Set in contemporary Chicago, amid a time of turmoil, four women with nothing in common except a debt left behind by their dead husbands' criminal activities, take fate into their own hands, and conspire to forge a future on their own terms.
Early 1970s. Four strangers check in at the El Royale Hotel. The hotel is deserted, staffed by a single desk clerk. Some of the new guests' reasons for being there are less than innocent and some are not who they appear to be.
In early 18th century England, a frail Queen Anne occupies the throne and her close friend, Lady Sarah, governs the country in her stead. When a new servant, Abigail, arrives, her charm endears her to Sarah.
After spending two decades in England, Bill Bryson (Robert Redford) returns to the U.S., where he decides the best way to connect with his homeland is to hike the Appalachian Trail with one of his oldest friends, Stephen Katz (Nick Nolte).
Based on the true story of Forrest Tucker (Robert Redford), from his audacious escape from San Quentin at the age of 70 to an unprecedented string of heists that confounded authorities and enchanted the public. Wrapped up in the pursuit are detective John Hunt (Casey Affleck), who becomes captivated with Forrest's commitment to his craft, and a woman (Sissy Spacek), who loves him in spite of his chosen profession.Written by
Fox Searchlight Pictures
David Lowery tried to write the true crime version of this movie and the journalistic version of what really happened, and Robert Redford never felt like he fit into that. In other words, according to Lowery himself, his idea of who Redford was as an actor never really fit into the true story of Forrest Tucker. So after many, many drafts, he realized that what he needed to write was the movie that Forrest Tucker would have wanted to see. He needed to write the version of Forrest Tucker that he saw in his own head as opposed to the one that really showed all the things he did. There was a thin line between two, but it was a very important line and that line allowed him to write a movie that was the version that Redford could excel playing. See more »
When Forrest drives off the highway into a field to elude Montana police, Numerous tire tracks, presumably from previous takes, are visible. See more »
[crackling over radio]
All right, 1-10, this is Dispatch. Do you copy?
This is 1-10. Go ahead.
What's your 20, 1-10?
All right, 1-10, what's your 20?
We're right around the corner, Marianne. What do you need?
We've got a 4-1-5 at 68th South Corbine Street.
[police radio chatter continues indistinctly]
All units. There's a 211 in progress. American Bank. Suspect is driving a white sedan. I repeat. Suspect is armed and driving a white sedan.
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Jade Healy is credited as Wallpaper Whisperer! See more »
Robert Redford headlines this new dramedy from David Lowery (whose last film, "A Ghost Story," I found riveting,) by playing an elderly bank robber who has escaped from prison over a dozen times, and is looking to find love with a woman (Sissy Spacek) while being investigated by law enforcement. The film's old-fashioned color palette, low-key charms, and leisurely pacing feel like a throwback to classic filmmaking in a manner almost never seen in today's modern films, even independent ones. It's impossible not to smile at Redford and Spacek's charisma, and the simple score is charming and lovely. The film certainly has its fair share of amusing and entertaining moments, many of which involve bank robbery attempts and prison escapes. That said, the movie has some noticeable problems with its narrative.
The main problem with the film's story is not that it is contrived (it can be, but it is not too difficult for the viewer to suspend disbelief while watching this film.) Rather, it is that the film can be repetitive. The film's use of montages and similar plot devices (like juxtapositions of bank robbery scenes followed by subsequent juxtapositions of scenes showing the personal lives of major characters) get too repetitive, so much that it is somewhat difficult to feel impacted by their stylistic role in the narrative. For a movie that only lasts a fleeting 93 minutes, the film oddly feels a bit long as well. These narrative issues are (unfortunately) very structural in terms of how they affect the film as a whole, which can be judged by the viewer against the film's positive elements (the performances, simple aesthetics, and tone.) Recommended for theatrical viewing to fans of the cast; all others should probably wait to rent it. 6.5/10
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