A nameless young character goes into travels to the country, meeting some acquaintances and strangers as well, having banal conversations, dedicating his existence into daily mundane ... See full summary »
Director:
Richard Linklater
Stars:
Richard Linklater,
James Goodwin,
Dan Kratochvil
A day in the life of Austin, Texas as the camera roams from place to place and provides a brief look at the overeducated, the social misfits, the outcasts and the oddballs.
Director:
Richard Linklater
Stars:
Richard Linklater,
Rudy Basquez,
Jean Caffeine
In small-town Texas, an affable mortician strikes up a friendship with a wealthy widow, though when she starts to become controlling, he goes to great lengths to separate himself from her grasp.
Director:
Richard Linklater
Stars:
Jack Black,
Shirley MacLaine,
Matthew McConaughey
On the run from the law, desperate drug runner Astor and his beautiful prisoner struggle through the savage heat. They are offered a ride by two unsuspecting travelers. Claiming to be ... See full summary »
Four Newton brothers are a poor farmer family in the 1920s. The oldest of them, Willis, one day realizes that there's no future in the fields and offers his brothers to become a bank robbers. Soon the family agrees. They become very famous robbers, and five years later execute the greatest train robbery in American history.Written by
Anonymous
At 24:05 into the movie, Dwight Yoakam looks into the camera, breaking the "fourth wall." See more »
Goofs
After the armoured car robbery, when the boys stop the car and fight about why it had gone so badly, a modern day wheelchair-access drop-down curb is seen. During the 20s, no such curb would have existed. They would have been straight across. See more »
Quotes
Joe:
It's colder than a day-old dumpling!
See more »
I watched this on DVD because it was recommended by Jonathan Rosenbaum on his ten-best list for the year, and the cast interested me, especially D'Onofrio and Skeet Ulrich. This confirms my admiration of the under-seen Ulrich, who's the doubting, conscience-stricken brother. His uneasiness stands out against the tedious good-old-boy jollity of the others. That shtick is a little too easy to do, and I don't think it gets the Twenties quite right, really. Rosenbaum is a great film critic but his end of the year recommendations are not always to be trusted, which makes you wonder about how written-in-stone his 1000 films list is. He also said that since the expansive images were a big part of the pleasure of the movie he didn't know how good it would be on DVD.
Gosh, was it really so easy to rob a bank in those days? The way some of the robberies go makes it look like it was all a cinch, but surely they'd be scared sometimes because you still stood to go to jail for it, maybe for a good long time. Actually it was easy to robe banks with square-doored safes, and it isn't so hard to hold up a little bank today.
This is surprising from Linklater not only because of the step into genre, but because of his willingness to glorify and simplify his good-boy/bad-boy crew. Where are the tormented and confused guys of his stoner movies? Matthew McConaughey certainly does rise to the challenge with a spirited and enthusiastic performance, but all his moments are still clichés. Hawke similarly grins and giggles in a quite shallow way. His character is not well defined and D'Onofiro, arguably the best actor of the bunch, is wasted. Statistically the Newton bank robbers were remarkable, but Ebert may be right that they are less famous than Dillinger or Bonnie and Clyde because they were too "respectable," i.e., dull. The screenplay lacks an angle, other than the glib one of boys on a lark, which fails to convince, and even when things go wrong, lacks a tragic dimension.
The action is desultory, lacking a strong focus on character or action or any guiding principle. Hence comparison with 'Bonnie and Clyde,' or more dashing adventures in the same vein like 'Butch Cassidy and the Sundance Kid' or 'The Sting,' simply isn't really possible. This isn't in the same league. It utterly pales in comparison to European robbery films like 'Rififi' or the recent 'Mesrine' gangster epic starring Vincent Cassel. Only the few moments with Dwight Yoakam as Brentwood Glasscock, the brothers' explosives expert, provide a welcome 'Rififi'-like hint of bank-robbing as a challenging activity requiring certain skills and techniques.
This is not to say you can't have fun watching. These young actors are in their physical prime, and that includes the ladies, notably the handsome-looking Julianna Margulies as McConaughey's girlfriend. The period flavor is sometimes ripe and tasty. The production is very good-looking, and there is some nice cinematography: a silhouetted image of the mail train the Newton brothers are about to rob is particularly cool. The whole cadre things are set in, including the jaunty music, is conventional, but it's undeniably fun. The movie's a little long, but the climactic later scenes are involving. But still, this is very far from Linklater at his best, and Rosenbaum ought to admit he erred in ranking it so high.
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I watched this on DVD because it was recommended by Jonathan Rosenbaum on his ten-best list for the year, and the cast interested me, especially D'Onofrio and Skeet Ulrich. This confirms my admiration of the under-seen Ulrich, who's the doubting, conscience-stricken brother. His uneasiness stands out against the tedious good-old-boy jollity of the others. That shtick is a little too easy to do, and I don't think it gets the Twenties quite right, really. Rosenbaum is a great film critic but his end of the year recommendations are not always to be trusted, which makes you wonder about how written-in-stone his 1000 films list is. He also said that since the expansive images were a big part of the pleasure of the movie he didn't know how good it would be on DVD.
Gosh, was it really so easy to rob a bank in those days? The way some of the robberies go makes it look like it was all a cinch, but surely they'd be scared sometimes because you still stood to go to jail for it, maybe for a good long time. Actually it was easy to robe banks with square-doored safes, and it isn't so hard to hold up a little bank today.
This is surprising from Linklater not only because of the step into genre, but because of his willingness to glorify and simplify his good-boy/bad-boy crew. Where are the tormented and confused guys of his stoner movies? Matthew McConaughey certainly does rise to the challenge with a spirited and enthusiastic performance, but all his moments are still clichés. Hawke similarly grins and giggles in a quite shallow way. His character is not well defined and D'Onofiro, arguably the best actor of the bunch, is wasted. Statistically the Newton bank robbers were remarkable, but Ebert may be right that they are less famous than Dillinger or Bonnie and Clyde because they were too "respectable," i.e., dull. The screenplay lacks an angle, other than the glib one of boys on a lark, which fails to convince, and even when things go wrong, lacks a tragic dimension.
The action is desultory, lacking a strong focus on character or action or any guiding principle. Hence comparison with 'Bonnie and Clyde,' or more dashing adventures in the same vein like 'Butch Cassidy and the Sundance Kid' or 'The Sting,' simply isn't really possible. This isn't in the same league. It utterly pales in comparison to European robbery films like 'Rififi' or the recent 'Mesrine' gangster epic starring Vincent Cassel. Only the few moments with Dwight Yoakam as Brentwood Glasscock, the brothers' explosives expert, provide a welcome 'Rififi'-like hint of bank-robbing as a challenging activity requiring certain skills and techniques.
This is not to say you can't have fun watching. These young actors are in their physical prime, and that includes the ladies, notably the handsome-looking Julianna Margulies as McConaughey's girlfriend. The period flavor is sometimes ripe and tasty. The production is very good-looking, and there is some nice cinematography: a silhouetted image of the mail train the Newton brothers are about to rob is particularly cool. The whole cadre things are set in, including the jaunty music, is conventional, but it's undeniably fun. The movie's a little long, but the climactic later scenes are involving. But still, this is very far from Linklater at his best, and Rosenbaum ought to admit he erred in ranking it so high.