro drama about an idealistic FBI agent working with an elite task force to stem the flow of drugs between Mexico and the US.
His latest film, this time as both writer and director, is another neo-western but feels much different. “Wind River” is a wintry murder mystery set on a First Nations Reserve.
“They are each exploration of the modern American frontier,” he says, “a real examination of the exploitation of these areas. [They are also about] fathers managing grief and moving on or overcoming and accepting perceived failures as fathers. I had become a new father when I wrote these and obviously was terrified of the notion of failing my child. So what does a writer do? He imagines the worst scenario and writes about it.”
In the film Jeremy Renner plays Cory Lambert, a Wyoming Fish and Wildlife agent called to a reserve to track a mountain lion that has attacked local livestock. While hunting his prey he discovers the dead body of local teen. She’s miles away from the nearest house, barefoot and frozen solid. Lambert figures she died running away from something or someone until her lungs froze and burst in the 20 below weather. When FBI agent Jane Banner, played by Elizabeth Olsen, arrives the pair soon discover that mountain lions aren’t the most dangerous predators in the area.
Wind River, like his other films, explores social issues. Sicario dove into the soft underbelly of the American war on drugs while Hell or High Water was a financial-crisis drama set against a backdrop of outlaws, buddies and banks. Wind River shines a light on law enforcement’s apathy in investigating the disappearance of indigenous women. All are, as he says, “examinations of grief,” a topic he admits isn’t exactly the stuff of summer blockbusters.
“Obviously the studio system is trying to figure out what most people want to watch and make a movie that appeals to most people,” he says. “I’m not trying to do that. I’m trying to write a film that I want to go see. I assume I am not that unique about things that matter to me. That’s what I do. I can’t go into the writing of a screenplay with concerns about the audience I’m trying to reach or the expense or difficulty of making them. When I am struck with something I care about and I’m curious about the way a character might deal with this issue or that issue, then I explore. I have no regard for who is going to come see it and I can’t.”
Sheridan, who, when he isn’t directing or writing, is also a busy actor, most recently starring on the hit show Sons of Anarchy, says making Wind River was difficult but he’s happy with the film.
“The ultimate goal is to do what you set out to do,” he says, “which is make a movie that excites and entertains and has you thinking about it later. That is the Holy Grail of filmmaking. If I can do that, I’ve done my job.”
Last year Taylor Sheridan helped breathe new life into the western genre with the script to “Hell or High Water.” It was a hot and sweaty West Texas crime drama that earned four Oscar nominations. His latest film is another neo-western but feels much different. “Wind River” is a wintry murder mystery set on a First Nations Reserve.
Jeremy Renner plays Cory Lambert, a Wyoming Fish and Wildlife agent called to the reserve where his ex-wife (Julia Jones) lives to track a mountain lion that has attacked local livestock. While hunting his prey he discovers the dead body of local teen Natalie Hanson (Kelsey Asbille). She’s miles away from the nearest house, barefoot and frozen solid. Lambert figures she died running away from something or someone until her lungs froze and burst in the 20 below weather. When FBI agent
Jane Banner (Elizabeth Olsen) arrives solo she asks Lambert to aid in the hunt for Natalie’s killers. “You’re looking for clues,” Lambert says, “but missing all the signs.” The pair soon discovers that mountain lions aren’t the most dangerous predators in the area.
Sheridan’s scripts (he also directed “Wind River”) explore social issues. “Sicario” dove into the soft underbelly of the American war on drugs while “Hell or High Water” was a financial-crisis drama set against a backdrop of outlaws, buddies and banks. “Wind River” shines a light on law enforcement’s apathy in investigating the disappearance of indigenous women.
Set against the snow and silence of Wyoming mountain country “Wind River” is a much quieter movie than “Sicario” or “Hell or High Water,” and a little more conventional as well. Apart from a gun battle late in the film, there is little in the way of complex drama or action. Instead this is more about location, the harsh climate and the characters.
Sheridan populates the film with compelling characters. Renner is at his craggy best as a man as tough as the land he makes his living on. Olsen is a scrappy presence as a young, inexperienced agent trying to maintain control of the situation.
As Natalie’s grieving father Gil Birmingham (who appeared in “Hell or High Water” as Jeff Bridges’ partner) hands in a steely but soulful performance while Graham Greene brings a world-weary humour to the role of the local sheriff. “This is the land of no back up,” he says to Banner, “it’s the land of your own back up.”
“Wild River” may be set in a winter wonderland—bring a blanket, the iciness is infectious—but despite the abundance of snow Sheridan and his actors insert enough humanity to keep the story’s warm heart beating.
