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. (IMDb)
Over a wonderful aesthetic (warm cinematography, clever editing, and cozy jazz), light and leisurely character set-ups (Forrest and Jewel have great banter) set the stage for a fun little plot (Affleck’s weary cop is a perfect match for Redford’s relaxed con). The final act fails to wrap things up as gracefully, however, thanks to a couple plot snags (why let him leave the bathroom, and why a horse instead of the car?) and Forrest’s now irritatingly breezy attitude in the face of adversity.
An anthology film comprised of six stories, each dealing with a different aspect of life in the Old West. (IMDb)
The discomforting and racist villainous portrayal of “Indians” should’ve been thrown away but the rest of the classic Western potpourri here provide lots of cozy charm (love those songs sprinkled throughout) and frigid chills amidst what is a uniquely curated collection of stories (some delightfully bizarre like the titular tale with its compelling narration and amazing climactic duet; others a bit more plodding and unremarkable) about death and judgment and the diehard American dream.
A film set in a strange afterlife way station that has been reserved for people who have committed suicide. (IMDb)
The unique suicide afterlife premise here creates a fresh and fascinating atmosphere for the seen-before road trip dramedy format; bleak desert landscapes and dark city streets host a blend of moods ranging from melancholy (every character is a tragedy) to darkly comic (there’s humour but no one can smile) to bizarre (the black hole in the car). Needless to say, Waits’ presence on screen and in the soundtrack is a match made in heaven (or some kind of afterlife, at least). A great indie flick.