Alabama; 1969: The death of a clan's estranged wife and mother brings together two very different families. Do the scars of the past hide differences that will tear them apart, or expose truths that could lead to unexpected collisions?
An intimate story of the enduring bond of friendship between two hard-living men, set against a sweeping backdrop: the American West, post-World War II, in its twilight. Pete and Big Boy ... See full summary »
Spain in the mid-seventeenth century. A series of bloody wars has ravaged the nation. Don Juan the nobleman and his valet, Sganarelle, roam the countryside on horseback, on the run and lost... See full summary »
In the backcountry of Appalachia Rinthy Holme gives birth to her brother Culla's child. The brother takes the child from her as she sleeps and leaves it to die of exposure in the woods... See full synopsis »
Malcolm Striker Lyon
When the three (Cole, Rawlins, and Blevins) are preparing to cross into Mexico, they stop to view the Rio Grande from an elevated position. The Rio Grande is flowing left to right, which, from any point in Texas facing Mexico, would be the opposite direction of the river's actual flow. See more »
You're just a deadhead. Just tell me one thing. What the hell would we want you with us for?
'Cause I'm an American.
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In the opening credits, the Columbia Pictures emblem is not the 2000 one. Instead, it is the circa 1949 version with the woman holding the torch. This is what would have been used at the time the story is set. See more »
Newcomers trying for old-style Hollywood feel, and failing
From Cormac McCarthy's novel about young man in 1949 Texas leaving the family ranch for a life in Mexico, and winding up in hot water. Despite mystical undermining (which, presumably, is what director/co-producer Billy Bob Thornton brought to the table), film has a distracting 'formula' feel: two-parts western, one-part forbidden romance, and one-part prison picture. None of it gels, simply because the screenwriter (Ted Tally, of all people) and Thornton are trying for the kind of heavy, romantic movie-western style popular 40 years ago, and yet they do not possess the subtle qualities to make this genre successful for them. Matt Damon frequently flashes his shy/self-conscious movie-star smile, but he's so clean and bland and laid-back, he's practically non-existent on the screen. Penelope Cruz, as his forbidden flame, is better, but the other performers are less charismatic, and the story has no center--it just rambles around. *1/2 from ****
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