Drama

The Last Duel

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  • Title: The Last Duel
  • IMDb: link

The Last Duel offers a medieval he-said/she-said/he-said tale based on the true events involving Jean de Carrouges (Matt Damon), his wife Marguerite (Jodie Comer), and Jacques Le Gris (Adam Driver) who is accused of raping her. Events leading up to and after the rape are shown from each of the three characters’ perspectives including the trial of Marguerite and the eventual duel between the two men who may or may not have been friends at one point depending on whose account you believe.

Each reciting covers many of the same events, offering more context to their character’s actions and the perspective of themselves and Marguerite who under the laws of the time was Jean’s property damaged by Jacques. Let’s just say it wasn’t the best time to be a woman. Nor does the script look fondly on nobility (Ben Affleck) or royalty (Alex Lawther). It’s as much an indictment of the time period as on the events that occurred.

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The Tragedy of Macbeth

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  • Title: The Tragedy of Macbeth
  • IMDb: link

Joel Coen‘s take on William Shakespeare’s Macbeth is a stylish affair with minimal but visually stunning sets and striking cinematography by Bruno Delbonnel that boils down the five-act play to 105-minute black-and-white cinematic experience. The story is Shakespeare’s, but Coen and Delbonnel’s presentation sets a standard for Macbeth which will likely lead it into both homes and classrooms for decades to come.

Denzel Washington stars as the Scottish Lord and Frances McDormand his ambitious wife, convinced by a witchy prophecy (Kathryn Hunter) that Macbeth will become the next King of Scotland. What follows is one of the most famous tragedies in literature which Coen takes care to pare down while still keeping to both the text and texture of Shakespeare’s work. It’s a terrific play presented by a talented group both behind and in front of the camera leading to one of the best films of the year.

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House of Gucci

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  • Title: House of Gucci
  • IMDb: link

House of Gucci is one of the sillier movies of 2021. Taken from true events of the Gucci family, with some obvious embellishment for effect by screenwriters Becky Johnston and Roberto Bentivegna, it struggles when it needs its more dramatic moments to hit home. With a tone more to parody winking at the camera, and characters who feel ratcheted up to 11, we’re left with an amusing, but largely empty, experience.

The film follows the ups and downs of Patrizia Reggiani (Lady Gaga) and Maurizio Gucci (Adam Driver) after their marriage. We witness how their relationship changes both of them as the reluctant member of the Gucci family is drawn back into the family business. If there’s a point to director Ridley Scott‘s film it might be that despite their troubles and the eventual misery they caused each other, Patrizia and Maurizio appear to have been made for each other.

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Cry Macho

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  • Title: Cry Macho
  • IMDb: link

Clint Eastwood, who also directs, stars as an old cowboy sent to find the son (Eduardo Minett) of a rancher (Dwight Yoakam) in Mexico and bring him to the United States. Cry Macho is a slow-paced stalled road trip movie with Mike (Eastwood) and Rafo (Minett) getting stuck in a Mexican town for most of the film while hiding from authorities and the boy’s mother (Fernanda Urrejola) who doesn’t want him to leave Mexico.

Knocking around Hollywood for the better part of 50 years, the script offers some minimal commentary on machismo while the title of the movie comes from Rafo’s prize cock-fighting rooster. The story unfolds as expected with no stand-out scenes or surprises. Of course, Mike keeps a secret from Rafo leading to inevitable conflict in the final act before Cry Macho eventually limps to the finish line. It’s not a bad film, but there’s little of interest other than some nice cinematography of Mexico.

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The Eyes of Tammy Faye

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  • Title: The Eyes of Tammy Faye
  • IMDb: link

We get the rise and fall of Tammy Faye (Jessica Chastain) and Jim Bakker (Andrew Garfield) in this examination of the televangelist couple. While recreating moments of the pair’s life, there’s no real point or perspective offered to the events. The Eyes of Tammy Faye isn’t a character study. It isn’t commentary of events. Nor is it a satire.

The film is simply a shallow collection of events that never digs beneath the surface to provide anything of much interest. While we see the odd pair begin their their time as televangelists, the movie isn’t concerned with the rise of the PTL Satellite Network nor the good or ills of the The PTL Club, nor really the fall of grace of the Bakker’s which makes up only a small percentage of the film.

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