Double crosses, adultery, murder, mistaken identity, and revenge ensue when a mysterious power player and his sultry wife hire a disgraced Los Angeles property broker to discreetly market and sell their Malibu villa.
Thirty years after they served together in Vietnam, a former Navy Corpsman Larry "Doc" Shepherd re-unites with his old buddies, former Marines Sal Nealon and Reverend Richard Mueller, to bury his son, a young Marine killed in the Iraq War.
Australian western set on the Northern Territory frontier in the 1920s, where justice itself is put on trial when an aged Aboriginal farmhand shoots a white man in self-defense and goes on the run as a posse gathers to hunt him down.
Luka Magdeline Cole,
The film follows fifteen-year-old Charley Thompson. He wants a home, food on the table and a high school he can attend for more than part of the year. As the son of a single father working in warehouses across the Pacific Northwest, stability is hard to find. Hoping for a new start they move to Portland, Oregon where Charley takes a summer job, with a washed-up horse trainer, and befriends a failing racehorse named Lean on Pete.
A man on the bus toward the end of the film can be seen reading The Motel Life (2012), the first book (and first book to be adapted into a film) by author Willy Vlautin, who also wrote the novel on which Lean on Pete is based. See more »
Modern flat screen televisions are shown in at least 2 scenes, yet the film seems to be set in the 1990s, with old cell phones, pay phone, information operators, and older vehicles. See more »
Fans of director Andrew Haigh will know his unassailable talent for what one might label unsentimental emotionalism; his films deal with intensely emotional situations without lapsing into Speilbergian fawnishness. And, although compared to the masterful 45 Years (2015), Lean on Pete is a touch melodramatic, Haigh's talent for allowing character and theme to rise organically to the surface through quiet moments of introspection is still very much to the fore. So why not a higher score? The biggest problem here is that things are laid on too thick; Charley (Charlie Plummer) is very much a Job figure, and suffers such a litany of misfortunes that one fully expects him to be diagnosed with terminal cancer. Similarly, the pseudo-allegorical nature of the characters Charley encounters is too on-the-nose for the realistic milieu Haigh has crafted. Part state-of-the-nation address, part bildungsroman, it's worth a look, but is ultimately lacking a satisfying thematic through-line.
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