Forbach, Eastern France. Present day. Since his wife walked out to the family, Mario has raised their two daughters of his own. Frida, 14, blames him for her mother leaving. Niki, 17, ... See full summary »
Set over one summer, the film follows precocious six-year-old Moonee as she courts mischief and adventure with her ragtag playmates and bonds with her rebellious but caring mother, all while living in the shadows of Walt Disney World.
Before he was chairman of the board. He was just a man, desperate for a woman, clinging to a dream. The story of Sinatra as never told before and Ava Gardner, the woman who saved him, by breaking him. Based on true stories.
Emily Elicia Low,
Harry Dean Stanton
Harry Dean Stanton: Partly Fiction is a mesmerizing, impressionistic portrait of the iconic actor comprised of intimate moments, film clips from some of his 250 films and his own ... See full summary »
Harry Dean Stanton,
Lucky is an old US Navy veteran of rigid habits and attitudes in a small town. When his routine is interrupted by a sudden collapse at home, Lucky finds himself realizing that his remarkably healthy old age is going to face an inevitable decline and he has to accept it. In that difficult reassessment, Lucky must face up to what he believes in and how much it compares to his neighbors' priorities. In doing so, Lucky finds that his life has its positive side as he searches for some meaning that he can accept.Written by
Kenneth Chisholm (email@example.com)
Features an instrumental harmonica version of "Red River Valley" which Stanton also performed in Twin Peaks: The Return. See more »
It's all going to go away. You, you, you, you, me, this cigarette, everything... into blackness, the void. And nobody's in charge, and you're left with... ungatz.
And what do you do with that?
What do you do with that?
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I See A Darkness
Written by Will Oldham
Performed by Johnny Cash
Published by BMG Firefly on behalf of Royal Stable Music
Courtesy of American Recordings under license from Universal Music Enterprises See more »
A Fitting End to a Career of Playing Restless Outsiders
2017 saw the passing of both Harry Dean Stanton and Sam Shepard, two-thirds of the creative triumvirate behind the classic 1984 road movie / western PARIS, TEXAS. Wim Wenders and Shephard contrived to give Stanton - a career character actor - one of the greatest roles in twentieth century cinema and he owned every guilt-ridden moment of that film. John Carroll Lynch, in many ways a modern day Stanton, uses his directorial debut to showcase the ninety-year-old Stanton's formidable cussedness and aching vulnerability in a way that is as perfect a bookend to an acting career as GRAN TORINO was to Clint Eastwood.
LUCKY is a deceptively simple tale of a determinedly alone old naval officer, who has got to the stage in life where even his doctor (a fabulous cameo from Ed Begley Jr.) has nothing to tell him when he takes a dizzy tumble. This is an old man, going about things the only way he knows how. His days are a series of little routines sparingly conveyed through repetition and variation in the first half of the film. He knows he is going to die, he knows this scares him, but he also knows there is little else he can do other than persist, like the best of Samuel Beckett's characters.
There is something a little reminiscent of another Wenders' film in LUCKY, namely LIGHTNING OVER WATER. In that part-documentary, Wenders' sought to approach his own fear of death through the imminent mortality of veteran Hollywood filmmaker and close friend Nicholas Ray. Carroll Lynch is similarly engaging with the genuine fears of vulnerabilities of the ageing Stanton, as a means of tapping in to a wider understanding of what death is and what it means.
The film vacillates between profound human empathy and a less appealing, although far less prominent, sentimentality. It is often at its strongest in the barroom scenes in which Lucky goes through the motions of his compromised masculinity and desperately rails against and longs for the reckoning that remains a few miles further down the road. Carroll Lynch keeps the overall tone light and as sunny as the Californian landscape that his film cleaves to, which only makes moments like when Stanton lets rip with a Mariachi band all the more poignant, urgent and arresting. With some great supporting turns from the likes of David Lynch, Tom Skerritt and Ron Livingston, this perfectly formed, smallscale movie, has much bigger concerns at its heart.
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