True Grit

The Coen Brothers have become as much of a household name as Clorox bleach. Their original stories and unique style have always pushed the boundaries of conventional film making. However, their latest collaboration "True Grit" is more of a tributary inflexion of the classic Western movie than an innovative original story. Although it does posses the same renowned ambiance of a typical Coen movie, it simply is not as enthralling as one would expect from their creative stock. It does contain the usual elements of un-usual characters who find themselves in raunchy predicaments, but fails to surprise in the manner that most of their prior films have done so. Save an impressive performance by newcomer Hailee Steinfeld, it simply is not as profound or staggering as one would expect from Joel and Ethan Coen. Nonetheless, it does capture a visual grander of the West that parallels such film greats as Martin Ritt's "Hud" and Ang Lee's "Brokeback Mountain". The movie was shot outside of Santa Fe, New Mexico and around the rural areas of Granger and Austin, Texas. Though there are some very bountiful scenes of sweeping canyons and spacious desert fields, there are just as many scenes that are harsh and threatening. Such superb cinematography is no surprise coming from eight-time Academy Award nominee Roger Deakins; he incorporates just enough subtleties in each scene to create a phantasmal mood for the film, despite an impoverished storyline.

"True Grit" just isn't quite as ground breaking as "No Country For Old Men" was. Joel and Ethan adapted the script from Charles Portis' novel of the same name and is the second screen adaptation of his book. The first was done in 1969 which was directed by Henry Hathaway and starred John Wayne in an Oscar-winning performance. Despite both movies having the same storyline, the two films are vastly different from one another. There is after all a forty year generational difference between them. The first version failed to convey the harsh, and often violent, reality of the times and seemingly excluded a lot the situational humor of the novel. Ethan attributes this to the fact that the book was narrated in the first person from the perspective of Mattie Ross, a teenage girl on a mission of revenge, disguised as justice. The Coen's touch here adds an eccentric comic demeanor that lacked in the original version. They directly used many of the humdinger lines of Portis' novel which clearly added to the poise and presence the characters.

Hailee Steinfeld as Mattie Ross

The film opens with the execution of Frank Ross by his hired hand Tom Chaney, played by Coen alum Josh Brolin, while the two are on an expedition to Fort Smith to buy some horses. Chaney robs Ross' corps of $150 and two gold pieces that he always carried for sentimental reasons, then flees into Indian Territory (present day Oklahoma). This incident is projected in an erie blue overtone that creates a somber tone and sets the mood for the entire film. We soon enter upon Ross' fourteen year old daughter Mattie (Steinfeld) who ventures up from their Arkansas farm, accompanied only by an indentured servant, to settle her father's affairs and ensure justice of his untimely murder. Young actress Hailee Steinfeld almost immediately steals the movie away from her more famous costars. Steinfeld conveys a superlative sense of retribution underlined by vengeance as Mattie Ross. There is a great scene between Mattie and a horse trader named Colonel Stonehill (Dakin Matthews) where she insistently collects on her late father's dealings. It is at this moment that the audience quickly realize that this little girl is no one to be trifled with. Steinfeld was discovered through an open casting call that was put out seeking someone between the ages of 12 and 17 who looked simple in demeanor  but could convey "unusually steely nerves and a straightforward manner". Her performance is one of the few redeeming qualities of the film on the whole and merits high praise as one of the best supporting performances of the year.

Jeff Bridges as Rooster Cogburn

After some investigation, Mattie learns that Chaney has joined an outlaw gang led by the infamous "Lucky" Ned Pepper, portrayed by Barry Pepper who ironically has the same last name. In order to ensure that Chaney is arrested and tried for her father's murder, she unwittingly seeks the assistance of the toughest U.S. marshal in the district, Reuben J. “Rooster” Cogburn (Jeff Bridges). He, however, turns out to be a scrupulous drunk whose unruly practices are being questioned by authorities in court. Nonetheless, Mattie is "searching for a man of true grit" and Cogburn fit her ideals of just such a bounty hunter. This is Bridges' first role since he winning the Academy Award for Best Actor for playing a washed-up country music singer in Scott Cooper's "Crazy Heart". Similarly, western film icon John Wayne won his only Oscar for his turn as Rooster Cogburn in the original "True Grit". The part of Rooster Cogburn was quite a departure for Wayne, at the time, who was known for playing the straight-laced hero. But it still seemed like Wayne was playing Wayne. Such is not the case here with Bridges; it seems more like Bridges is playing Rooster. His interpretation of Rooster Cogburn is unique because he embraces more of the darker actions of this anti-hero character, which was precisely how Joel and Ethan depict him in their script.

Matt Damon as La Boeuf

Whilst waiting to hear whether or not Rooster accepts her commission, Mattie encounters upon a Texas ranger named La Boeuf (played by Matt Damon) who has already been tracking Chaney for the murder of a Texas state senator. Physically, he is very aloof, sporting a set of spurs that jingle louder than Santa's sleigh, and an overly grown mustache that practically turns him into a caricature. His introduction comes as a complete surprise to Mattie as she awakes from a bad dream to find him watching her sleep. Their initial impression of one another is not very high, particularly after Mattie receives a letter from Rooster that he has partnered with La Boeuf instead of her. Despite them trying to leave Mattie behind, she proves more tenacious and resourceful than they'd expected and eventually she becomes an accepted member of the posse. Damon's performance is decent enough and audiences will undoubtedly be drawn to the film because he is in it. Neither La Boeuf or Damon are hardly sidekick material. The wry ranger has issues and motives all of his own and his presence seemingly complicates matters more than it helps.

Josh Brolin as Tom Chaney

This unusual trio of bounty hunters begin to appreciate each other more and more, eventually developing a certain regard for one another. Particularly through their various encounters with villains Tom Chaney and Lucky Ned Pepper. Brolin is no stranger to gritty character roles, having previously portrayed the sinister Dr. William Block in Robert Rodriguez's "Grind House" as well as the malevolent city supervisor Dan White in Gus Van Sant's biopic "Milk". Although he doesn't get much screen time here, the significance of Chaney in the overall plot carries his presence throughout most every scene. Brolin is ruthless and barbarous as Chaney, and we have little empathy for him. Lucky, on the other hand, grants us slightly more compassion, despite being on the other side of the law. Barry Pepper is one of those actors whom, in my opinion, is vastly underrated. This is mainly because the roles he plays are not principal parts and he is often overshadowed by more renowned actors. Two such films that come to mind are "The Green Mile" and "Saving Private Ryan". Still, as small as his part may be here once again, he still leaves an impact as the gang leader with an unlikely sense of humanity.

Steinfeld with Barry Pepper as Lucky Ned Pepper

The character of Mattie is herself a portraiture of feminism during a such raw period in history when codes of honor governed society rather than abstract law. In film, women of that era are typically depicted as frail homemakers or immoral prostitutes. We rarely ever see a woman characterized as a cowboy on screen, let alone a female protagonist in a Western. "When you introduce women into that kind of world, something very interesting happens and you have an interesting dynamic straight away," states Emmy Award-winner Simon Moore who wrote the original screenplay for "The Quick and the Dead". Mattie's predicament is actually very similar to Moore's character The Lady (played by Sharon Stone in the film) who joins a dueling competition in order avenge her father's death at the hands of the self-proclaimed sheriff of the town Redemption. While Mattie certainly is no gunfighter herself, she realizes the importance of carrying a weapon of her own and the kind of power that it ensues. And like The Lady, Mattie is no conventional woman by any means. She is aggressive and rambunctious in her own right and governs herself in the same manner. Fourteen years old or not, for any woman living in the Old West this is profoundly prodigious. And although the apolitical Coens were not trying to foster a movie about feminism in any right, the implications behind the character of Mattie cannot be be ignored, whether intentional by the film makers or not.

Steinfeld and Damon

The Coen Brothers films have always demanded attention, but they did not receive real critical recognition until 1996 with "Fargo". And although they directed and produced that film separately, they wrote the screenplay collaboratively. Since then, they have worked on every film together as writers, producers, and directors jointly. People have often referred to Joel and Ethan Coen as “the bicephalous director” (the two-headed director). Many actors who have worked with the brothers have said that more often than not, the two have the same ideas and responses for various scenes and questions. Yet, their "two-headed" approach to "True Grit" might very well have been a deteriorating factor for the film on the whole. Though it is a more faithful adaptation than Henry Hathaway's initial version was in 1969, the movie itself brings little that hasn't been seen before from similar westerns or tales of vengeance.

Joel & Ethan Coen

"True Grit" seems to fulfill a more commercial compulsion than a creative one, which is not necessarily a criticism. Movies are after all a business and "if it doesn't make money, then it wasn't worth making." Although "No Country For Old Men" proved that the Coens could achieve both acclamation and financial success, it unfortunately might have been their fluke exception. Their last film "A Serious Man" brought in a mere $31 million and was essentially a box office failure, despite being highly praised by critics and honored with two Oscar nominations, including Best Picture. This seems to be the Coen Curse: if the movie is substantial and innovative without any big name actors attached then it is probably a fantastic movie, or if it carries a star studded cast and does well financially, then it is probably mediocre in comparison to their other works. So once again, we are upon a Coen Brothers film that does carry a few high profile names, yet lacks the overall creative spirit and imaginativeness that audiences have come to value them for.

Rating: ★ ★ ★ 1/2
Bottom Line: Not your quaint-essential Coen Brothers piece, but entertaining in its own right. Hailee Steinfeld's performance alone is worth seeing.


Johnny Cash: "God's Gonna Cut You Down"

The Men Who Stare at Goats

“More of this is true than you would believe.” is the opening statement for this film that sets a pretext for an astonishing tale. At least, that is what one would assume. Such isn’t the case, however. We all know George Clooney to be the kind of ambitious actor/director/producer who seeks out good stories and challenges greatness in his projects. He teams up again with Grant Heslov, who he had previously collaborated with on Good Night, and Good Luck. Although they have swapped productions roles here (Clooney produces while Heslov directs), you would think that they would have come up with the same kind of brilliance that they concocted in 2005. Perhaps the major difference with this film is that it was NOT co-written by the two. Regardless of this, the story just doesn’t execute.

Peter Straughan, whose work spans over numerous genres including radio sitcoms and stage plays, is the screenwriter. This movie is based directly upon Jon Ronson’s nonfiction novel, of the same name, which reveals the details behind a secret government unit called the First Earth Battalion (renamed the New Earth Army in the film). Ronson is probably best known for his documentary film work and distinctive self-deprecating reporting style, which incorporates aspects of Gonzo journalism. Unfortunately, Straughan does not execute the same treatment of expression in his script. But aside from the actual literary approach, the story doesn’t even grasp this so-called veritable world of military intelligence. I do realize that this is a comedy, however so much more could have been brought to the storyline, particularly some of the actual tactics used by the US Army. Instead, the story becomes cliché and doesn’t actually seem believable, or humorous for that matter.

Ewan McGregor plays the lead character of Bob Wilton, who is based on Ronson himself. Wilton is a recently divorced journalist who lives in Ann Arbor, Michigan (this is a bad omen to begin with). In an attempt to redeem himself to his wife and in his professional career, he ventures to Iraq at the height of the war in the Middle East in hopes to find some revolutionary story. This is idealistic and hopeless on his part. Wilton is vastly pathetic, insecurely emotional and needlessly irrational. How could anyone possibly respect such a bloke? McGregor manages to be likeable here, despite his deplorable character. But it is not the same kind of allure that he has had in such films as Moulin Rouge! and Trainspotting.

The irony that this film is about these so-called Jedi Warriors and that Ewan McGregor is the main character is humorous in itself. They make references to Star Wars throughout the entire movie. Since McGregor played Obi-Wan Kenobi in Episodes 1 through 3 of the Star Wars saga, it adds an element of strangeness to his character here. Wilton is someone who is trying to coop with his wife leaving him for his one-armed boss and his own mediocrity in his professional life. His solution is to go to Iraq and write a groundbreaking story that would give him a career boost and personal redemption. Seems simple enough right? Not really. He inadvertently finds himself chasing a story about so-called psychic warriors, enter George Clooney.

In Kuwait City, Wilton inadvertently meets Lyn Cassady (Clooney) at a hotel while waiting for his chance to cross into Iraq. After an accidental interrogation, Wilton unveils that Cassady was once a member of the New Earth Army and is currently on a top-secret mission for the government. Cassady goes onto to explain his role and exactly how he came to be a part of this select group of psychic spies trained to use paranormal powers against the country's enemies known as the Jedi. It is around this point in the film where you start to roll your eyes. It’s not even that the scenario is so inconceivable, but that the reproach is utterly ridiculous. Clooney’s character is supposed to be this psychic guru, the most talented of all the Jedi. But all he really accomplishes throughout the story is extreme exasperation.

If there is anything or anyone to commend in this film it is Jeff Bridges. His performance as Bill Django, a Vietnam War vet turned hippie, is ridiculously charismatic. The character himself is based on real combat commander Jim Channon, who sought ways to make war dramatically less violent by using methods based around advanced human performance and the human potential movement. Channon spent two years in the 1970s investigating new age movements that subsequently resulted in an illustrated 150-page field manual entitled “Evolutionary Tactics” published by the U.S. Army in 1978. Bill Django, however, is less contemplative than Channon and finds foolheaded methods to train his so-called Jedi to be “warrior monks”. Through a series of flashbacks, we come to learn about Django’s initial endeavors and experiments, some wildly insane but all entertaining, all thanks to Bridges. As this flower toting-peace loving-weed smoking-Army officer, Bridges put forth his best performance since The Dude from the Coen Brother’s classic cult film, The Big Lebowski.

Kevin Spacy also headlines the supporting cast as the self-absorbed despicable sergeant Larry Hooper. Spacy isn’t anything special in this film. But that rests upon the fact that his character isn’t much himself. Hooper is an ambitious newcomer to the New Earth Army who eventually takes over the Team after he gets Django kicked out in disgrace. Hooper makes it very easy to hate him, and really only is looking out for number one. This self-preservation theme is reminiscent of The Italian Job, but without the big financial motive.

As things progressively go wrong for Wilton and Cassady during their mission, Wilton understandably starts to wonder if Cassady really is a Jedi Warrior with paranormal abilities or if he’s just plain crazy. Cassady blames it all on a "curse" he inadvertently acquired during an experiment in which he stared at a goat until its heart stopped beating. "The dark side took the dream and twisted it." "None of it was real," sites Wilton at one point. With material like this, one would have liked a more incisive comedy to materialize around the decline and fall of the New Age movement. The New Earth Army bears some historical significance because of the context for which it is based. Did our government allocate funds towards the development of a psychic team of soldiers? This question itself poses much intrigue for not only those who are supernatural zealots, but for the tax paying public on the whole. This story could easily have been converted onto the screen in a different way. A psychological thriller that breeds from the mystery of The X-Files and the human turmoil during wartime of Apocalypse Now, could have been a great screen epic. This film farce that plays upon the stupidity of its characters is mediocre at best.

This is not typically the kind of film I would go see to begin with. I am not someone who typically revels in the comedy of human situations. But that isn’t even why I disliked this movie. It’s supposed to be about psychic soldiers, super heroes if you will, and more interestingly, how our military has tried to use such people as weapons. Believable? Not really. Entertaining? Only somewhat. For me personally, The Men Who Stare at Goats just does not come together. There are ridiculous characters that seemingly have metaphysical abilities but aside from the dream sequences and flashbacks, you almost never see any of them performed. It basically just implies that these Jedi have extra ordinary talents. And it seems like you’re watching a version of the X-Men where they are all stoned and mental half-wits. “We’re Jedi. We don’t fight with guns, we fight with our minds.” Mind war indeed; I have been mentally trying to beat-up Clooney and Heslov since I left the theater.

Rating: ★ ★
Bottom Line: They showed every good funny scene in the 3-minute preview. Save yourself the grief & disappointment, and stay home.