The Road
Following 2007’s brilliant Cormac McCarthy adaptation No Country for Old Men, and faced with the decision of what to do with your fancy new McCarthy adaptation, the best, most exciting decision you could possibly make would be hiring John Hillcoat, the man who made The Proposition, just about the best ever film adaptation of a book McCarthy forgot to write. Hiring Viggo Mortensen, a mad mastermind of an actor when he wants to be, is the second-best decision you could make. It seemed, thus, that everything was in place for The Road to just tear up the film world, and indeed, to whisper something confrontational to No Country for Old Men and ready its fists for a prime licking. The rhythms of this paragraph likely signal a huge, heaping “but”, and that they do. They also likely signal a bad film. That they do not, thankfully. But they signal a decent film where a masterful one might have been, and that is almost as bad. Continue reading
The significant resurgence of the Western genre since about 2005 (for reasons I’m not entirely sure of) is one of the few truly surprisingly revelations from the cinematic world to be found this past decade. It’s all the more notable particularly because the Westerns themselves have taken so many different forms, from pure, effervescent myth-making, to black-hearted heaving gasps of grimy moral decay, to slowly gliding, almost Impressionist location tapestries where characters serve merely as extensions of the environment, to plain ol’ rootin-tootin shoot em’ up character studies.
The Long Take 